If you enjoy suspense this movie has it. The fact that Marina Zudina portrays a mute adds to her haplessness and increases the suspense. Alec Guiness's appearance was nice, but didn't really add to the movie. I'm not sure if Evan Richard's part as Andy Clarke was an attempt to add a little humor or if he was supposed to just be a bumbling idiot. I thought the cinematography was excellent. This added not just to the quality of the production but to the suspense as well. The bathtub seen with the water droplets in slow motion was wonderful. Also the scene where the knife comes down and then it switches to Andy Clarke cutting an extremely rare piece of meat was very well done. I would call it overall good entertainment


It is always a well-known, and important directorial device to set up the atmosphere of a film within the first 5 minutes. In the crucial opening scenes, the film should assert itself and make the viewers take notice and get interested in the rest of the film. Here, in "Mute Witness", we find a prime example of this.

*Scene spoiler*

In the first 5-10 minutes, the film opens to a very Hitchcockian scene of a pretty blonde lady in her apartment, with the radio on. She's wandering around, applying lipstick, dolling herself up, and ignoring the news report of a serial killer on the loose. Of course, the serial killer is in her house, and monitoring her moves, knife in hand. She hears a noise, looks in a room, and there is her partner in a pool of blood. At the very point of her screams, she turns around to be faced with the knife-wielding maniac, who stabs her repeatedly in a brutal and horrifying act....

...then something odd happens. As the woman convulses in her death throes, the killer sits down and takes out a cigarette to watch his victim perish. Before he finds his lighter, his cigarette is lit...from someone else in the room! The camera pans out, and we realise that there are more and more people in the room, some taking notes, some filming, some recording the death, and that the lady is taking an awfully long time to die, and making a very hammy job of it too. When the audience realises what's going on, and the whole scene is part of a film, the suspenseful and horrific scene takes on an element of humour.

*End Scene Spoiler*

I have highlighted this opening scene for several reasons. Firstly, it portrays the atmosphere of the whole movie perfectly. A thriller in the style of Hitchcock or De Palma, with some very disorientating, and even blackly humorous moments. - It conveys a central subject matter (that of the difference between a 'movie screen death' and a 'snuff film death', an issue which is elaborated on later in the film), and finally, it introduces the viewer to the characters, all as silently as possible.

The plot of Mute Witness centres around Billy Hughes, an American special effects make-up artist who is working on the set of the film, being shot in a large warehouse in Moscow. Billy cannot speak, but she communicates in sign language through her sister. After the end of an evening's filming, Billy inadvertently finds herself locked in the warehouse by accident, and in her attempt to escape, is witness to two of the crew making what first appears to be a porno film, but turns out to be a snuff movie. Suddenly, her escape from the warehouse is a matter of life and death.

Without doubt, the first half of the film is powerful and absolutely gripping. Billy's saving grace, and her handicap is the fact that she isn't able to utter a sound. (In fact, in my opinion, one of the best aspects of the film is the fact that it isn't chock-full of women screaming). There are some utterly disturbing moments, and some superb set-pieces of real suspense (The corridoor, and the elevator shaft are perfect examples). The timing is fluid, and the whole first half is an incredibly satisfying experience in itself.

The second half of the film introduces new concepts. While there are still several suspenseful moments, the focus is on plot twists. New characters are introduced, and it is ambiguous as to whose side they are on. While there is nothing wrong per se with the second half of the film, it just doesn't quite measure up to the first half. There are some neat moments of black humour that perfectly juxtapose and punctuate some very dramatic scenes, but there are also some very lame comedy moments (coming specifically from Billy's sister and her fiancée, who happens to be the director of the movie Billy is working on), that almost ruin the film, just because they are badly misplaced and/or mistimed and ruin the pace. - At the end, the twists keep coming at a rapid-fire speed, and the climax of the film is, appropriately, as tense as the first half.

There are several things that really make the movie work. The barriers of communication that Billy must face, both as a mute, and as an American in Moscow, mean that even an emergency call for help becomes a dangerous situation. The actress that plays Billy, Natasha Zudina, does a wonderful job in the film, with an engaging on-screen prescence, and a brilliant performance, and finally, the direction as a whole, but most particularly in the first half of the film, which truly is a study in Alfred Hitchcock's suspense/thriller film techniques.

As I have already said, though, the let-downs in the film are from some terrible comic relief moments that really do not need to be added. There is already a consistent and effective streak of dark humour that appears in the film without the need for the characters of Karen Hughes and Andy Clarke (The sister and the moviemaker) to turn their scenes into some unusual sit-com. However, despite these shortcomings, the film is a thoroughly enjoyable thriller, and ideal for a group viewing at halloween. (Certainly better than the usual slasher horror film...!)


The story is airtight from the beginning until the latter third of this movie. Then the story gets more and more outrageous. The Main character portrayed by Marina Sudina is fantastic and had a difficult role. This could have been a super-great movie had the ending been more realistic.


I couldn't stop watching this movie, though it was far past my bedtime.

Comparisons to Hitchcock are deserved -- this thing really plays with you. It walks a wonderful line between real, immediate suspense and a dark, distancing humor. Like many of Hitch's heroes, our doe-eyed mute witness has innocently stumbled into something truly horrific -- and we are taken on quite a ride with her, at turns identifying totally and feeling her fear, at turns watching in thrilling suspense as she is placed further in jeopardy.

The filmmakers have put in a lot of tender care in working this out. Right from the opening shots, they engage and challenge you to determine what is real and what is fabrication; who is to be trusted and who is a monster. The plot twists and turns unpredictably. Suspense is created with a combination of carefully chosen camerawork, imagery, music -- but most simply THE EYES of the characters, which sends raw fear right into you.

A warning: there is some frighteningly real gore, as well as some nudity. The horror scenes are done in an emotional way that make them far more scary and disturbing than in any teenage-slasher pic.

And a teen-slasher pic it AIN'T. The characters are quirky and feel like real people, for one thing -- a couple (including the heroine) you may even find endearing as I did. There will be no mistake you're watching a movie made for grown-ups. I mean, Alec Guinness is in it, briefly, and you know he didn't NEED the work!

Pop this in the VCR some night when you can't sleep. . . and don't want to, yet.


In today's world of advertising and teenage horror and sensationalism it is very rare that one gets to see a movie and no nothing about it. Movies like Psycho and Blair Witch, while being great in suspense (both with great build ups) are spoiled by the fact that we know all about the best scenes and at least the plot before we see them. With Mute Witness, a rare treat, I stumbled upon this film and watched it, scared witless, in the middle of the night. I was scared by the menacing Russian ambience, the 'snuff' theme and the claustrophobic plight of the mute and the fact that the (amusing, which always leads to likeable) characters could meet the end at any second. Since this is a low budget and rare film we watch it without any expectations. It also has Fay Ripley in a rare movie role, watch and prepare to be excited, scared and thrilled in totally unexpected ways.


Man, I never laugh so much this year, and it's pretty hard to make me laugh. While I expected some Hostel-style movie, the smile came to my face even from the beginning. This film-inside-film shows a female stabbed "victim" messing the whole set until she finally "die". Her overacting drive the director nuts and his funny reaction tell us, the viewers, that Mute Witness is not a typically horror movie.

The main character, the mute American make-up artist Billy Hughes, is played by the beautiful yet talented Russian actress Marina Zudina. Her performance is top-notch; her character can't speak, so the body language and the emotions on her face must compensate.And, oh boy, she did a wonderful job. Her sister (Fay Ripley) is the girlfriend or the fiancée or the wife of the "in-film director" (Evan Richards). They were both very funny most of the time. I won't spoil more, but the scenes following the bathtub moment, with them two, the fake policemen and later the angry neighbor were plain brilliant black comedy.

The plot get twisted near the end, possibly misleading at one particular moment. But don't worry. Such a delicious movie can be viewed in family or with your boy-/girl-/friend.


I don't know how this film went unnoticed for so long.

I saw this film on TV, i was flipping through the channels and came across this unexpectedly well made film. i missed the first, probably , 10 minutes, but that does not matter..this film literally gripped me, it is a real spine chiller.

The absence of well known actors in the film adds on to the effect,u do not know what to expect from the actors because they are new. U never know when they will get killed or what they are up to. so it is all the more tense.Even though there are many new faces their performances were top class.

The filmmakers play with your mind, just revealing enough gore to make imagine the rest. The shock, fear, horror and helplessness are also brought out well by characters in the film.

The well written situations n twists,fast camera movements, slick editing and superb direction makes it an excellent suspense thriller. This film actually switches between the genres - horror and suspense thriller leaving the viewer clueless and tensed. Undoubtedly comparable to Hitchcock.

I could not even move from the TV even during the commercial breaks .. i was the helpless MUTE WITNESS to this superb film.


One of my all-time favourite movies. Nothing can beat watching this movie for the first time. If I could go back in time and erase my memory or suffer from momentary amnesia I would so I could enjoy this movie as much as I did that very first time. It's still enjoyable second and third times round but I found myself appreciating the humour more as the shocks and thrills weren't unexpected. If you want a see a film that you truly won't be able to predict the ending of then I highly recommend this film. Its chilling, shocking, full of suspense and there's also loads of humour to help you through it too. If you watch this film and don't love it I truly question your sanity!


This is, without doubt, one of my favourite horror films ever! I really cannot believe that it didn't gain much more popularity when it was released, especially when the main contenders at the time were the usual Wes Craven sequels and copycat horrors, Mute Witness has all the style, suspense and quickfire plot twists of a Hitchcock/DePalma movie, coupled with some very sharp black comedy and a great plot. It never promises to be any more than a good popcorn-and-hot-dog movie, but it is difficult not to just enjoy the film for what it is.

The plot centres on Billie Hughes - a mute girl working on the set of a horror film being made in a Russian factory. By a series of events, she finds herself accidentally locked in, and stumbles on the filming of a snuff movie.

One of the best things about the film is the lack of screaming that seems to invade every horror film ever made. As the main character is mute, she cannot make a noise - something which is a blessing at some stages of the movie, and a curse in others.

The director seems to have studied his Hitchcock very well, Even the opening scene is a tongue-in-cheek nod to both Hitchcock's "Psycho" as well as fairly generic slasher movie scenes.

While the acting can be hammy at times, the whole film does hold it together, not only throwing in a couple of excellent scenes that put you right on the edge of your seat, but a few neat little questions about how the film is going to end.

All in all, a hugely overlooked, well-paced and action packed psycho-thriller which I would recommend for any jaded viewer looking for something a little different from the usual Freddy/Jason/Scream/Michael Myers/Damien regurgitation's at hallowe'en.


I enjoyed the acting in this movie. Except for the sister. She reminded me of Janice on Friends. I could never quite believe she was anything but obnoxious.

My main problems with the movie were the anticlimatic ending and the execution scene with the sister and brother-in-law. The guy falling out of the exploding car? Maybe if his hand had been blown off and he ran to the mute for help and she kissed him and rushed him to a hospital, maybe then I could have gone for the ending. I think somebody needed to die in the execution scene. Mainly the brother-in-law. He was such a pain in the ass anyway. Or maybe the sister needed to accidentally kill the guy who saved the mute. I could have even bought into the brother-in-law killing the hero and the ending being the two sisters being put in snuff films.

It is worth watching again and as I always say, it is much easier to be a reviewer instead of an author.


The plot is somewhat original, and all the actors did their job pretty well. There is a plenty of comic relief, too. Some things do not make a lot of sense (e.g. the first "chase" scene, why would the heroine not just hide somewhere and wait until the baddies leave?). The Russians actually speak Russian without accent, but the cars are extremely strange, with models spanning like 50 years, and so the place seems weirdly out of time. Overall, if you like thrillers you will probably like this one as well.


I've waited 9 years to watch this film, simply because i never saw it advertised on TV. Eventually i caught it and it was well worth the wait. It's much better than your over-hyped scream or last summer garbage because it's all at a fairly quick pace, with no drawn out, creeping through the house to cheesy music scenes. Only the bad dubbing lets it down a little but don't let that put you off in any way. What lies beneath - over hyped and crap. Mute witness - low budget, not hyped at all and very good.


I love this movie ! I think I've seen it 5 times already (it was quite a success in France and they often play it on TV). Ok, it's a thriller and there is great tension. But mostly (and specifically in the second part) it is absolutely hilarious ! And very original. The directing and photography are just splendid.


This is definitely one of the most scary and spell-binding films ever made. You are stuck to the movie from the beginning to the very end. Even though there are some plot holes, it keeps being exciting to the final showdown. Besides "8 MM" and "Peeping Tom" this is one of the best films about "Snuff Movies", a taboo theme of our culture. If you like the SCREAM Trilogy, you will probably love that one.


An intense thriller about a mute movie make-up artist who witnesses a snuff film being made when she is working late in the studio one night. After she tries to get away from the murder scene, she realizes she is in for more than she bargained for when the entire mafia is out to kill her for being a witness. This movie leaves you on the edge of your seat.


Superbly crafted low-budget thriller with more twists and turns than you can shake a stick at, and plenty of ghoulish humour along the way as well.

The cast play it very well, although Richards' self-centered movie director is a bit hard to take at times. The tiny two-scene cameo by Sir Alec Guinness, oozing menace as the crime czar of Moscow, is simply the icing on the cake.

Well worth repeated viewing, but not on dark nights when you're all alone!


This is a VERY good movie. I give it a 10.

It's very different in that it's kind of a long stalking scene all the way through. The fact that the main character is mute is used throughout the story in a very believable way.

She sees a murder (for a snuff-movie) and decides to run but is chased (this takes quite some time). I won't reveal the rest of the movie for it would spoil the experience, but rest assured: it's very believable, well played, very intense and has some nice surprises plus a great ending.

Don't miss this movie.


Mute Witness is a modest, yet very solid thriller that never really received the attention or good comments it deserves. The film  written and directed entirely by Anthony Waller  is a tense, action-packed thriller with black comedy aspects and horror influences. No pointless mumbo-jumbo or endless plot-twistsjust straight to the point mystery. Mute Witness handles about the vicious topic of `snuff'-movies and is effectively set in Russia. *** SPOILERS *** Since the production costs are cheaper there, a US film crew temporarily moves to Russia for shooting a horror film. An old hangar is used as film location. The female make-up artist of the team accidentally gets locked up overnight and while trying to find a way out, she witnesses the recordings of an authentic snuff-movie! She's caught and tries to escape but, since she's a mute, she can't cry for help and neither can she explain what she saw to the police properly. The girl's life is in real danger now, since there's a whole hidden network behind these snuff productions and they don't want the witnesses to be alive *** End Spoilers ***. Mute Witness contains multiple highly exiting action sequences and is rather bloody. Some of the mystery clues are effectively kept secret till the very end. Regarding the similar topic, I'd say it's definitely better than the more famous `8 mm', directed by Joel Schumacher and starring Nicolas Cage. The acting in Mute Witness isn't great, but the leading actress (who's Russian herself) looks really cute. Sir Alec Guinness makes a special appearance, too. And a very cool one, I may say. Surely recommended with guaranteed fun and scares.


Well, this film came on on a workday at 230am. The cute little actress who played Billy caught my attention initially and after the 1st 15 minutes I was held captive to my television till the very end. It has you on the edge of your seat, then throws in clever bits of comedy during the most tense sequences.

The only draw back is that the story was not substantial enough to fill hour an a half film, causing certain sequences to drag just a little. Nonetheless, it was still very entertaining, and I recommended it to all my co-workers the next day.


If you want to see a true thriller, rent this!!! It's not from the director or screenwriter of "Scream", doesn't feature overacting, overpaid "TV" actors passing off as "stars", and is not a run of the mill special effects bonanza. Instead you'll get a top-notch, edgy, very strong (in violence) yet thrilling nailbiter.


First half of the movie scared the hell out of me and normally I'm not easy to scare, but second half of this thriller didn't work quite a well, but still very scary! A good thriller, than use simple ways to make good horror. Lowbudget, set in Russia, unknown cast, and made in Europe. but still great fun, and yes there is a few laughs throw in for good matters as well!


This is one of the movies one has to start watching with an open mind. One knows it's going to about a mute, one could look forward to or be afraid for a lot of sentiment.

Well, forget it. The movie starts with a little black humour, and then gets started. From then on its takes you on an ever frightening ride through the dark centers of Moscow. All right, it must be said: the unexpected twists are expected, and the mute is mainly used as a plot tool or fear builder. But this movie doesn't let you go.

It's like the old gangster movies, but then without any glamour at all and in Russia. And that's one of the most important aspects of this movie: it's situated in Russia. This does have a great impact on the movie, according to me it makes it better. Everything becomes simple and basic, life is without nonsense. This could be a great potential for more movies in the future, gangster movies about the Russian mafia.

It is a beautifull and terrifying movie. It's horror, but you can't feel but sympathy for the little mute. One last advice: don't look this too late in the evening if you want to sleep well.


I'm just starting to explore the so far wonderful world of monsieur Ozon. I've seen only 4 films so far, and with the last one in the row it hit me that all of them were in fact about lonely women and their actions. Not a single non-lonely female character out of 12, and all of them bring heavy impact of surroundings.

This film is probably the only one (out of four) where this impact is for good.

The gay theme is an almost standard part of background for Ozon's films, so it doesn't grab the accent (although the looks of the characters might). Watch for the feelings, not for their objects.

Very nice and fleeting, truly like a summer romance, and while being a relaxation to thought and mind, it gives some food for the soul.


There's not a dull moment in Francois Ozon's "Robe d'Ete". It's surprising how much is packed into this short film. While reclining on a deserted beach after a nude swim, a young gay is approached by a girl seeking a light for her cigarette. She invites him to make love in a wooded area near the beach. On returning to the beach. they find that all his clothes have been stolen. She lends him a summer dress to cover his nakedness and requests he return it next day. He rides his bike back to the holiday cabin dressed as a girl. His gay companion is sexually excited. Early next morning the young man returns to the sea and bids farewell to the girl whose holiday has ended. She suggests he keep the dress as a memento of their summer romance. It's a light-hearted film that captures the spirit of summer holidays by the sea, but perhaps not for those who are embarrassed by nudity or homosexual themes.


i expected it to be good, after i'd seen some other ozon's superb moments, and read much about it... but this movie is brilliant - clever, very bright (emotionally and visionally), perfect in all moments. every movement is there for a reason, everything fits so closely and primordially true and honest. this is the movie about the beauty and innocence; about it's simplicity.


Subtle, delicate ,touching.

A young man in a summer dress on a bike like incarnation of perfect joy. History of a coming -out and anatomy of relationship.

Soft ambiguous gestures, slices of desire and a day like space of innocent miracle expression.

Two men, a girl, a afternoon on beach, some words and a gift. Religious traces and a pantheist vision. Cercle of light and expression, nooks of an ordinary day and hot evening.

A erotic chaste film in which the gay identity or the first sexual relation are only instruments for good definition of a universe with sensitives values.

Pledge for self- discover, universe of beauty exploration, the sign of Ozon and same nostalgic air of every creation, "Robe d'ete" is a splendid occasion to understand the moment like projection of dream, to look, with emotion and child soul the essence of the essence beyond the images or people.


Sadness and nostalgia permeate Late Chrysanthemums, a 1954 film by Japanese auteur Mikio Naruse, now undergoing a retrospective of his long unavailable films thanks to James Quandt of Cinematheque Ontario and The Japan Foundation. Based on three stories by Fumiko Hayashi, Late Chrysanthemums tells the story of four retired geishas, now middle-aged, whose lives have become full of disappointment and regret. Performance are uniformly outstanding, particularly that of Haruko Sugimura, who starred in films by Ozu's Late Spring, Floating Weeds, and Tokyo Story among others. Sugimura portrays Kin, a former Geisha who has no children and lives only with her young maid who is unable to speak.

She has become cynical about men and has turned her attention to money, particularly real estate speculation and loaning money to her friends, Nobu (Sadako Sawamura), Tamae (Chikako Hosokawa), and Tomi (Yuko Mochizuki), all former geishas. Kin's friends live in meager circumstances and complain about how Kin has become greedy and Tomi spends considerable time gambling to try and make ends meet. Both Tomi and Tamae are in the process of losing their children. Tamae's son is leaving to work in the coalmines in Hokkaido, and Tomi's daughter has decided to accept a marriage proposal from an older man. Both resist the change in their circumstances but come to accept it as inevitable.

Two male friends visit Kin, Seki a former lover with whom she once contemplated double suicide, and Tabe (Ken Uehara), another lover who she looks forward to seeing again after many years. Her mood is upbeat but soon turns to resentment when she discovers that the two men are only interested in borrowing money. Naruse cuts between two extended sequences seamlessly as Kin confronts Tabe and Tomi and Tamae console each other over the loss of their children The dialogue is extremely natural and the characters are women of strength who, though their future does not seem bright, refuse to see themselves merely as victims. Late Chrysanthemums has the simplicity, humor, and stoic acceptance of life prominent in the films of Ozu and is a bittersweet reminder of the slow passing of time and the comfort that memory and companionship can bring along the way.


For me, "Late Chrysanthemums" was interesting not only because it was my first film of Naruse I completely enjoyed, but because it was technically as modern and innovative as his 30s work I've seen. This doesn't mean innovative editing in the way Godard would introduce it with "Breathless" in 1959, but quite the opposite.

The editing was as fluent as in the best of Hollywood films from the 30s/40s, but at the same time incredibly fitting regarding the way he was telling his story. Unlike them, it never purposefully accentuated anything or tried to make itself "invisible" but, together with the cinematography, made me feel like I was traveling on a gentle stream, constantly feeling the waves beneath me, like a gentle stroke of the hand or the almost unnoticeable rocking of a cradle. In this sense the film was comparable to Ozu's and Mizoguchi's work, but somehow even more subtle.

What was so modern was the fact that the editing seemed almost a character in itself, similar to the remarkable camera-work in Dreyer's Ordet (1954) or Vredens dag (1943) which is revealing us a deeper understanding of the film and its characters rather than simply showing them to us.

I feel that Naruse's editing and cinematography are the most interesting aspects of his films, elevating the stories significance beyond the obvious. The wonderful sets and settings shouldn't be forgotten either! I found the story itself to be rather conventional.

The narrative and its characters were introduced in a very interesting way, and I thought that the first half of the film was setting up a delicately ingenious spectrum of emotions and interrelations. Unfortunately the second half of the film and its resolution were rather didactic and and formulaic compared to the set up (though by itself it would have been perfectly fitting in any other - less complex - film). Somehow I felt that he failed a bit in trying to dissolve the many layers he had woven. Maybe he should have kept them intact. This criticism might seem a bit harsh to a viewer of this film, especially since the procedure is again reminiscent to the way Ozu dealt with the plot in his films. Unfortunately I haven't yet the feeling that Naruse was able to elevate the story and its characters in his films' conclusions in a similarly sublime fashion. The best efforts I have seen to date - Ukigumo (Floating Clouds / 1955) and Midaregumo (Scattered Clouds / 1967) - sustained the energy he had built throughout the narrative, while delivering poignant and resonant endings.

This is already more than most director's are able to do, and in my opinion the basis for a real mastery of the cinematic medium. In this regard, and considering the resonance of the last two films I've seen by him, he may have already become one of my favorites.

The only problem I have at the moment, is where I'm going to see more of his films on the big screen.


Mikio Naruse's examination of the lives of three idling, constantly complaining, single ex-geishas in post-war Japan is a wonderful character piece. They used to be friends in the old days but now their relationship is strained because one of the women has become a successful moneylender and the other two owe her. Although the moneylender is the only one who has become successful in this rebuilding economy, she is the only one of the three that has no children. The other two each have a child whom they depend upon for income, because neither of them work. Complications ensue when the kids decide to get married (though not to each other) and leave home. This leads to the bitter, grumbling old women to become even more bitter and grumbling, getting drunk and bemoaning their rotten children and inconsiderate friend the moneylender. Meanwhile the moneylender is herself unhappy, despite her fortunes. She has no one besides her young deaf maid to keep her company and chance encounters with two former lovers from her geisha days lead nowhere - all they really want is to borrow money from her. The three characters are all neck-deep in the quicksand of their own bored lives and are too weary to struggle much, usually opting instead to resign themselves to the futility of it all or, at the very most, toss complaints back and forth to each other.

"Late Chrysanthemums" is very slow-moving and not much actually happens but Naruse, like all great directors, has the ability to do much with very little. I haven't seen much of his work but I suspect that this isn't his best, even though it is very good. The problem, I think, is that it all doesn't seem to amount to much. But the film is full of good points. Although it is cynical, it isn't overly so. Naruse seems to sympathize with his desperate characters, and he paints vivid portraits that make the characters seem even somewhat noble in the squalor of their self-made misery. While the film isn't a must-see, it is important as a fragment of the work of a great little-known (outside of his own country) director, precious little of which is available on video here in the U. S.


A look at three geishas who are way past their prime. Now they look back on their pasts with fondness and bemoan their present. Kin (played by Floating Weeds' Haruko Sugimura) has sworn off men and has made a good living as a moneylender; everyone on the block owes her. The other two, Nobu and Tamae, wish they could land husbands, but are not foolish enough to believe they ever will. Meanwhile, their children - one has a son and one a daughter - are both about to get married (not to each other). Tamae is irked at how much prettier her daughter has become than her, and bitterly tries to convince her not to marry the man. Nobu's concerns about her son are more legitimate in nature, but they are also (understandably) self-serving. After her son leaves, she'll be alone. A bit into the film, two of Kin's former clients come looking for her, one a man so obsessed with her that he tried to get her to commit double suicide with him, the other one of her handsomest clients. Unfortunately, he comes for her money, not her love. The way I've described the film makes it sound unrelentingly depressing, but it's really not. Sad, but not fatally so. It's more bittersweet. Unfortunately, I only marginally liked Late Chrysanthemums. The story seems better when I look back on it, but it is very slow and dull. I actually nodded off twice during the film, and I wasn't at all tired before I started it. This is the kind of film that I can appreciate more than like; it reminds me very much of my reaction to a couple of Ozu's more famous films. 7/10.


Naruse is typically considered one of the 3 master founders of Japanese film, the other two being Ozu and Mizoguchi. This is an interesting and honest film on the lives of retired Geishas. Whatever happens, when such a woman ages, and loses her charm and mystique? Well, for those who are interested, watch this film. One: Okin, is successful as a money-lender, but the other two have to borrow from her and are resentful. Okin doesn't have any children, but the other do. Okin finds out that her old love is coming to visit her, and is excited. Naruse is a master in subtle studies of his female protagonists' characters. Bangiku ultimately draws the viewer into the study of the questions of ones happiness, and one's life-worth. Very good film indeed.


This film is about aging Geisha in post war Tokyo. Okin, played by the incredible Haruko Sugimara, lends money to two other ex Geisha, Tamae (Chikako Hosokawa) and Otomi (Yuko Mochizuki) and they resent the way she is somewhat smug about it. Tamae has a son, Otomi a daughter, who during the film announce they're leaving them while Okin, never a mother, gets visits from two men in her past who, it turns out, just want money from her. Its a compelling tale of what choices you make, what you do to get through life and who you're responsible and beholden to. Haruko Sugimara has always been in my eyes one of the greatest character actresses ever from any country and she plays the mostly unyielding, less than compassionate Okin with an air of superiority that makes you not like her, but at the same time almost envy her. At a time when great films were made by Ozu, Mizoguchi, Kinoshita and Kurosawa, amongst others, Mr. Naruse is right up there with him. If you have a region free DVD player, you should attempt to find the two Naruse box sets released in England. I think this film was a great character study of women who are in danger of being irrelevant. That they are really not makes this film a veritable masterpiece.


MINOR SPOILERS

Misunderstood classic remains one of Henson's finest and most personal films. It may seem funny to call a movie as beloved as this one 'misunderstood,' but people do seem to remember this one mostly for Jerry Juhl's snappy screenplay and Paul Williams's knockout songs. Now while these things are admittedly great, as is the movie's formal playfulness (screenplay-within-the-screenplay, film break, etc.), what distinguishes 'The Muppet Movie' from the other Muppet films is the serious, wistful thread that runs through the picture. It's a road movie, all right, but like most road movies, the pleasure is in the getting there, and the achievement of the characters' goals is tempered by uncertainty, and by the knowledge that they can never really go back again. Throughout the film, we are shown the down side of show business, even before the Muppets have 'made it': Piggy abandons Kermit without a second thought at a phone call from her agent, Gonzo expresses the loneliness and regret of a performer's life on the road in his haunting 'I'm Going to Go Back There Someday,' and, worst of all, Kermit is continually tortured and tested by Doc Hopper, who wants him to commercialize his art for the unholiest of purposes. (One can only wonder what Henson would have made of his family's management of the company after his death.) Kermit himself agonizes over his choices in the desert conversation scene, and the final 'Magic Store' number questions whether it's all been worth it, before concluding that it probably doesn't matter either way. All this is punctuated with the expected Muppet chaos and satire and deliciously awful jokes, and of course the serious stuff wouldn't work if it weren't. But 'The Muppet Movie' isn't just another jokefest, as the rest of the diminishing-return Muppet films would become. No, it's a lovely, gentle metaphor about the relationship between art and entertainment and business, and it's every bit as effective today as it was 25 years ago. 9.5 out of 10.


In many ways, the perfect movie. The "Incredible Journey" and Horatio Alger tale come together for a positive spin on the usually depressing subject of existentialism. In essence, the travails of the muppets boil down to the finale song of the movie: "Life's like a movie, write your own ending, keep believing, keep pretending." They create their own reality, which has all the trappings of every epic tale: a lofty goal at the end of what is necessarily a obstacle-laden journey; an ever-increasing group of like-minded individuals for camaraderie; a nasty set of villians who are not beyond all redemption; and a big-budget Hollywood ending because, darn it all, they CAN.

Only Jim Henson could pull this off. He walks the line between sentimentality and philosophy without swerving too long or too hard into either. Of course it seems odd that invest such weight into a film starring puppets, but in the end perhaps they are the perfect, uh, puppet to make these points. The movie's atmosphere allows for the pure enjoyment of the Hollywood dream, the "happy" ending, unnecessary cameos, and bursting into song at the drop of a hat. Usually these aspects are anathema to quality in film, but the self-deprecating manner under which the story is delivered makes for guilt-free viewing. One of the few films that can truly be called "suitable for all ages."

The other muppet-related films (including "The Empire Strikes Back"), while palatable, do not touch the simple grace of this film. Take, for instance, the musical number "Hope that Something Better Comes Along," the duet of Kermit and Rowlf. Amusing in its vaudevillian goofiness, yet makes a bitingly crucial point about the motivations behind life choices. Brilliant.


Jim Henson's The Muppet Movie is a charming, funny and brilliant film that can be watched AND enjoyed by adults and kids. I feel this is my favorite childhood film because it combines great characters, great story, and great wit that it is irresistable. The plot involves Kermit the frog (puppeteered and voiced by Henson) in his odyssey across America to follow his dream in Hollywood. Along the way, he meets Fozzie Bear, The Great Gonzo (my favorite), Miss Piggy, Rolf, and DR. Teeth and the electric mayhem.

This film has so many good things I can't even say them. But it is memorable and every time I think of a puppet or muppet, I will think of this film. Look for cameos from Mel Brooks, Dom DeLouise, Paul Williams, Madeline Kahn, Bob Hope, Richard Pryor, Steve martin, Edgar Bergen (and Charlie McCarthey), Elliot Gould, Carol Kane and the great Orson Welles. Excellent and spectacular, one of the best films of the 70's. A++


Y'know, it's very interesting watching this... half the people involved with it are now dead...

Anyways, it's been a long time since I've watched anything Muppet related, but this stuff is pure gold. I'm a great fan of puns, and this movie has them quite well placed, but one of the amazing aspects of it is its pacing: it's not really high-speed children's pacing where the filmmakers just randomly decide to move the story along without giving the character's depth, it's just kind of moves along with the characters wherever they want to go.

Kermit the Frog is just an awesome character. His voice and the expressions on his puppet-face are fantastic. But above all, he points out why he's popular--"he can sing and make jokes too!"--but more appropriately why he's so endearing--he, without any effort, inspires everyone to search for their dreams. In the meantime, he also has to deal with himself, which is an uncommon theme in family movies.

It also contains quite an ensemble of comedians making appearances here and there, some to great effect, others to a little less (I think Mel Brook's part was just a bit overplayed, do you?). Some parts of the film are just kind of odd. But it's highly imaginative and takes itself to the same destination from a very different direction.

Moving right along...

--PolarisDiB


Jim Henson as Kermit, Dr.Teeth, Rowlf and Waldorf.

Frank Oz as Fozzie, Piggy and Animal.

Jerry Nelson as Floyd Pepper, Robin the Frog, Lew Zealand and Crazy Harry.

Richard Hunt as Janice, Statler,Beaker and Scooter.

Dave Goelz as Gonzo, Dr.Hunnydew and Zoot.

Charles Durning and Mel Brooks.

cameos by Steve Martin, Carol Kane, Orson Welles, Bob Hope, Richard Pryor and others.

This is the first Muppet movie of the billion others that came out, and is also the best, by far! This deals with Kermit the frog going on a trip to Hollywood and meeting the other characters along the way. This movie, along with being already good, has excellent songs performed by the Muppets, including Rainbow Connection, Can You Picture That?, Moving Right Along and others. This movie, unlike the other Muppet flicks, carries a strong sentimental value to me. It's such a nice movie. Also noted is it's many cameos featuring Steve Martin, Mel Brooks and a dozen others.

my rating-A plus. 109 mins. rated G.


First of all i'd like to say that this movie is the greatest thing that ever happened to mankind. It is the best out of all the excellent Muppet movies, and every other movie out there! so BOO-YA for jim Henson!

This Movie is the first of all the Muppet movies and the best. (boo ya) It's about a Frog (kermit) who tries to make to hollywood. along with the awesome friends he meets on the way comes a couple of the greatest songs ever made that are bound to become classics, including "the rainbow connection"

in conclusion i would like to say that watching this movie was the greatest thing EVER!. If you havn't already seen it, then get off your computer and get you tushy to your nearest video store!!! (if they don't have the muppet movie, i'd sue them BIG TIME )


I would have been about 11 years old when this movie was first released. All these years later at 37 and I had no qualms hiring it on DVD. Great entertainment for all ages. And what about the song The Rainbow Connection? See:

Why are there so many songs about rainbows And what's on the other side? Rainbows are visions, but only illusions, And rainbows have nothing to hide. So we've been told and some choose to believe it I know they're wrong, wait and see. Someday we'll find it, the rainbow connection, The lovers, the dreamers and me.

Who said that every wish would be heard and answered When wished on the morning star? Somebody thought of that, and someone believed it, And look what it's done so far. What's so amazing that keeps us stargazing And what do we think we might see? Someday we'll find it, the rainbow connection, The lovers, the dreamers, and me.

All of us under its spell, We know that it's probably magic...

... Have you been half asleep? And have you heard voices? I've heard them calling my name. ... Is this the sweet sound that calls the young sailors? The voice might be one and the same I've heard it too many times to ignore it It's something that I'm s'posed to be... Someday we'll find it, the rainbow connection, The lovers, the dreamers, and me.

Laa, da daa dee da daa daa, La laa la la laa dee daa doo...


Who doesn't love the muppets?! Impossible it is to watch them without getting some kind of warm, fuzzy feeling inside. So, I guess what's important is that this movie seemed to very successfully capture what makes the muppets so special. I don't remember much about the details of the plot but the various moments and characters in the film I recall quite fondly. In fact, there was quite a nostalgic atmosphere to the whole movie but without being self-conscious in any bad way. Refreshing for someone who possibly gets too hung up on meticulous details and technique; the "magic" transcends all that other stuff. 'Tis indeed what movies are made of.

So, how does the film achieve these things? Hmmm, nice question! Stumped am I? Let's see. Really, I feel like it's quite simple. The filmmakers believe in their material and don't take themselves too seriously in the process. I probably wouldn't say the film has many truly inspired moments, but it does have a certain life to it (that funnily enough a great many "real people" movies lack). A zest. You really want to believe in these funny little people and their adventures. They also have a certain innocence about them that makes them all the more endearing.

Generally I get the impression that the people that made the movie just weren't afraid to try whatever felt right to them at the time which gives the whole thing quite a loose feel. Kind of like a really accessible and enjoyable extended jazz session. Lots of talent, little predictability and plenty of warm personalities coming through. The cameos were of course a bunch of nice surprises for instance. Maybe I don't feel I have much to say about it because I was half-asleep when I saw it (and/or as I write this review). Anyway, I'm sort of semi-repeating myself here but I really liked the sense of family the movie had. Full of love I suppose you might say. Again, a feeling of nostalgia comes to mind which not many films manage to achieve so effectively or effortlessly.

And to repeat myself once more, one of the film's best charms is its very relaxed and welcoming atmosphere. Like the Nathaniel Hawthorne quote about happiness being (like) a butterfly, so The Muppet Movie greatly succeeds partially by not seeming to try to do so. Same with beauty being best undiscovered or untouched or unforced or something like that. Anyway, if that sounds sappy, I also reckon it was pretty hilarious.

So, all in all, this movie was very funny, touching and difficult not to smile along to. Plus it features lots of great music! Highly recommended to all humans, both the young and the young at heart.


The first feature length Muppet Movie, and excepting maybe The Muppet Christmas Carol, the movie puppeteers the world over are still looking for as a guide. Disney has done the Muppets a dis-service and this movie proves it over and over again. Featuring classic comedians and guest star cameos, keeps to a simple but original plot, classic Muppet lame jokes, Paul Williams genius in song writing, and Electric Mayhem madness, and comes off with an amazing movie especially when you realize that the major cast are puppets. Only Croft has come close to Hensen's genius with puppets. Half of the fun today is playing is that cameo actor/actress still alive???? I can only hope Frank Oz and Dave Goelz and the rest of the surviving Muppeteers can somehow rescue and revive Kermit and Company from the deadly grasp of Disney.


This film is one of my fondest childhood memories. Seeing the Muppets (at the height of their popularity) heading Hollywood, singing and dancing, with Miss Piggy googely-eying her beloved Kermit, Fozzie Bear doing his best as everyone's manager, and a generous cast of "extras" delivering a film that turned out to be "okey dokey".

Kermit's melancholy ukulele number "Rainbow Connection" was nominated for an Oscar that year, but was beat out by Norma Rae's "It Goes Like It Goes". I'll pick Kermit's song any day! Get the kids and enjoy this timeless fantasy...someday they'll find it, the rainbow connections, the lovers, the dreamers and me!


I have not seen this movie since 1979 when I was a teenager. I grew up with the Sesame street muppets and later realized how much effort and time went into bringing these characters to life. Jim Hensen was a genius and master muppeteer. When I watched this movie the other day it took me back in time when I was younger and things seemed so much simpler. For this bit of time travel I rate this movie a 10.

The plot line explores how Kermit goes from the swamp to Hollywood. The laughs and gags are classic muppetism. I am glad these films are still around for the next generation. I hope I never out grow the magic of the muppets.


I have always loved The Muppets. Though most children's entertainment then wasn't that likable, The Muppet's was. The Muppet's are very, very funny. They are probably the most likable children's characters ever.

Not only did The Muppets have their own show. They also have starred in many films. from The Muppet's Christmas carol to The Muppet's treasure Island. The first Muppet's movie, The Muppet movie, was also, like the show and the other films, excellent.

The Muppet movie is about how they all got started. Kermit the frog used to live in a swamp. Until one day a movie executive tells him that there are auditions for frogs in Hollywood. So Kermit takes off for Hollywood. Along the way he runs into lots of people such as Fozzie Bear, Gonzo the great, and Miss Piggy. Also, an evil man is trying to capture Kermit.

All of the Muppet films are highly enjoyable. I mean they are all very funny. This film has many film appearances. Such as Steve Martin, Mel Brooks, Elliot Gould, Carol Kane, Richard Pryor, and Orson Welles. The Muppet films are all very enjoyable. I hear that Jason Segel is going to star in one soon. I can't wait to see it.


A bunch of full-length movies featuring the Muppets, created by Jim Henson & Co, have been made, but "The Muppet Movie" was the first one of them all, and the first in the original trilogy, which also features "The Great Muppet Caper" and "The Muppets Take Manhattan". It was released seven years before I was born, so I obviously didn't get to see it at the time (nor did I get to see its two successors when they were first released). However, I saw a lot of the Muppets during my childhood, mostly after Henson's premature death in 1990. I finally got around to seeing this movie for the first time around the mid-nineties, after hearing the soundtrack. Unsurprisingly, I liked it at the time, and revisiting it in recent years hasn't exactly been disappointing.

One day, while Kermit the Frog sits in a swamp with his banjo after singing "Rainbow Connection", a Hollywood agent named Bernie comes by in a boat and urges him to pursue a career in Tinseltown. Kermit takes his advice and goes west. He soon meets Fozzie Bear, an unsuccessful stand-up comedian in a restaurant, and convinces him to come along. The frog is also noticed by Doc Hopper, the owner of a frog leg restaurant chain who wants Kermit to be his mascot. As a frog, Kermit is disgusted by this, so he refuses and leaves with Fozzie. On their road trip across the country, Kermit and Fozzie meet other Muppets who join them, including Miss Piggy (who soon becomes Kermit's love interest) and Gonzo. Unfortunately, as they all try to make their way to Hollywood, Doc Hopper, assisted by Max, is willing to do anything to force Kermit to become his restaurant chain's mascot, so Kermit finds himself in increasing danger!

One thing many people praise this film for is the songs, and I can understand why. There is, of course, the Oscar-nominated "Rainbow Connection" at the beginning, and more good tunes follow, such as Kermit and Fozzie's catchy road song, "Movin' Right Along", and "I'm Going to Go Back There Someday", a poignant ballad sung by Gonzo. "Never Before, Never Again", the song Miss Piggy sings when she first sees Kermit, is the only one I would consider rather weak, and their romance seems awfully sudden. The Muppets in this movie are generally lovable, just like they are on TV, and some of them provide a lot of the humour, including Fozzie, making his first appearance in the film hopelessly trying to entertain people in a restaurant with his stand-up, and, well, if you're familiar with these famous Muppets, you should know what to expect from each of them. Some of the live actors who appear briefly in the film can also be funny, such as Dom DeLuise as Bernie the Agent and Steve Martin as the "Insolent Waiter." Also, it's not 100% comedy. There are serious parts of the film which they also did well.

Watching this original Muppet movie again this year was my first time watching any of them since seeing "Muppets from Space" (one of the Muppet movies made after Henson's death, released in 1999) for the first time last year. I was very disappointed when I saw that film, which had never happened before when I watched any film or TV show featuring the popular puppet characters! Not only is that movie not very funny, I also think it's a tad too dark and cruel for the Muppets, as I stated in my review of it! However, I can't say I think the same of any of that movie's predecessors, including this one, released twenty years earlier. "The Muppet Movie" seems to be the most popular of the bunch, and since it has so much to like, not just for kids, that's understandable. I highly doubt there's much left to say about "The Muppet Movie" that hasn't been said at some point in the past thirty years, but today, it remains good family entertainment.


Who doesn't remember The Muppet Movie???

Kermit the Frog is now an American culture icon. What child doesn't appeal to this character?

As the first actual Muppet film, the movie simply called, The Muppet Movie did very well. Kermit takes a Hollywood agent's advice and goes out of his home swamp to respond to the ad. Along the way he meets up with a pig, a bear, chickens a rock band and a few other quality puppets. Watch for dozens of cameo appearances like Madaline Kahn, Steve Martian, Richard Pryor, Mel Brooks and several more. I grew up watching this movie and I loved it.


I am 17, and a biased Muppet fan, and while I love Treasure Island, Christmas Carol and Great Muppet Caper, The Muppet Movie absolutely deserves to be up there with the best of them. It is enormously entertaining, thanks to the snappy script by Jerry Juhl, and the film looks lovely, with some beautifully staged musical numbers. Speaking of the songs, I really liked them, sure they aren't the best song score out of the Muppet franchise, but they were very nice to listen to, especially Never Before. Never Before is now one of my favourite Muppet songs along with First Time It Happens and Professional Pirate. The Muppets as usual were fantastic, particularly the always delightful Miss Piggy, and the chemistry between Kermit and Fozzie was great. And what a brilliant human cast- from Bob Hope to Orson Welles, from Madeleine Kahn(the same wonderful actress who brought us hilarious movies like What's Up Doc?, Blazing Saddles and Clue) to Cloris Leachman, from Steve Martin to Richard Pryor, all of whom made memorable guest appearances, if careful not to overshadow the Muppets in a fantastic film. 10/10 Bethany Cox


The Muppet Movie

directed by

James Frawley

Kermit the Frog and friends relive the tales and stories of how they all came together.

The Muppets star in their first feature film, bringing the magic they are known for to a bigger picture. The story is not too complex and is written as a prequel of sorts. The well written jokes appear as each character gets a worthy introduction. The cameos aren't just thrown in either, but written in as interesting characters, making one of the many peaks for our furry friends.


If I rate the film maybe a bit high, you can blame it on sentiment. This is one of the first movies that I remember seeing and totally loving. I saw it at the drive-ins here in California in the late 70s. I was already a big fan of "The Muppet Show" on TV so I was primed for the movie, and the movie did not disappoint. Basically it takes the whole absurdist ethos of the Muppet show and transports it from vaudeville into a road movie. Kermit the Frog is on a quest to become famous; not because he wants to take champagne baths and ride in a private jet, but because he wants to "make millions of people happy." Of course.

Along the way he picks up all his beloved muppet friends, most endearingly Fonzie Bear who he meets at a seedy bar doing stand-up. They sing "Movin' Right Along", a song that has always charmed me with its upbeat melody and its theme of friendship and shared discovery. He also encounters enough Hollywood movie stars to fill a Stanley Kramer movie, including comedy luminaries like Richard Pryor, Steve Martin, Edgar Bergen, Milton Berle, and Mel Brooks. Brooks in particular has a rather dull bit, and you are left feeling that Henson could have cut a few of these cameos out if he wasn't afraid of offending the stars. Anyway, as befits a road trip movie like this the very first person he meets is Dom DeLuise.

The ending is one of the more odd examples of literally breaking down the 4th wall that you will find in any "children's" movie. The Hollywood dream seems to be crumbling all about them, when a real rainbow pierces the Hollywood set with its authentic joy and mystery. I'm sure this was meant to relate to some of Jim Henson's own personal or spiritual experiences.

This is the best movie with Muppets by a long shot. If you or anyone else was wondering why the Muppets were so popular back in the 70s, considering how poor the movies have been for the last few decades, I think this film has at least aged well enough to provide a clue.


I've Seen The Beginning Of The Muppet Movie, But Just The Half. Because I Only Watched It At Mrs Kelly's Friend's House. The Songs Were The Best And The Muppets Were So Hilarious. They Learn That If They Believe In The End Of The Rainbow, Anyone Can Make It, No Matter How Small, No Matter How Green(Which Was Included In The Trailer).

Kermit Is My Favorite Protagonist(Which Means It Describes The Main Character) And So Are The Other Muppets. Mel Brooks Was Amazing When He Played Professor Max Krassman. The Scene Where Miss Piggy Saves Kermit By Doing Kung Fu On Those Guys. It Was So Cool.

The Muppet Movie Is The Best Jim Henson Film With The Most Hilarious Characters And People Will Cherish For His Successful Film.


The first feature-length adventure of Jim Henson's beloved muppet characters is a very competent musical comedy vehicle as Kermit The Frog leaves his carefree, swampy surroundings for the bright lights (egged on by stranded Hollywood agent Dom DeLuise who overheard him singing); on the way, he meets Fozzie Bear (a pitiful stand-up comedian at James Coburn's El Sleazo Café who has Telly Savalas for a bouncer and Madeline Kahn a patron!), the piano-playing dog Rowlf, bestial drummer Animal and his laid-back, funky band, egomaniacal beauty queen Miss Piggy (in a ceremony presided over by Elliott Gould and Edgar Bergen), etc. All the while, Kermit et al are pursued by frogleg burger magnate Charles Durning and reluctant acolyte Austin Pendleton, sold cars, ice cream and balloons to by, respectively, Milton Berle, Bob Hope and Richard Pryor, served food by insolent waiter Steve Martin, nearly brainwashed by mad German scientist Mel Brooks and, finally, land an audition in the offices of movie mogul Orson Welles (who has Cloris Leachman for a secretary)! The pleasant song score comes courtesy of Paul Williams who also makes an appearance as the resident pianist at El Sleazo's. For the record, I have recently acquired four of the subsequent Muppet movies and should be watching them in the weeks to come when their turn falls due.


I enjoyed THE MUPPET MOVIE very much. It was the first of the Muppet movies and is by far the best because it's so creative and fresh. With later films, the ideas just didn't seem quite so original. But here, we get to see Kermit and Miss Piggy riding bikes (an incredibly difficult scene), an excellent ensemble cast and just a lot of fun. I loved every minute the Muppets were performing and I would have rated the film a lot higher except for one serious problem. In this and most subsequent Muppet films, some powers that be felt there was a need to include lots of non-Muppets--in particular, many, many cameos by stars. Some worked fine (such as Charles Durning's) but many just seemed irrelevant and slowed the picture to a grinding halt. Probably the worst of them was with Edgar Bergan. Yes, he was an amazing man who inspired Jim Henson and the rest of his crew, but the tiny scene he's in just wasn't needed nor were most of the cameos. Still, despite this big complaint, it's a great film for the entire family--from the kids to even the most demanding adults.


A delight from start to finish.

If you don't like the Muppets, then I just have to feel sorry for you. This terrific film doesn't simply cash in on the Muppets' popularity -- it's a well-conceived and well-written film in its own right. It's got great songs, and it has that thread of wistful melancholy that was always present in Jim Henson's creations and which is most personified in the character of Kermit the Frog. I always responded to this as a kid, and it's what makes the Muppets still enjoyable to me as an adult when other material aimed at children drives me crazy.

A huge cast of big names appearing in cameos makes this film feel like a kiddie-sized version of "Around the World in 80 Days," except that it's about 80 times better.

Grade: A


"Why are there so many songs about rainbows, and what's on the other side?" Kermit poses this relatively simple double interrogative near the beginning of "The Muppet Movie" while singing his signature song, "The Rainbow Connection." As time goes by, the question and the movie only gain profundity.

I'm going to forgo the review of this movie as a children's comedy, but look at it instead as a classic for every generation to love with serious ideals and a heartwarming message that gains more warmth with each passing year.

As the milestones in my own life come creeping up on me, I hear more and more the evocative strains of that elementary ditty, and realize that it can fit the soundtrack to anyone's life, because we all dream. And that is what this movie is about. It's not just a bunch of puppets-- it's a bunch of puppets having the strength to pursue their dreams, which is a good lesson for everyone.

And while the humor and mirth of the film always feel good, they're not a fair judge of the movie. Only "The Rainbow Connection" and the powerful emotions it will realize. And it all fits in: "Rainbow Connection" *is* the Muppet Movie, and vice versa. It's existentialism meets children's entertainment-- there's no simpler way to describe it.


The Muppet movie is an instant classic. I remember the opening scene with the bird's eye view of the swamp and Kermit starting into (in my opinion) the most loved song in the history of songs. At this point my mom would always sing along with Kermit.

Watching this title as a young adult it makes me smile. I can still sing along to my heart's desire. Like many Muppet films there are in jokes for adults that are( In my opinion) still funny today. My favorite line of all time is actually from this film, it's the last line spoken by my green, goggle eyed hero Kermit "Life's like a movie , Write your own ending". That's what I intend to do! Thank you Jim Henson.


I first saw this movie as a teenager when it came out in theaters, way back when. Seeing it again, nearly 30 years later, I was surprised at how well it has held up. The gags are still funny, the interaction between characters works great, and the cameos come off better than ever. (Steve Martin's has to be the best one.)

My kids (9, 11, and 14) all loved it, and the music is good enough that they are still humming the tunes many days later.

I would suggest that before seeing the movie, you should view at least a half-dozen episodes of the Muppet Show, to get a sense of the back-story behind the characters, otherwise the movie won't make all that much sense.


Looking back on Jim Henson's works years after his death is like taking a look back into another time. For unlike most so-called creative types attempting to sell to, or worse yet cynically exploit, children nowadays, Jim never seemed to really forget what it was like to be a child. And if there ever was a moment in which he demonstrated this, Labyrinth aside, it is 1979's Muppet Movie. Filmed as an allegorical story about how Henson came to work in children's television as a puppeteer and ended up with a half-hour show of his own on primetime television, The Muppet Movie ends up an affirmation of everything more progressive, understanding sorts would say to children who did not quite meet the expected norm during the 1980s. And as we enjoy the fruits of an era in which we are gagged and bound from speaking about anything lest someone might get offended, the open celebration of difference or diversity that formed a large part of The Muppet Show is on offer here. I have said it in other comments, but I must say it here. A great light in the world went out the day Jim Henson died.

The Muppet Movie begins with its cast sitting down to see the premiere of what were about to see for the next eighty or so minutes. In short, precise strokes, we are introduced to the major players as well as some of the minors. And when the story proper begins, boy are we given a great song to bring us into the moment. The Rainbow Connection painted both a beautiful and sad image of what the Muppets, especially Kermit, were. These were not just a bunch of felt puppets with singular personalities who combined to put on a show. They were living things based upon a part of all of us, only writ so much more boldly than we are used to. As each Muppet was introduced to us in turn, we saw another reflection of part of ourselves, and of course the children in the audience would respond differently to each character. Hence, everyone had a favourite. When Animal appeared behind a drum kit and attempted to eat a cymbal, I knew I had found one of mine. Nowadays, I am more of a Swedish Chef fan, but what the hey.

Complementing the characters was a string of musical numbers that further developed their motivations and personalities. Can You Picture That? shared an insight into Dr. Teeth and his band as well as the creative soul of Henson. But the most relevant song to me was Gonzo's number, asking what he is and where he came from. Many of us would spend a lifetime gazing into the stars and, like Gonzo, saying we knew we would be going back there someday. Not that all the songs were so deadly serious, of course. Fozzy and Kermit share a number after they decide to combine their talent (or lack thereof) and hit the road. If any evidence were required that present-day "musicians" have lost the ability to use the pop structure to create something listenable, this number would be it. Never before, and never again, would the group dynamic of a cast and the music so perfectly complement one another. With the puppeteers and voice actors so perfectly on top of their game, the human cast had a lot to live up to.

Which makes it all the more amazing that the human element also lived up to their end of the deal. Cameos literally pepper the film, with everyone from Steve Martin to Telly Savalas popping in to offer their support. Even Richard Pryor, the last man one would expect to see in a film about the Muppets, appears to set up a hilarious moment. Mel Brooks' cameo is just as disturbing to me as an adult as it was when I was a small boy, but I suspect that is because Henson knew why I would find it disturbing now. The big acting strength, though, comes from Charles Durning, who as Doc Hopper embodies everything both Henson and his audience determined to resist. At every junction, Hopper comes to either offer Kermit the chance to sell out and betray his own kind. Or perhaps offer stops being the right word when Hopper's attempts to ensure Kermit's compliance become progressively more forceful and violent. The whole thing is one big metaphor for how every artist has his heart broken by the world.

Of course, Animal also shows up to remind us that just because our friends are not sweet and cuddly does not make them any less of a friend. In point of fact, Animal turns out to be the best friend that Kermit has in that moment. And that has been the core message of every good show or film Henson has been involved in ever since. That shunning or dismissing others simply because of linguistic or cosmetic differences could literally be the worst mistake one ever makes. There can be little doubt that in today's world where a moron in a purple suit can tell my sons they are not good if they do not have good feelings for fifteen seasons and still not come under serious investigation by child welfare authorities, Henson's creature workshop could never have got off the ground. To misquote the album title, daring to be stupid is one thing, but enforcing the choice upon others is another matter. The Muppet Movie demonstrates how Henson dared to ask us all to think, both inside and outside of the proverbial box. There will never be another entirely like him, but he never would want us to stop trying.

Therefore, The Muppet Movie is the epitome of a ten out of ten film. If we were to send a film out into the cosmos to prove to intelligent life that we are worth more than being obliterated, this would be it.


As Muppet movies go, this is easily and clearly the best. It features loads of cameos by big named comedic stars of the age, a solid script, and some great Disneyesque songs, and blends them together in a culmination of the best display of Henson's talent. The story is basic, and the jokes are many-leveled in order to amuse both the adults and the kids to which this was marketed, without exposing them to ideologies their parents may not find desirable.

This is simply fun, but it is also a well made, well written, beautifully endearing classic.

It rates an 8.9/10 from...

the Fiend :.


This is a movie that will brighten up your day, for sure. Kermit the Frog, is just an ordinary frog in his swamp, when a talent agent stops by and tells him that Hollywood is looking for frogs to be in movie (lol). On the way, Kermit meets Fozzie Bear, Miss Piggy, Gonzo and his chicken Camilla, Rowlf, The Electric Mayhem, Bunsen Honeydew and Beaker. But also trailing Kermit is the proprietor of a restaurant chain, Doc Hoppers French Fried Frog Legs. All things considered though, Kermit and the Muppets make it to Hollywood.

This movie is recommended for everyone, young and old.

It has some wonderful musical numbers, like "The Rainbow Connection, "I'm Going to go Back There Someday," and "Movin' Right Along." The Muppets also use many forms of transportation in this movie. Kermit rides a bike, Fozzie drives a Studebaker, and another car, Gonzo takes flight with a bundle of helium balloons, (which is one of my favorite moments by the way ;) ), and Kermit and the rest of the Muppets finally go the rest of the way by the Electric Mayhem's bus (Dr. Teeth, Floyd, Janice, Scooter, and Animal); who meet up with them in the desert after Fozzie's car breaks down.

Even some Sesame Street Muppets make cameo appearances (i.e. Big Bird is walking along on the road, on the way to NYC to break into public television). The end is also a very heartwarming moment. Every single Muppet created is in the final scene, along with a final "Rainbow Connection" reprise.

But those poor Muppets worked so hard on their movie set, then it all comes crashing down, and the camera explodes in a huge ball of sparks. You'd think everything is ruined and destroyed, But the rainbow comes shining through the roof at the end, and it all sums up the magic of this film, and you know everything will be all right.

Perfect 10/10. Watch it, and you'll be enchanted by the fun and sadness of this movie.


This wonderful movie captures so many elements of what makes a family comedy funny, entertaining, sweet and memorable, it's difficult to decide where to start.

From the opening number, "Rainbow Connection," Paul Williams's excellent score sung with gusto by Kermit D. Frog, which gives us a prologue of what the whole adventure is about, throughout the story, this is one fun movie.

Essentially, it's a road trip movie, where Kermit travels cross-country with a dream of pursuing a "rich and famous contract" to entertain. Along the way, our green hero meets a series of other aspiring actors, comedians, singers, and musicians, who coincidentally, are muppets like Kermit himself. Is this how the Muppets really started? "Approximately how it happened," Kermit tells us.

Not since "It's a Mad, Mad, Mad, Mad World" has the cameo formula been used so prolifically and successfully. The aspiring stars encounter many recognizable faces during their Odyssey; some just blink across the screen, but others have very memorable cameos. Steve Martin's amusing bit as a rude waiter is probably the best. Puppeteer Jim Henson's nod to his inspiration, Edgar Bergen, is especially touching.

Anyone who ever watched the Muppets TV show will get to see all of their favorite characters, they're all here. The puppetry work is magnificent; look especially for Kermit riding a bicycle (how dey do dat???) In-jokes and references to old movies are everywhere, but the best one-liners are reserved for Kermit himself. An example: when the crooks are terrorizing Kermit and Piggy, she affectionately says to her short, green, and handsome beau, "I wouldn't give up this evening together for anything, would you?" "Uhhh, make me an offer...." I also love the gunfight at the OK Corral scene: brilliantly absurd silliness.

Gotta get "Movin' right along" now, but to summarize: a good natured movie that can be enjoyed by anyone, regardless of age or movie genre taste. Highly recommended.


First of all, before I start my review, I just read every review for 'The Muppet Movie' here and I can't believe that someone could give a negative review to a movie like this. (Fortunately there was only one.) I mean, I can understand how someone may not like 'Star Wars' due to the whole Sci-Fi genre, but to not like a movie starring some of the most lovable puppets in the history of mankind is almost sad.

Okay, I will step off my soapbox now and review this movie.

'The Muppet Movie' came out when I was seven. All of my friends wanted to see this as their birthday movie, so I think I saw it about four times in the first month in theaters.

As a child many things attracted me to this and all the other Muppet movies & TV shows. The singing was probably the main one. Most of the songs in 'The Muppet Movie' are classics. From "Rainbow Connection" to "I'm Going to Go Back There Someday", they're entertaining and thought-provoking.

As an adult I see 'The Muppet Movie' in almost a whole different light. Yes, the things that thrilled me about it as a kid are still there, but it's the little jokes and such that are just plain hilarious.

I mean, when you think about it, Jim Henson is a sick man.

Kermit is a frog and that is in love with a sweet pig that wears purple gloves and could karate chop you into two pieces. Fozzie is a stand-up comedian bear. Gonzo is a 'whatever' that is infatuated with chickens. Then you have two old guys that heckle, a piano-playing dog, a rock band with a maniac drummer, a Swedish chef that you can't understand and a number of other characters that are just plain eccentric.

Yet, for these reasons and more, Henson has entertained millions of children and adults, giving us all something special to watch and remember him by.

'The Muppet Movie' will always remain in my heart for many reasons, but I think the biggest one is because it's a movie, unlike a lot of recent children's movies, that I feel comfortable to have my kids watch. Plus, I don't get bored out of my mind with jokes that are dumbed down to my kids' level.

It's a great movie that is sure to be remembered forever.


Quality entertainment all around. The spectacle of Kermit on his bicycle is one thats as memorable as ANY in cinema history. There's just not a bad thing to be said. Tons of muppets, great cameos, slapstick, puns, whatever you want, its here. The lovers, the dreamers, and me INDEED.


I give it 8 out of 10 because it is a cult classic. Also it is directed by legendary sasquatch hunter Robert W Morgan who also plays the part of Jarvis in the film. In listening to recent blogtalkradio show called the AARF show(Robert Morgan is a co-host)he tells that because it has become such a cult classic and does well at movie conventions and such,there are plans to maybe do a sequel to this film. I think he said that two of the original stars have signed on and he hopes to have a few more. Robert is a good man and I hope it does well. He has devoted 50+ years of tireless work as a Sassquatch Researcher(which is also one of my interests)and author. Check out his show on the paranormal and maybe look for Blood Stalkers II sometime in the near future.


This is a pretty obscure, dumb horror movie set in the 1970s Everglades. It is really stupid and lame for the first half, then it actually starts to get good for the last half. There is a scene with the hero running to save his friends interspersed with shots of a church group singing, I don't know. It is mesmerizing. I was impressed with the night time scenes, because it actually looked like night, unlike most low budget horror films where it still looks like daytime. I feel like the director was really talented but was working with a miniscule budget and a tough schedule. There are a few scenes towards the end, the one mentioned above and also the end credits that are extremely cool. This movie could have been a genuine classic if it left its Scooby Doo conventions behind and went straight for the throat. I was surprised at how good this movie turned out to be. I couldn't take my eyes off of it, and I had to ask myself "why?"


I'm pleased that this was the work of foreign cinematographers because it can't be accused of unfair bias. With absolutely no cause, the Jacksonville cops rush to judgment in this case and pick the first black suspect to accuse of the murder of a white, foreign tourist. They picked a 15 yr. old kid who is just about as close to a saint as you could randomly find and then make fools of themselves trying to pin an unlikely case against him. In addition to the unfairness resulting from the blatant prejudice there is the matter of 6 months of unjust imprisonment of a completely innocent young black teenager. It makes one question whether as a society we should compensate those who are charged, imprisoned and subsequently found innocent. This docudrama is well produced, professionally recorded and presented in a captivating package from which you won't want to take a 1 minute break. If you care about social justice, don't miss this one. It certainly deserved its Oscar.


I absolutely adored this movie. For me, the best reason to see it is how stark a contrast it is from legal dramas like "Boston Legal" or "Ally McBeal" or even "LA Law." This is REALITY. The law is not BS, won in some closing argument or through some ridiculous defense you pull out of your butt, like the "Chewbacca defense" on South Park.) This is a real travesty of justice, the legal system gone horribly wrong, and the work by GOOD lawyers - not the shyster stereotype, who use all of their skills to right it. It will do more for restoring your faith in humanity than any Frank Capra movie or TO KILL A MOCKINGBIRD. And most importantly, I wept. During the film, during the featurette included at the end of the DVD - it's amazing. Wonderful film; wonderfully made. Thank God the filmmakers made it.


You know, before seeing this film I had little sympathy for those caught up in criminal cases. I mean if they were arrested and charged, "they must have been guilty" I reasoned?

I formed this opinion over some years. You see a good friend of mine once worked as a detective in some of the more seedy areas of Sydney. He frequently complained that his policing efforts were wasted due to 'bleeding heart' lawyers and magistrates. He would "bang the crooks up in the morning and they would be "back on the street by noon". It took its toll... they wore him down. He quit.

He has argued since, not unreasonably I thought, that creative evidence gathering, to keep the baddies "where they belong", was... well... "acceptable".

My arguments about the rights of innocent people weren't valid he claimed. "What are the chances that you will ever be arrested and charged with a serious crime"? he would argue. And, being a law abiding citizen, the weight of his argument convinced me he was right. The chances of me, or any of my family or friends, being charged with murder or a serious offense were zero to none I thought.

Hmmmmm. Well as mentioned earlier, seeing this wonderfully enlightening documentary changed all that.

I'm sending him a copy.


I don't need to say much about how good this documentary is--it's truly an amazing piece of true narrative. The story is simple enough: a white senior citizen tourist is murdered by a young black man in Florida, and the boy who is arrested is mistreated and put on trial with only the public defender and his family on his side. It's very enthralling, and the public defender is a joy to watch in all his human ways--you can't help but pull for the triumph of justice, and the ending fulfills more than could be expected of a true story.

It's a shame more people haven't seen this documentary, but hopefully you will find a way to watch it. For those interested in race relations in the United States, and the actual workings of law enforcement and the legal process, it's well worth your time and effort to find this documentary. I give it a 10.


I happened to leave HBO on last night following Six Feet Under. What ran next has left me speechless. What an incredible piece of work. I don't just recommend this, I MANDATE that you see this. It's better than anything Hollywood could ever ruin. I just hope they never get their hands on it.


This is a fascinating documentary about a 15 year old black lad who is accused of murdering a tourist in Florida and the subsiquent court case that follows. What this film shows is how corrupt the American police system is and how easy it can really be to convict an innocent man and how a senile old fool who thinks one black man looks very much like another and sod it if he rots in jail because i said he was the man who murdered my wife.The star is the defence lawyer who is brilliant at not only his job in court but he also did he what the police should have done all along. Fascinating stuff. 7 out of 10.


I just saw the movie, through Netflix. I was intrigued by the way the movie was described, but in the end, it was better. I was moved in many different directions while watching this movie. I was filled with hurt, hate, angry, bitterness,pain and finally relief. To look at the young man accused, would break your heart, and convince you that they had the wrong person. The smugness of the police, makes you cring, because just as the Rodney King Beating brought to light, the brutality of the police, this movie brings forth the total lack of moral fiber in these police. And the fact that they beat this boy, and got away with it, only infuriates you more.

But, I have to tell you, I fell in love with the attorney, Mc Guinness. One of my favorite lines, when he was telling us what an a**hole on of the cops was... The cop told him, to go on, keep sucking on that cancer stick. Mc Guinness told the cop... 'I always have a cigarette before sex...' I was letting him know I was going to screw him"

I have a new respect for some of the law in this country.


I watched this movie with my mother. She is 81 yrs.old and was raised to be a bigot. She even acknowledges this. I don't think she really understood what was happening, she had already made up her mind that the kid was guilty. Scary. I felt for this child and his family. What torture they went through and remained faithful. That is true faith. Back to the movie. I was disgusted by the police force and their ineptitude. I am so glad that this public defender was chosen to work this case. It was very fortunate for this family that they had a person that cared enough to see through the crap that was handed to him. I could tell when one the cops was lying. He would not look the defender in the eyes. His eyes moved to the side when he answered the questions. It is unfortunate that a black person has to be punished because of the color of his skin. I read the book about the black man being dragged behind a truck by three white men. They were finally found guilty after many years. I can't remember the title, but it was the same premise. Whites doing whatever they want with blacks. I am sure the child in the movie will be traumatized for a long time, if not forever. I pointed out to my mother that most serial killers and pedophiles are white. No comment from her. I want to commend the director and producer of this film. I feel the exposure they gave to this blatant injustice was a necessary project. I am an avid viewer of indy films. I feel that they are well written and have substance. I am pleased that I happened to grab this movie on the shelf. I felt compelled to write a comment because of how strongly I feel about the film and the prejudice that continues to exist in our modern society.


with that, carry the same dark weaknesses we all unfortunately possess: lying, deception, laziness, the list goes on.

However, as an American, I was shocked to see that corruption and racism exist in today's police force as is reflected with the Duval County Sheriff Department's horrible detective and police work with the murder of a white female tourist and a 15-year old accused black youth. I shook my head in shame that detectives were protected from their abusive work while a young man's LIFE hung in the crooked balance of justice.

However, there is also a story of hope with our judicial system and how poorly-paid public defenders stuck by their guns (irony intended) and forced the truth from the detectives. I wanted to fly down to Florida and tell anybody with influence what a great public defender team they have in Duval County; those lawyers care about the "little" man and, most importantly, for justice.

The other story line is about faith and family. Praises to the accused's family and their strong Christian (submit any dedicated religion) beliefs and wonderful family values. I hope they win their lawsuit against the Duval County Sheriff's Department.

Bravo for justice!!! Bravo for the little guy!!!


I watched this on HBO because it won the Oscar a week earlier. It compares favorably with fictional courtroom dramas.

The story is of a 15-year-old black kid placed on trial for the Jacksonville, FL, murder of an elderly white woman based almost solely on the identification by the victim's husband and on a confession that the defense contends was coerced.

About half the footage is of the trial; it's supplemented with footage of the defense lawyers (two public defenders) explaining their case, interviewing witnesses, and visiting key locations. This is edited with a minimum of needless repetition, and placed in logical order. The camera work is pretty solid. And there's a mildly surprising epilogue.


You think the police are always right.

You believe that "eye-witnesses" are always right.

You believe the prosecutors will not take a case to court if lazy police have failed to perform 98% of a basic investigation.

You believe a U.S. city might have a "few bad apples" in law enforcement, but that the "good cops" will quickly nip those who systematically engage in evil-for-evil's sake in the bud.

You believe that the possibility of an ex-football lineman being instated as a detective solely because his dad is the county sheriff, and being allowed to beat "confessions" out of randomly-selected teenagers with absolutely no fear of negative consequences to himself could happen in the America of the 1930s, but not today.

You believe a judge will NOT send a case to the jury if anyone with a brain in their head can see the defendant is a totally random passer-by nabbed by the police because it was hot, and they did not feel like working that day.

You believe that all the innocent people imprisoned six months here or 20 years there are "exceptions to the rule," and an injustice like this could NEVER involve your family member, someone in the middle class, or someone like YOU.

You think that you are aware of every terrible, indisputable, 100% proved outrage of the last 10 years in America--yet you haven't seen this film.


Very good film. Very good documentary.

Very good to see those vermin detectives humiliated and found out as the bigoted, narcissistic, heartless swines their one eyed parents, community and environment raised them as.

I tip my lid to Pat McGuinness. Can we get this decent human being on some kind of 911 commission or investigation? We need his integrity, endurance, intelligence, clarity and spirit fighting the rigged game that is world politics and big business.

All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. Pat McGuinness should be the first drops of that real rain. The people who control this earth are animals. They need to be drowned.

I'm just in shock. Walking the night is scary business. The inhuman howling and cackling is of detectives, in Murder On A Sunday Morning. In Pat McGuinness' blazing spotlight, they look horribly caught, horribly guilty, and ready for a just and horrible drowning.

It is exceptionally satisfying, in a world in which the punters play a rigged game, to see justice done and to see every narcissistic felon drown like the pathetic human rats they are.

How does it feel you railroading, abominable, snaky fingers of the law? How does it feel to have your rigged prosecution, your rigged confession, your rigged detective work found out for what it really was? How does it feel?

I hope it twists like a knife you miserable, one eyed nothings.


Anyone that is looking for an episode of "Law and Order" or "CSI" would have to look elsewhere as the most basic elements of police or forensics work were totally ignored in this case.

A murder took place, and all the police did was to grab a 15-year-old boy off the street and take him to the only witness - a 65-year-old man - and say is this the guy who did it? Sure, the old man thought that the kid in the back of the police car had to be guilty. never mind that he looked nothing like the real killer and was dressed completely differently. He must have shrunk, reversed his age by 5-10 years and changed clothes.

The police made absolutely no effort - and they admitted it! The did no forensics on any of the evidence, they questioned no other witnesses, and they beat a confession out of a 15-year-old.

The saddest thing about this compelling look at the criminal justice system is that it occurred right down the road in Jacksonville, Florida. Let everyone now start talking about "Southern justice."


Art imitates life imitates art. Atticus Finch is reincarnated into the D.A. in this tragic and suspenseful gripping documentary that plays more like a who-done-it and how did it happen. The authenticity and sometimes reluctant honesty of the individuals make this a compelling story in many layers. Although racism is one of the themes there are other elements such as work ethic, integrity, and coping with grief that have drawn me back to view and review this film again and again. The music is driving but not obtrusive; the pacing and visuals are such that there is no mistaking the fact that these are real people going through an authentic experience.


This is an extraordinary film. As a courtroom drama, it's compelling, as an indictment on the American justice system, it's frightening. For Brenton Butler the consequences of this system could be devastating. This film highlights the fundamental flaws of the legal process, that it's not about discovering guilt or innocence, but rather, is about who presents better in court. In truth, the implications of this case reach beyond the possibility of an innocent man being found guilty, or a guilty man being free. Every citizen has a right to justice, whether a perpetrator or a victim. But do they get it? The film is well paced, understated and one of the best courtroom documentaries I've seen.


I saw this movie last night on HBO & didn't expect to get hooked - I usually fall asleep when I watch HBO. But it happened & you will too. It's a tragic documentary (2002 Oscar winner) about a murder of an elderly female tourist in Jacksonville, Florida and subsequent investigation, arrest, & trial of a 15 year old boy.

Watch this movie today & get a feel for how we have progressed as a society. This film was most deserving of an esteemed Oscar - you'll be moved to tears.


A MUST SEE documentary.-----This movie had so many things to consider while watching it. It was a great documentary of a trial of a 15 year old black kid named Brenton Butler. He accused of killing a white tourist in Florida. It shows how the police took statements from the husband of the dead woman of the description of the man that killed his wife. The husband seemed to want to change some things to merge with what the police said the young man was wearing. The police little to investigate the crime. Brenton's lawyer Patrick McGuinness is meticulous in getting information to help his client. He tells the viewers what he thinks and the strategy he will use on the police to show their incomplete investigation and beatings against his young client to get him to confess. The camera goes with McGuinness to where Brenton was questioned. McGuinness also takes pictures of the room and how the audio is monitored. He questions a policeman on the stand and ask what the heard Brenton say to one of the investigators and he challenges their own words. McGuinness investigates with Ann Finnell each place the police should have gone and the things they should have done but did not. The movie shows the Butlers as a loving Christian family who have faith in their son's innocence and faith that God will set Brenton free. They visit him in jail and pray with him there to encourage him. There are scenes of group prayer for Brenton, the lawyers, the Judge and everyone involved in this case. I am a white and I was surprised to see how blacks in high police positions treat other blacks. It was very disappointing to see black and white police stick together when they think they got their man. Police have a hard job and I believe most of them are honorable not like the ones in this movie. I think this is a great movie for anyone involved in the Judicial system including Judges, police and lawyers and even potential jurors to watch this movie and learn from it.


Wayne Wang's direction may be the ingredient which made this film much more impressive to me than "Slums of Beverly Hills", which covers remarkably similar ground. The interplay between Susan Sarandon and Natalie Portman is riveting. Real chemistry there. This film succeeded in bringing me inside the dysfunctional life of these two women without dragging me down into depressed frustration. Susan Sarandon's character hammers at all the nerves which a narcissistic parent is capable of touching in an insecure adolescent. She amazingly manages to do this without coming across as floridly insane or intentionally sadistic. And, Natalie Portman deflects each attack on her character's ego with the resigned grace of an intelligent codependent child, untainted by the smug cynicism of the Natasha Lyonne character in "Slums of Beverly Hills". Portman's character is an adolescent with dignity under stress, an unusual creature in modern films. The film reaches a very satisfying resolution without trying too hard. I highly recommend this film to the viewer who wants to be challenged and entertained.


Susan Sarandon and Natalie Portman play Adele and Ann August, a single mother who's the working definition of the word "dreamer" and her solemn, pragmatic daughter. Adele, wanting to make a fresh start in a big city, moves them from Wisconsin to California.

Decent, if not exceptional or particularly memorable, with some serious and sad moments. It pushes some emotional buttons, that's for sure. Best thing it offers is a solid cast, and Sarandon and Portman are quite good in the leads - even if their characters are one-dimensional at times.

Could be better, could be worse.

I gave this one seven out of ten.


This film was a new direction for Natalie Portman. A much more adult role, though she comes to it from the traces of a child in the movie itself. Ann,(Portman) and Susan Sarandon, who plays her newly divorced mother, Adele, travel from a small town in the middle of nowhere to Beverly Hills. There these tortured souls try to come to terms with their new life and their new relationship as Portman's character grows up. Unknowingly at first to Adele, she grows up and becomes a better mother for it.

Ann sees her mother telling her she wants to be an actress, or so she thinks. Adele uses that crutch every time there are problems in their lives. We see their struggle as mother and daughter come to terms between themselves and with being alone, having left their old lives behind.

The acting is top notch from both of them. They seemingly become mother and daughter before your eyes. You can almost feel there is a bond there beyond the actual movie.

Though this movie really doesn't take us to any new ground in these types of films, the fact that the acting is well done, and the story isn't too flawed, let's me recommend it.

I will say however, it will probably go away soon, I don't believe it can have the staying power needed for a huge Christmas season of movies starting in a week or so. See it now before this happens if you like either of these actresses.


Well, I have not much to say about this film except that it was a truly wonderful film. Natalie Portman is absolutely fantastic as the daughter in this lovely mother-daughter relationship film.

Beautiful film.


The interaction between Portman and Sarandon was quite interesting, and I was really sold on the mother-daughter relationship. It is a family story that isn't dulled down by frills and special effects; a story of how it really is. I couldn't help but give of a sigh at the end of this movie for alas it is a well told bittersweet tale of growing up and relating with family and friends. The acting was quite exquisite and I hope we'll be seeing both Portman and Sarandon in familiar roles down the road...