It was a fascinating story waiting to be told. FAT MAN AND LITTLE BOY takes us inside the trials and tribulations of a group of top American scientists handed a lofty task during the Second World War: beat everyone else to the atomic bomb. Sequestered in a heavily-guarded New Mexico compound, the brainiacs slowly turn the idea from ambitious concept into immense reality.

FAT MAN AND LITTLE BOY is one of those films that requires your close attention. It's a real thinking person's movie, not only from the scientific aspect of developing a seemingly impossible weapon, but also the moral implications of contributing to killing on a massive scale. Characters are constantly torn between that reality and their wartime duty as Americans. The film is never preachy about, however, leaving us free to marvel at the enormity of the inner turmoil these men face. The performances deserve special mention as well. Paul Newman delivers one of his great, understated performances as the Pattonesque general in charge of delivering the ultimate big stick for the Allied Forces.

Where FAT MAN AND LITTLE BOY loses much of its traction is in the unnecessary romantic component. Dwight Schultz as the leader of the scientific team struggles with his affections for his family and his relentless obsession with his big project. Director Roland Joffe apparently felt the need to explore the more human angles of this story, but the romantic overtones serve primarily as a distraction. Besides, it's the interaction among the scientists and their military hierarchy that give us the greatest insight into the thoughts and feelings of these brilliant men.

Still, it's difficult not to recommend FAT MAN AND LITTLE BOY. It's a largely forgotten gem that puts a human face put on one of the most intriguing stories in human history.


We watched this movie in my chemistry class, so obviously it had educational value. I thought the film did a really good job of intertwining the subjects of the science, moral issues and personal experiences of the manhattan project, but wasn't exactly focused on strong acting. I would recommend this movie for the scientifically inclined or those interested in the moral issues behind Fat Man and Little Boy, but if the subject of nuclear bombs bores you, don't see it.


Fat Man And Little Boy were the code names of the two atomic bombs that were dropped in reverse order on Nagasaki and Hiroshina. How these came to be and came to be in American hands is the story of this film.

The terms by the way are the code names of two bombs fueled with plutonium and uranium. Fat Man was the plutonium bomb and that one was dropped on Nagasaki and Little Boy was the one used on Hiroshima

The film is primarily a conflict between General Leslie R. Groves of the United States Army and physicist J. Robert Oppenheimer who led the team of scientists who developed the bomb under Groves's direction. With two men from as widely divergent backgrounds as these were, conflict was inevitable.

Paul Newman who all his life has been a disarmament activist plays General Groves. To his credit Newman does not play a man whose views he would very little in common with as any kind of caricature. Groves is a military man first and foremost with an engineering background. He wanted a combat command as trained military professionals would naturally want in this greatest of wars. But because of his background in engineering Groves got to head the Manhattan Project which was what the effort was code named. So be it, Newman is determined to make his contribution to the war effort count.

Most of us first became acquainted with Dwight Schultz from the A-Team as H.M. Murdoch the pilot whose grip on reality is tenuous at best. If one was only acquainted with the A-Team, one might think that Schultz had a great future in comic roles.

Instead Dwight Schultz is one of the best actors in the English speaking world with an astonishing range of dramatic parts since leaving that television series. J. Robert Oppenheimer in life was a complex man who recognized the dangers and benefits of atomic energy. The challenge of the problem also intrigues him. Later on Oppenheimer got into a real bind because of his left-wing political views and associates which everyone knew walking into the Manhattan Project.

Some of the lesser roles that stand out are Bonnie Bedelia as Mrs. Oppenheimer, Natasha Richardson as Oppenheimer's Communist mistress whose affair with Oppenheimer got him in such a jackpot later on, and Laura Dern as a nurse at the Los Alamos site.

But the best is John Cusack who as Michael Merriman is a composite of some real life scientists who might accurately be labeled as the first casualties of the atomic age. His scenes with Laura Dern, especially with what happens to him, take on a real poignancy.

The debate over the bombs as the use put to them is still a matter of raging debate. Fat Man And Little Boy presents the facts and lets you decide what might have happened if an alternative use of them had been taken.


If you know anything about the Manhattan Project, you will find "Fat Man and Little Boy" at least an interesting depiction of the events surrounding that story. The film is in all ways a very realistic portrayal of these events, and in many ways it is almost too real (such as some scenes involving radiation poisoning). Paul Newman, as usual, is brilliant in his role and always manages to come off like a real person on the screen. The supporting cast, such as John Cusack, Laura Dern, Bonnie Bedelia, and Natasha Richardson, is fairly good as well. This film is not, however, one of the best examples of turning a true story into a movie. Great films are able to take a true story and use just enough artistic license to keep its audience engaged for the entire movie. This one, however, tends to drag a bit throughout, and some scenes (such as John Cusack and Natasha Richardson's love story) could have been eliminated entirely without causing the film to lose much. Nevertheless, there are enough interesting facts and tiny humorous bits to at least keep the audience interested enough to see the entire film. It does not always entertain, but as far as great depictions go, this is very accurate, fascinating, and will leave the audience with something to think about.

*** out of ****


There have been numerous productions that tell of the development of the atomic bomb. The Robert Taylor film ABOVE AND BEYOND (flag waving interservice propaganda really; if you believe this one you think that the Army Air Corps, in the person of Paul W. Tibbits, ran the entire show!), the NBC produced ENOLA GAY (probably A LOT closer to the mark), and the BBC-TV series, OPPENHEIMER, with Sam Waterston in the title role.

FAT MAN AND LITTLE BOY takes the same approach that the BBC series did but widens it; it avoids the "Gee Whiz" technology of the Manhattan Project and focuses on human aspects; the personalities involved in the work. Instead of focusing on Oppie, it covers a wide swath of mythical but pretty typical people who were part of it.

With reservations, Dwight Schultz did a good job as Oppie, presenting a dreamy, Ivory Tower academic who struggles to relate his contributions as a physicist to his inclinations to view the world in a wider social and moral context... only to have that struggle won by an overriding lust for personal power and glory. In THE DAY AFTER TRINITY it was made clear that Oppenheimer viewed himself as a "superior being" by virtue of his vast, wide ranging intellectual prowess. In the end that was Robert Oppenheimer's downfall; he saw himself as a sort of "Philosopher/King", a moral and intellectual superior who could (and rightfully SHOULD) "wisely" prescribe what was best for the rest of the world re. nuclear weapons development and deployment.

Unfortunately, wisdom doesn't dictate the actions of nations or direction of events on a global scale. Wisdom doesn't bestow temporal power. When it tries to exercise such nonexistent power (as Oppie found when he opposed the development of "The Super", the hydrogen bomb), wisdom is ignored and banished by those who REALLY have the power.

I found myself faulting Schultz character in one way; his Oppie exposes himself TOO closely and personally to the Manhattan Project, despite the doubts and fears that tore at his intellectual basis. The real Oppenheimer would have had to take a different approach; at the beginning he would have had to come to the firm resolution that the project would result in ultimate good. The ugliness it produced along the way would be an incidental price that must be paid to attain that ultimate good, and it must be ignored... at least until the end of the project when there was leisure to assess the gains and losses. Oppie clearly did that, and it resulted in his controversial postwar statements to the effect that science had now known sin, and that was a knowledge it could never lose.

While the project went on, such considerations HAD to be pushed aside if he was to maintain his sanity.

Because of this ambiguity, Schultz character comes off as a weak, frightened little boy who could NEVER have served as "Coordinator of Rapid Rupture", as Oppenheimer unofficially dubbed his post.

Paul Newman's take on Gen. Leslie R. Groves is fascinating, and a bravura performance, if possibly a LITTLE BIT over the top.

Groves was a civil engineer by training, but first and foremost he was a SOLDIER, and a general to boot! He's accustomed to DEMANDING that things go HIS way... intensely driven, a foul mouthed, spoiled child who has tantrums at the drop of a hat, who reveres his country and isn't too proud to fall on his knees and pray. In other words, very much like REAL (ie, NON civil engineer) soldiers, aka George Patton! Grove's MISSION not only comes first, it is his ONLY consideration... feelings and egos be damned, except for his OWN, of course!

Groves couldn't admit it, but he knew full well that he NEEDED Oppenheimer; military rank meant NOTHING in the world of theoretical physicists. Oppie was a necessary interface between the two worlds he had to straddle.

Again... I have to fault the script on this, and for the same reason.

In reality, Groves already OWNED Oppie; if he didn't, Oppie would never have been chosen for the post in the first place. History tells of MANY cases where other scientists, some as stellar as Oppenheimer, simply walked away from Groves recruitment efforts. At one point Groves was so desperate that he proposed DRAFTING the physicists he needed!

Groves attempts in the film to maneuver and control Oppie were UNNECESSARY... they only exist here as a dramatic device which indeed helps make the atmosphere of the film quite ugly.

Kusak's "Michael Merriman" is a composite of several real characters, but they're from a different time frame. Several research accidents similar to the one depicted happened in POSTWAR weapons research.

Merriman's radiation overdose creates another ugliness in the film, but one which is, IMHO, necessary, and pretty accurate. People with weak stomachs will have a hard time handling the hospital sequences; they're all TOO real.

The main idea that comes across, but not strongly enough IMHO, is the big truth of the Los Alamos experience. The scientists who signed on were young, idealistic and naive as well as talented. Most were on their first excursion out of the shelter of the campus. To them the project was a patriotic adventure that allowed them to practice experimental physics on a large scale without the constraints of budgets or "excessive" bureaucratic oversight.

It was not only their brilliance, but their youthful exuberance that produced the atomic bomb.

There's plenty here to make the thoughtful viewer intensely uncomfortable about this movie. Just the same, if you filter out the Hollywood BS (there isn't that much of it really), this is probably a pretty accurate view of the inside of Manhattan Project.


I find it remarkable that so little was actually done with the story of the a-bomb and it's development for decades after the Manhattan Project was completed. My suspicion is that this was due to serious fears in the movie and entertainment industries (in the 1950s through the 1970s) with "McCarthyism" and related national security phobias (including the Hollywood blacklist). There was one film in the 1950s (with Robert Taylor) about Col. Paul Tibbits who flew the Enola Gay in the Hiroshima bombing, but otherwise nothing else. One could glance at a side issue tragedy (the sinking of the U.S.S. Indianapolis soon after the delivery of the bombs to Tinian) in Robert Shaw's description of the shark attacks on the survivors in JAWS. But the actual trials and tribulations of Groves, Oppenheimer, and their team was not considered film-able.

And then in 1989 two films appeared. I have reviewed one already (DAY ONE) which I feel is the better of the two in discussing the lengthy technical and emotional and political problems in the Manhattan Project. The acting of Brian Dennehy as General Groves and David Strahairn as Oppenheimer was first rate and neatly balanced. Small side vignettes concerning the anti-bomb crusade of Szilard (Michael Tucker) help fill out the story well.

That's the problem here. Paul Newman is a great actor (as is Mr. Dennehy) but Newman approached Groves in a different way that while not dreadful is lesser than Dennehy's intelligent but soft spoken military brass. Newman seems too popped eyed about the possibility of the weapon as the biggest stick to confront the other boys in the after-school yard with. Yes it certainly was, but the real Groves would have been more like Dennehy keeping his mind not on that great toy of the future but on the business of creating that great toy.

Dwight Schultz's performance as Oppeheimer helps maintain the film's basically interesting and good production, aided by Bonnie Bedelia as his wife. But the most interesting aspect of this film is in the upgrading of the two tragedies of Daghlian and Slotin, in particular the latter, in the character of John Cusack's Merriman. Inevitably in all technological advances people are killed. It's just that these two tragedies (on top of the tens of thousands that were lost in Hiroshima and Nagasaki) brought home the dangers of the new unleashed power even in a so-called peaceful, controlled experiment. The two tragedies (particularly Louis Slotin's slow, agonizing death by radiation poisoning) showed how much care was needed in using atomic power - and how the barest of chances could still cause disaster. The only really different thing I saw in Cusack's performance (and the script) and the actual incident with Slotin was that Slotin actually took some time after the accident to figure out where all his fellow research scientists were when they were hit by the radiation from the accident (he was able to show that only he got the full effect of the accidental blast, so that only relatively minor treatment would be needed by the others). Perhaps the full story of Slotin's actions was too technical for the screen, but given the humongous pain he suffered in the end that he took time off to think of the others shows what a first rate person he really was.


This is a weird and compelling film. The topic, about the atom bombs created at Los Alamos, NM in the USA and used on Japan during the latter part of World War II, is huge, and of course deeply disturbing. The film's plot takes on a lot of heavy issues and the actors have to carry much of the creative tension. I had never seen the film, or was much interested in it I have to admit, until I read the book "Smoking in Bed: Conversations with Bruce Robinson." Robinson wrote the story and screenplay. I think the film was better than I expected from reading Robinson's point of view in the conversations about it, but I can see how he thought it got derailed. I think Paul Newman is pretty good, but is somehow at bottom, miscast. He's too Hollywood. At one point, a big, mean-looking guy storms into Newman's office and has such a striking presence, I immediately thought he should be playing the character Newman is playing. The other lead, who plays the head scientist, is also fairly good, but somehow not brilliant enough to portray the huge angst that goes with the part - the immense responsibility for creation of an ultimate machine of death and destruction. One of the more effective characters seems to be a composite personality, played by John Cusack. He is oddly affecting throughout, and in the end, is the character whose fate really hits home and who made me think most vividly of the fate of more than 200,000 Japanese people in Hiroshima and Nagasaki.


The movie seemed a little slow at first. But it picked up speed and got right to the point. It showed exactly how the government and the scientist argued for humanity and the reasons of the "gadget". I enjoyed it. It is very close to reality as any movie about the Atomic Bombs that were to be dropped on Japan. I have recommended it to friends. I was particularly pleased with the acting ability of Dwight Schultz.


I saw this again today for the first time in about 6 years. I had forgotten how well acted this movie is. Paul Newman gets the billing, but Dwight Schultz holds his own and shows how good an actor he really is.


I know one is not supposed to comment on other users' comments, but I will say that a lot of the negative reviews seem to come from people who already knew quite a lot about the Manhattan Project and were annoyed at things that were left out. (From his book 'Smoking In Bed' it appears the original screenwriter Bruce Robinson is another such.) I knew very little before watching the film, however, and found it rivetting. Dwight Schultz is absolutely mesmeric as Oppenheimer - a truly magnetic, charismatic presence, an inspired piece of casting that makes me wonder why he isn't given better roles and more leading parts. John Cusack and Paul Newman are excellent as always. One could quibble with various script or direction choices, but as it is the film is extremely intense and horrific at times and overall I give it four stars out of five.


Lets face it, Australian TV is for the most part terrible, but this is a real diamond in the rough that not enough people are watching. The Chaser crew who do the satirical newspaper and CNNN try something new by mixing live comedy, pre-recorded skits and political satire into one show filmed in front of a live audience, sorta like Rove, but funny. They love causing controversy and this causes some of the shows funniest moments, especially Chris telling his wife to "f-- off" live on breakfast television and Julian handing a novelty cheque signed by Saddam Heusein to the head of the AWB. It has to be one of the funniest Aussie shows since the Micallef Program.


The chaser's war on everything is a weekly show from the guys that brought you CNNNN and the chaser decides where each week the 5 chasers and Firth break down the issues that we didn't know were important.

This show goes beyond the mere satirizing of politics and television by not being afraid to take the mickey out of anyone whether it be a counter-girl at subway or even the prime-minister of Australia and although this may be familiar ground in say American television it has never been this well executed.

The Chaser's war on everything is the smartest, funniest and overall most entertaining show on Australian television and if you haven't seen it you seriously owe it to yourself to give it a watch.


For comedy to work, there are many factors involved:

1. Don't be afraid to take risks. 2. If anyone or anything deserves to be poked fun at, do it and continue to do it,

...but most of all:

3. BE FUNNY!!!!

"The Chaser's War on Everything" succeeds in all those three things. In fact, the show proved to be so popular and so funny that already only months after it's first episode, a DVD of the first season was released. I picked it up within days of it being released and hit the floor laughing and had so many fu#@ing tears in my eyes- It's that well, good!

In short and to save me blabbing on about the show- watch it, buy it, podcast it, whatever will make you watch the fu$#ing best show in the world!!!!!

Go the CHASER!!!!


No matter what country your In you have to buy this show, Sure It is Australian and if you ever seen any attempt of our comedy's they pretty much suck but with the chaser's they aren't boring forty year old men making bad puns they are a team of people who talk about current affairs (pretty much in Australia) make fun of our crap ads, make fun of our politicians and so on.

The guys also had a show in 2002 called Cnnnn which was not as successful as the War which had only started this year so everything they talk about is current news which is really good considering no matter how boring or tragic it is they try to shine some humorous light on things.


The hilarious team that brought you 'CNNNN' and 'The Chaser Decides' have returned to the ABC with their new series, 'The Chaser's War On Everything.' Filmed in front of a live audience, the Chaser team, once again, does what it does best- lampooning key political figures, international celebrities and media personalities.

The satire is simply priceless, and nothing is sacred. In recent weeks, the Chaser Team has chased alongside the Queen (during her visit to Australia) to try and have John Howard Dismissed and had Kim Beazley (Aust. Opposition Leader) threaten to kneecap them.

A particularly funny segment is "Mr. Ten Questions," showing an overly enthusiastic reporter who approaches celebrities (recently Charlize Theron and The Backstreet Boys) and asks them ten such inane questions as "what is your optimum length of rice grain?" Just for the record, Theron ignored him and walked away, and one of the Backstreet Boys got angry and "refused to dignify it with a response."

A segment that recently had me in stitches was when one of the team decided to become a 'statue busker' to score some extra money. When he realized how hopeless he was, he put a real statue in his place. THE PERFECT SCAM! He got thirty dollars in twenty minutes!

A brilliant satire of everything in Australian society. Two thumbs up!

(By the way, the show won't be showing for the three weeks after Easter, because "though the team are all atheists, they're also hypocrites.")


This show is up there with the best Comedys made in Australia as it makes fun of pretty much anything which is what lots of our public want. Some of the best bits in the show are the ad road test which tests out how an ad would do in real life. What is really great about the show is how original it is and the fact that it has people(the chasers)who love doing what they do and who would n't. This show has loads of bits in it that can crack up anybody like the ad road test which I've already mentioned, Mr ten Questions where he asks 10 questions really fast in front of famous celebrities like Hugh Jackman and the Beach boys, temporary ones like The Chasers Emmys and ones that have been there from the start like What have we learnt from Current affairs this week. Overall I rate thin show 98%.


This is exactly what Australian Television and Australian Politics needs, people with a sense of humour!!! Good on ABC for supporting these guys. The show is based around a couple of Aussie blokes who know how to take the mickey out of politicians or other people in the limelight. The boys use Sydney as their main base for making a splash in the public. Keep an eye out for the Crazy Wharehouse Guy or Mr Ten Questions. The guys who perform these acts are the same guys that presented CNNN. If you enjoyed CNNNN and the Glasshouse then you will love this show. I am still interested in knowing which stunts are real and which are purely acting because there are some questionable actions made by the guys...


When you think of brilliant Australian comedy you don't think of Skit shows (Although I'm quite partial to a bit of 80's and 90's Full Frontal) or even Sitcoms - you think of SATIRE! Something that we Australians really know how to do well. (Eg: Front Line, The Micallef Program) We know how to take the pi$$, and The Chaser's War on Everything, is a classic example of how to do it, and how to do it really well.

I've been a huge fan of Chris Taylor and Craig Reucassel for a long time. I remember listening to them on Triple J's afternoon show. They were, and remain, two of the funniest comedians around.

Although I was sad when they left Triple J, I was excited to find out what they were investing so much time in that made them have to leave. (They were doing CNNNN and Triple J at the same time, so I figured this was something much bigger) And what an amazingly HILARIOUS show Chaser is. Biting political and social satire at it's best.

I'm also pleased to say that it has recently received a MUCH better time slot than Friday nights and has been moved to Wednesday nights right after Spicks and Specks. THANK YOU ABC!! Finally I don't have to tape it! :)


This show is non Stop hilarity. the first joke will make u wet your pants. And thats probably the weakest joke of them all. I started watching it when the second half of season 2 started airing. and straight away. I'm hooked. only 2 weeks after I started watching. I've downloaded episodes and bought the DVD's. Reoccurring Clips Such as "the Ad Road Test" and "current affairs" Are quiet hilarious. Then There's the ad's they take off "Use Emo. Use your Own Tears For More Effective Use" Also Funny in the politics Side of things. Nothing is wrong with them doing this. it's funny. Any Australians Who Don't Find This Funny. Don't Complain And don't Watch it. ALL Australian TUNE IN Wednesday AT 9 ON ABC


everyone is a genius in something. Albert Einstien was a genius in science, William Shakespeare was a genius in literature and the boys from the Chasers war on everything are truly comedy geniuses. Their satire TV show is a constant hit on the Australian broadcast commission ( ABC ). After a small start as a satire newspaper, the chasers popularity skyrocketed when given their own television show. Never short on controversy with the cast members will do everything some of it even being arrested for. Chris Taylor going on Sunrise, a very popular live morning television show and telling his partner to f***k off, creating a fake motorcade and driving into APEC high security area and doing a very funny satire of a Australian ad about nicotine by following smokers around yelling out "NO GARY NO NO GARY NO". While controversial the show is increably funny and worthy of running for years to come.


A very funny look at some of Australia's current affairs and political goings-on. The Chaser boys really seem to have fun with this show, and what I enjoy is that they all have their strengths; some are brilliant (Chas) at making complete idiots of themselves, whereas Julian can pull off the whole "I'm interviewing a famous politician and I'm about to suggest that he disguise himself as a pot of jam" type of humour.

They have great segments in the show taking the mick out of all sorts of aspects of Australian culture such as our Current Affairs Shows, our Adverts and Early Morning TV programmes. Some material is a bit tired and predictable, but overall it's a lot of fun to watch, and will leave you with a smile on your face.


For one used to the comedies on television now- whether sketch, sitcom or animated, it's nice to watch something truly refreshing.

The Chaser has to be the best comedy of this decade, Seinfeld being the last's triumph. It follows the hosts urban crusades to fix situations, do 'ad road tests' and try to get the facts from our politicians the good old fashioned way.

Despite being very controversial at times, the shows excellent quality, from the well made and truly funny opening credits to the sketch style investigations (sketch style only in time, they are not scripted, at least, not the ones at the other end of the joke) is certainly worth watching. Even the most cynical and intellectual viewer won't be disappointed, and the show deserves ten stars.

All in all, well done to the ABC for showing this and i recommend it highly.


If I was only allowed to watch one program in my entire life, I would definitely have to pick "The Chaser's War on Everything". Of all the satirical shows that have been on Australian television, I found "Chaser" to be the funniest of all. It is just so Amazing, the boys aren't afraid to do anything.

Whether it's dress up as Hitler to get into a Polish Club, or push a MASSIVE ball of string around Melbourne to try out the tourism ad's or rock up to the Coke factory naked in a bath with $2.40 to buy some water. The Chaser boys will go there.

In agreement with the comments above (and/or below) "The Chaser's War on Everything" is more popular than their previous program "CNNNN". But CNNNN was just as funny. Some unforgettable moments from that show... Clean up Cambodia!!! Classic.

So anyway to stop me from Ranting further, I STRONGLY advise you to at least give Chaser a chance, you'll more than likely find it HILARIOUS!!!!


This program is certainly my favorite non-sitcom television comedy. Australia produces very little good programs - most of the TV which I watch (and I live in Australia) is from the US and England.

The funniest part of this show is just how controversial it is. Like when they went past numerous security barriers at the APEC summit pretending to be Canadian diplomats.

The show is made up of pre-filmed stunts, general satirical discussion of current world events, and sometimes on-stage skits. These all come together to make a fabulous, extremely funny TV show. The segments like "Ad Road-test" and "Message from Osama bin Ladin" are hilarious. For anyone interested in watching hilarious satirical TV comedy - then this is definitely the show you should watch.

All the guys are great and do an excellent job in entertaining you for half an hour.

I would rate it 10/10.


The Chasers War On Everything. 5 words that I love to watch. The chasers war on everything is an excellent Australian comedy. As the name suggests they wage war on everything. They seem to love hitting the politions most of all.

The Chaser is one of the best comedies I have seen and is the top of the line in Australia. It is on the Australian Broadcasting Corparation (ABC) which is where some of the best comedies are.

It has won the Australian Film Industry (AFI) awards but did not win the best comedy at the logies.

Last Year (2006) the chaser was aired on ABC on Friday nights when everyone was out so no one could watch it. Well they have been moved to Wednesday nights at 9pm (a heaps better timeslot) and the best thing is if I miss an episode or even just want to see it again i can download it from www.ABC.net.au/chaser.


Yes non-Singaporean's can't see what's the big deal about this film. Some of the references in this film fly right over the head of foreign viewers and mostly Singaporeans are the ones who would actually 'get' it. But i plead with you, foreigner, look at the other crap that's been churned out from Singapore and compare it to this film. It's like comparing a mule's diarhhoea chunks to a little diamond. This film is the first to truly show some the singapore's seedy underbelly - something the forces that be, pretend does not exist. And there's a part in the film where a gangster(ah-beng in our unique colloquial 'ingris') curses in 4 languages, namely Tamil English Malay and Hokkien. Well the truth is most of us can and do do that all the time. The sad thing is that viewers from foreign contries will have an easier time getting their oily little claws on this gem, in its country of origin, it was banned initially, only to be given and R-rating, and that too with about 20 cuts to it. It's nice to know you that one of the best, creative, edgy and original films ever created would be easier for you to obtain unadulterated, uncensored; halfway across the world than in your own nation.


This is the first movie I've seen from Singapore and it's great. If you don't know a lot about Asia, its languages and its culture, then this film may be a bit confusing for the non-informed people. As an Asian-American who's double majoring in two Asian languages (one of them being Mandarin) and has taken some Asian American Studies classes, this film was easier for me to understand, but even without that kind of knowledge, I believe this movie is still accessible to its foreign audiences as long as you keep in mind that it's a coming-of-age type of movie. The film is definitely worth seeing just so that you get the chance to see what kind of issues Singapore's young teenage boys are struggling and having to deal with. This is an awesome coming-of-age movie, but filmed and shown in a more artistic and original way. The actors are outstanding.


I'm totally agree with GarryJohal from Singapore's comments about this film. Quotation: 'Yes non-Singaporean's can't see what's the big deal about this film. Some of the references in this film fly right over the head of foreign viewers and mostly Singaporeans are the ones who would actually 'get' it.' It's still not quite the truth and as a Malaysian-Chinese, i do 'get it' although i don't speak Hokkien because we do have the similar 'problems' in Malaysia too. I know that it's really hard to understand and to accept this as a REALITY but it is definitely NOT a 'no real story'. I was pleased to see this film outside Malaysia because it will and definitely be banned in Malaysia too. Which means either you get it in 'illegal copied VCDs or DVDs' or hope that someone to be kind enough to 'share' it in the internet. This is not an 'another violent teen drama.......' because it portrays the reality which exists in Singapore (and in Malaysia too) in an interesting way (sad+humour). I was just a little sad to know that this film got about 20 cuts in censorship. What a waste!


Um .... a serious film about troubled teens in Singapore, a country I have not much knowledge on but have the previous wrong impression that all the kids there are highly disciplined and controlled by their family and government. Well, I guess I am wrong, just like other cities/ countries, they also have their troubled teens who also lead the not so surprising rebellious way of life of drugs, fights, bad language, and .... many other obvious signs of being a bad boy. The surprising part of this film isn't really about how these kids running around causing themselves and others trouble, but rather the subtle gayness hidden behind their so call loyalty between them. The bond between these "brothers" may very well originated from an unconscious gay tendency inside these boys. Though it isn't uncommon for str8 guys to have very close friendship with each other, but watch this film closely, it should be entering all sorts of gay film festivals and I would not be surprised that it may win itself a lot more awards toward this direction!


Despite the previous reviewer's screed, this is a well paced and interesting documentary with lots of clips from classic 1950s sci-fi films that influenced Spielberg, Lucas and others in their more recent efforts. I agree that Spielberg's films aren't even in the same league as the films discussed here, such as William Cameron Menzies' brilliant INVADERS FROM MARS, to name just one of the many titles examined, but this is still a remarkably good overview of 1950s paranoid sci-fi. Yes, it turns into a commercial for the tepid remake of WAR OF THE WORLDS during the last fifteen minutes; you can turn that off. The rest is surprisingly good, and it's nice to see contemporary filmmakers remember the films that inspired them, even if they can't begin to match the originals.


I was really looking forward to watching this documentary on what I considered to be some of the most entertaining films ever made. Growing up in L.A. during the 60's many of these old black and white films were shown on the local stations. I even remember a Friday night show called "Strange Tales of Science Fiction" that showcased a different Sci Fi flick every week. This documentary however spent way too much time on the opinions of the four famous filmmakers and how they felt about the classic movies of that genre and how they used them as inspiration in their filmaking.

That is not what I was hoping for in this documentary. It really could have been a comprehensive examination of the decade instead of a brief highlighting of the most well known films of the era. Anyone who has studied or been interested in these films are pretty familiar with standouts such as War of the Worlds, Forbidden Planet, The Thing, The Day the Earth Stood Still, etc. I would have liked to see some excerpts from lesser known films and perhaps some interviews with people involved in the making of these movies. I would have to agree the documentary was way too focused on Spielberg's opinions and was a type of commercial for his new release of War of the Worlds.


"Watch the Skies" (2005 - 60 minutes) is an excellent documentary about movies of Science Fiction. It was produced and directed by the critic Richard Schickel, author of more than 20 books on this theme. Mark Hamill is the documentary narrator. Schickel joins directors as Steven Spielberg, James Cameron, George Lucas and Ridley Scott to carry through a trip in time and space to show some of the most memorable science fiction movies of the fifties and also some more recent classics. The documentary shows six different approaches: The paranoia of the atomic war; The fantastic trips to the Moon; The enigmatic planet Mars; Good and evil aliens; The after-apocalyptic world; and The humanity future. It presents comments and scenes of the following classics: The Flying Saucers, Rocketship XM, Destination Moon, The Space Children, The Beast from 20,000 Fathoms, Godzilla: King of the Monsters, The Incredible Shrinking Man, Attack of the Killer Tomatoes, A Trip to the Moon, The Angry Red Planet, Forbidden Planet, The Thing From Another World, Earth vs. The Flying Saucers, I Married a Monster from Outer Space, Invasion of the Body Snatchers, The Blob, The War of the Worlds, The Day the Earth Stood Still, ET: The Extra Terrestrial, The Omega Man, The Planet of the Apes, The Terminator, 2001: A Space Odyssey, Things To Come and Metropolis. Highly recommended to Science Fiction fans!


I suspect there are several cuts of this doco doing the rounds. The copy I saw focused heavily on Joe's erotic films and referred to his horror output in passing. There are numerous X-rated films presented in their X-rated glory and EMMANUELLE IN AMERICA'S legendary "snuff" footage (the breasts being cut off) is given generous screen time.

The interviews with the highly likable Joe are informative and candid. He is an unassuming, articulate gent and discusses his interest in shocking audiences, why he wanted to mix erotica with horror, and how he may have been responsible for one of his performers turning gay.

His friendship and working relationship with Indonesian beauty Laura Gemser is touched on, as is his indifferent attitude to shooting hardcore.

Joe D'Amato personifies an incredible period in Continental cinema that has now passed. It is great to see a documentary dedicated to him and his fine, unique work.

RIP, Joe.


This documentary is as unique as it's subject. And while D'Amato's staple was erotica, the film manages to show some decent clips of the films you may remember from old time, late night Cinemax... One problem... Joe did hardcore porno at times mixed with softcore erotica, even mixed in his gore films. The gore films are cult classics, going for like $20 a pop for a dubbed copy on the net (not peanuts for 20 year old films, folks.) I want to see why those are cult classics. Also, as sweet as Joe seems (he did seem more elegant than one might expect,) the dude liked to shock. Both "Caligula: The Untold Story" and "Emanuelle in America" show us hardcore rape, snuff, and beastiality (in both, you'd be suprised how far he goes in "Caligula II" with that one, if you can track down an uncut print.) Although these scenes may be disconforting in a documentary of a persons career, hey, he did it... Also, I would have liked to see more interviews of people Joe worked with... Maybe that's just me wanting to see what Laura Gemser looks like these days... I still think she's a goddess and one of the sexiest women ever to grace the genre.


I was very excited to see a documentary on one of my favorite Italian directors. D'Amato has dabbled in everything from Horror, post-apocalyptic to hardcore Porn. He has touched upon genius a couple of times with films like Buio Omega and Emmanuelle & The Last Cannibals. This documentary is a lenghty and informative guide to the films of D'Amato. He is interviewed throughout with English subtitles rolling across the bottom of the screen. The excerpts from his films are narrated by a narrator (with english subtitles). The documentary proved extra interesting when it analyzed the often censored "Emmanuelle In America". Here D'amato explaines the faked "snuff" scenes in detail and recalls some funny stories. In fact, good ol' Joe is very warm and funny throughout, always wearing a smile and smoking a cigarette. The one disapointing aspect of this documentary is that it spends little time on D'amato's Horror films like Anthropophagus and the brilliant Buio Omega. It spends too much time on the erotic cinema and hardly touches the post-apocaplyptic films. But, I can't complain. It is wonderful to see D'amato get the respect he deserves. Highly recommended for fans of D'amato. May he rest in peace.


A refreshing interview with the legendary Italian cinematographer-producer-director who passed away in 1999 with close to 200 features to his credit as director. A large portion is spent on D'Amato's softcore sex films including his notorious EMANUELLE entries with Laura Gemser. They also briefly cover his porn career, which kept him afloat during his last decade or so. More interesting to me is the section focusing on his horror and action efforts. D'Amato has plenty of great anecdotes about actors and his low budget film-making including a story about an assistant accidentally collecting real bones amid the fake ones while shooting in a 2,000-year-old catacomb. Other interviewees include George Eastman and Al Cliver. I would have liked a bit more conversation about his Stateside Filmirage productions (not a single question about TROLL 2; granted it wasn't the cult film then it was now).


Remember Greg the Bunny? It was this show that started on the Independent Film Channel, but got turned into a full blown sitcom on Fox. My cousin and I thought it was pretty funny, beyond the precocious idea of puppets taking on TV-PG material. Puppets Who Kill occurs in a similar universe, where puppets live in the same world as people, and like us, take on jobs and lives of their own. Let's just say if you couldn't handle that, then don't bother watching PWK, as this show is a profile of 4 puppets who fell out of society's good graces through drug abuse, hedonism and violent felonies only to end up in a half-way house. There's plenty of violence, sex, and bad language (so it would never make its way to U.S. Network TV). As if sociopathic puppets weren't enough, the fact that this takes place in Canada makes it even more disturbing (btw, the government pays for this), and I think any American television viewer would demand more demented cable TV fodder like this. I don't know where you can get it in the U.S., beyond extra satellite Tv, but I'd advise you give it a try. Really funny stuff. (It airs on the Comedy Network in Canada)


So totally unique and entertaining! Another great Canadian invention. A regular "Joe"(Dan) and a bunch of misfit delinquents (aka Puppets), all share residence at a half-way house. Its Dan's job to keep an eye on four 'menaces to society' and help them to rehabilitate. Bill, the homicidal dummy, Rocko the cigarette smoking dog, Buttons, the nympho teddy bear, and Cuddles the comfort doll. The five of them find themselves in all sorts of odd predicaments. Despite their homicidal, and often overtly perverse sexual tendencies, it's hard not to find them lovable.

I give this show a 10/10 simply because it provides good entertainment, without needing a huge budget, and exudes a Canadian flair that makes me proud.


There are so many episodes that make me howl over the stories

that I wish I could pick the best ones , Rocko and Bill make for a strange pair that are beyond help but manage to play the victim and BS their way out of hard time just to drag Dan into their life of crime .

Canadians will notice the odd joke for Toronto or the Federal Government, and because the CBC axed a really good show by the Frantics that Dan was part of , the show takes shots at them and in the episode "Dan's Umbrella" the CBC is raked across the coals .

When Dan says that the CBC would never waste taxpayers money on useless venture , Rocko enters the room and gives Dan back his Tape of Friday-Night with Ralph Benmurgue , this show was a flop and most people wouldn't get the joke unless they knew the CBC's history for making shows people don't watch or axing good shows that they do watch.


I went into "The Closer She Gets" knowing that it was the story of the filmmaker's mother fighting cancer. I expected it to be a very harrowing, depressing movie. And although the subject matter is certainly emotionally wrenching, the remarkable thing about this movie is the positive message it sends. It shows a family's total dedication to meet the challenge of cancer together. They refuse to lose faith in each other, even in the darkest moments.

The most moving moments to me are when this faith is revealed. Little comments that the mother and the family make to each other that reveal her (and their) will to survive, and their defiant emphasis on love and family togetherness. In this way it is an uplifting and profoundly hopeful film. We should all be so lucky as to be surrounded by family like this in times of serious illness.


I saw this documentary film at the 2005 Slamdance independent film festival. This documentary is shot, directed and edited by a son (Craig) of his mother's year long battle with cancer. Shot over the course of one year "The closer she gets", is a documentary in the truest form and gives you an inside look of a family's struggle with battling with the cancer, the viewer gets an inside point of view of the effects cancer has on a family as well as the individual throughout the entire process. I have never seen such an honest film, this is a powerful and raw film, and since it wasn't shot by an outsider you get the true emotions of everyone involved. Many documentaries are shot by an outsider, but having this story told by the son adds another emotional level to the film, unlike any I have seen before on this subject or any other. This is a touching story that everyone should see, and can relate to. I would highly recommend it.


The Closer She Gets... is an artful documentary dealing with the death of a person I actually knew. It allows a glimpse into the private moments of the family involved in the most trying time of their lives. Parents tend to support the work of their children, in this case the subject of the documentary went above and beyond. She was willing to share her death experience as an act of love for her son. It is a most touching work of art, weaving the serious, serene, and lighter sides of life for this family. The story is one which can make you laugh, but also cry as it addresses issues we all must face. I highly recommend this documentary to those unafraid to cry, and are willing to deal with the issue of mortality in a most human manner. This film will touch you.


This film is so different to anything you would have seen before. It's an honest and chilling account of an entire family's battle with a terminal illness.

'The Closer She Gets' is shot in a very unique style. Craig Oulette films in a very different way.... using different angles and viewpoints, in what i find is a very eye catching manner (perhaps due to his experience with photographic works).

His style gives such a clear picture of not only what the patient herself is facing, but what loved ones close to her also have to deal with.

A very sad, but extremely interesting and unique film. One I would definitely suggest watching.


I became a fan of the TV series `Homicide: Life on the Street' late in the show's run, but became a fan very quickly. It was a cop show unlike any other: visually different in its use of hand-held cameras, taking the viewer everywhere, with its multiethnic and mutiracial cast and their varying and fascinating personalities, and that it covered all of the good and bad of a police department, including the corruption and personality clashes that bubble up to the surface.

Homicide: The Movie, the reunion follow-up to the series, is as good as a made-for-television film can be. After Lt. Giardello (Yaphet Kotto), now a candidate for mayor of Baltimore, is shot, the series' cast members are back to help find the killer. In addition, the cast members who left the force and those who died, also manage to have their place in the film. The intensity and fire that marked the series return, and the script bristles with the same fire that marked the series. All in all, a terrific TV movie.

Vote: 9


I have always been a huge fan of "Homicide: Life On The Street" so when I heard there was a reunion movie coming up, I couldn't wait.

Let me just say, I was not disappointed at all. It was one of the most powerful 2 hours of television I've ever seen. It was great to see everyone back again, but the biggest pleasure of all was to have Andre Braugher back, because the relationship between Pembleton and Bayliss was always the strongest part of an all-together great show.


In all truth, this really isn't a "movie" so much as an extended final episode; by this I mean that, had you NOT followed the TV series (Homicide: Life On The Street) I suspect that you would have a hard time following this made-for-tv movie. Having said that, "Homicide: The Movie" is still a great watch. I think it says a lot about a television production that EVERY single cast member would return, many after years of absence, to once again portray their characters and bring closure to an incredible program. The movie brings out that sense of "family", not only amongst the characters, but amongst the actors, as well. It's all very bitter-sweet knowing that this will be the LAST time we will see them all together again under the title of HOMICIDE. Story-wise, I found this film somewhat lacking. Giardello's mayoral candidacy seems particularly contrived, and I felt his shooting could've been dealt with within the parameters of his regular position, as Leiutenant. Also, Det. Bayliss's extreme plot twist, which was left hanging at series end, is finally resolved, but I, for one, NEVER felt that it needed to be; I enjoyed being left with a mystery (let us recall that the very first episode's first case also went unsolved for the entire series run!). As a DEVOTED fan of the TV series I can love this movie, and the fact that it even got made after H:LOTS had been canceled, but I would not recommend it to anyone who hasn't had the slightest exposure to the series. Now, if they'd just release it on DVD...


What can I say? An excellent end to an excellent series! It never quite got the exposure it deserved in Asia, but by far, the best cop show with the best writing and the best cast on televison. EVER! The end of a great era. Sorry to see you go...


Homicide: The Movie proved to be a good wrap-up to a well-written, well-directed, and well-acted series. Loose ends were tied up that weren't properly addressed at the end of the final season. The entire series, and especially the movie, provided a life-like look at life (and death) in Baltimore, a culturally unique city with an extremely high murder rate. My attraction to the series began long before I moved to Baltimore, but once I experienced life here for myself, I realized how realistic it was. And the movie certainly retained that spirit. I will certainly miss new original episodes of the series, but am very grateful to NBC and the producers and cast for giving us one last glimpse at the dark side of Charm City.


Following a roughly 7 year rocky road on NBC, it was decided to do just one last Super Installment. The Series had been on the bubble several times thanks to not having the numbers that would qualify it as a block-buster of a TV hour. It had always had a sizable, hard core of hard corps of followers.

It was almost as if the series with the full title of "HOMICIDE: LIFE ON THE STREET" (1993-99) was a sort of "Mr. In-Between" of series. It was too big to just cancel, but too small to get a case of 'Rabid Ratings Ravings' over.

During the precarious tenure on Friday evenings, they had presented some of the best and most daringly Artistic of Hourly Dramas. There, I've said it Artistic, Artistic!! But please, remember we mean Artistic, but not just Phony, Pretentious, Pedantic, Politically Correct preaching.

When at last, it was a sure thing that it was the end of the line for "HOMICIDE"; this super episode was prepared as this 2 hour made for TV Movie.

Looking at all the past seasons' happenings and parade of regular characters, the Production team went out and gave us what proved to be a super send off.

OUR STORY. As we join the story, we find that Baltimore Homicide Unit Commanding Officer, Lt. Al Giardello has "pulled the pin", Retired from the job, that is. But 'G' isn't ready to really retire-retire yet. So, instead of a rocking chair o a fishing rod, we find that Al is running for Mayor of 'Charm City.'

While out in the City, making some campaign stops and speeches, the former Detective Lieutenant takes an assassin's bullet. Alive, but in a comatose state, he is taken to the Hospital.

News spreads quickly and as if officially summoned, we find all of the Detectives of the Baltimore Unit we've seen on the show showing up to offer their services and assistance. There is a great meeting of all of these former and present gumshoes as they pitch in and follow every lead and possibility of a lead.

The Producer found a way to deal with those who had died previously in bringing their memory into the story. They managed to answer some long standing questions and even introduced some here to unrevealed ones. The whole story winds up the series in a most satisfying and original way. But at least for now, we'll leave that as "classified".

In wrapping up everything into a neat, little package, this TV Movie surely gets our endorsement. As for grading "THE HOMICIDE MOVIE", we must give it an A or A+, even. But, no matter the Grade here, it didn't score as high as a typical weekly episode.


My favourite police series of all time turns to a TV-film. Does it work? Yes. Gee runs for mayor and gets shot. The Homicide "hall of fame" turns up. Pembleton and nearly all of the cops who ever played in this series. A lot of flashbacks helps you who hasn´t seen the TV-series but it amuses the fans too. The last five minutes solves another murder and at the very end even two of the dead cops turn up. And a short appearance from my favourite coroner Juliana Cox. This is a good film.


The movie was excellent, save for some of the scenes with Esposito. I enjoyed how it brought together every detective on the series, and wrapped up some plotlines that were never resolved during the series (thanks to NBC...). It was great to see Pembleton and Bayliss together at their most human, and most basic persons. Braugher and Secor did a great job, but as usual will get overlooked. It hurt to see that this was the end of Homicide. Memories, tapes, and reruns on CourtTV just aren't the same as watching it come on every Friday. But the movie did its job and did it very well, presenting a great depiction of life after Al retired, and the family relationship that existed between the unit. I enjoyed this a lot.


For anyone who liked the series this movie will be something to watch. However, it also leaves you wanting more. I loved the way that every character (detective)made an appearance. Least with the ending of who is the fourth chair for they leave a reason for another movie. My guess is Bayless of course. This like the series was a very well put together series of scenes. This is a series I wish had lived on. Thanks to the cast for some wonderful TV.


This is the final episode we deserved. At the end of the last season, things were left in a 'life goes on' mood, which was hardly the wrap-up that this realistic series deserved. While not a happy show, this series was always one that made you think (a rare thing on television), and this is no exception. 'Is death justified by reasoning?' 'Are morals reflective of society, or is society shaped by the morals that are selected by the few in power?' 'What is a just death, and can it exist?' All of these questions, and more, are posed by the writers of this show every week, and this is their final thesis. Fine acting, great writing, wonderful camera-work, brilliant editing, clean direction. If you have seen the series and you missed this when it first ran, then get a hold on a copy somehow. If you never watched the series when it ran, then this will stand up on its own, but it may be heavy going trying to keep up with who all the characters are and what they are alluding to in their varied pasts. For those of us who were avid viewers of the series in the last two seasons, this is very satisfying viewing.


For all the Homicide junkies out there, this movie was great! Every single character that ever was on the show made an appearance in the movie. It helped to resolve some (but not all) issues from the series. Unfortunately, unless you actually did watch the series, most of the enjoyment would be lost, as the movie made heavy references to every season of the show's existence. This probably would have been appropriate as a series finale as opposed to being a separate movie, but we gotta take what we can get. I hope they make more movies, and continue to feature Homicide characters on Law and Order.


HLOTS was an outstanding series, its what NYPD Blue will never be, on HLOTS the plots are real, the dialog is real, the Relationships are real. With HLOTS back as a movie, Tying up all the loose ends, it was good to have all the gang back together, even a few that passed away show up (wont say how) The storyline was fast paced, emotional and full of the spirit the series had week in and week out. Homicide , Life on the Streets, Network drama at Its BEST!!!! 5 STARS!!!! Thumbs UP and all That. Thanks NBC for giving us the Finally we didn't get!


***SPOILERS*** ***SPOILERS*** Well, seeing as I am a major H:LOTS fan, maybe I liked the movie more than normal people would. However, this movie is still excellent. It had tons of surprises, and it gave some more closure to the series. While I was sad that Bayliss turned into a murderer, the overall feeling I felt was satisfied.


Not only was this movie better than all the final season of H:LOTS. But it was better than any movie made for TV I have ever seen!

Looking at the "Top 250" I see that only one small screen movie has made it: How the Grinch Stole Christmas. I think it is time to increase that group to 2.

I will admit that the original series had several shows that were better than this, but I didn't mind. I just LOVED being able to enter the world of the Baltimore Homicide Squad again!


Although there were a few rough spots and some plot lines that weren't exactly true to character, this was Classic H:LOTS. The characters, outside of Mike Giardello (Giancarlo Esposito), were true to form, and the reunion scenes of Pembleton (Andre Braugher) and Bayliss (Kyle Secor) were as deep and well acted as anything ever to grace the small screen.

"Homicide: The Movie" aka "Life Everlasting" is a fan flick, but stands on its own as well as any 2-hour episode of the series. Fontana, Overmeyer and Yoshimura did a wonderful job in pulling loose ends from 7 seasons and every major cast member of "the best damn show on television" together for the series finale that NBC never bothered to give it. True to "Homicide" form, there were no happy endings, such is life. That's what has always set this show apart from the mindless cookie-cutter cop shows left on television. Kudos to the writers and the cast for creating something over the span of the series and in the movie that challenged television viewers and producers alike.

** I call myself a "Homicidal Maniac" if for no other reason than to keep my co-workers in a cooperative mood. **


I have always been a fan of the show so I'll admit that I am biased. When the show's run ended, I felt like too many questions remained unanswered. This movie to me felt like closure. To see all the people I'd followed over the past few years together at last was most rewarding. I have heard that this is probably the only Homicide movie that we can expect. If that is so, this is the appropriate way to go out. This movie is sometimes poignant, sometimes upsetting, but always satisfying. If you are or ever have been a fan of the show, watch this movie.


I am sligthly biased because I appear in this film but i loved it and I am only in about seven dispersed minutes and am not nearly the most interesting part of it. The film is an honest and intriguing account of a noble independent group of filmmakers trying to make a lovable movie. It is also an account of bloated expectations and fallen heros The interviews are well patched together in the editing. The different people are all interesting and there is never really too much of one person. Also, the interviews are shot in a pretty interesting fashion keeping the film visually satisfying. Definitely a worthwhile film. I hope it gets around.


http://video.google.com/videoplay?docid=211772166650071408&hl=en Distribution was tried.

We opted for mass appeal.

We want the best possible viewing range so, we forgo profit and continue our manual labor jobs gladly to entertain you for working yours.

View Texas tale, please write about it... If you like it or not, if you like Alex or not, if you like Stuie, Texas or Texas tale... Just write about it.

Your opinion rules.


All of the trials and tribulations of making a no budget movie right from the mouths of those involved. You feel all of the sweat, guts, determination and dedication Stuie put into this labor of love and the frustration of being left hanging after all his work. The clips of interviews with all involved provides a great flowing narrative and conveys the balls-out, hardcore punk, almost anarchic attitude it took to film "Waldo" and subsequently the documentary. Stuie and company deserve all the props in the world for not giving up when the going got tough and getting "A Texas Tale of Treason" out so we can see what it's like for the budding filmmaker on the street!


There are a limited number of fans for movies in the world that would love a particular genre to go to the depths that this crew has done to bring to life something that the very writer of the original film had, up to this point, never achieved. This is a wonderful exploration of the real dedication and love it takes to reach towards a potentially very successful cult film.

Originally, with the blessings from Alex Cox, this crew began producing the sequel of one of his movies in absolute true punk fashion. Their goal simply being to fully capture the atmosphere as it should be for a complete tribute to the original "Repo Man" film.

This is a great tale of dedication and the treachery that can occur along the path to wonderful movie making. A truly entertaining tale and a guaranteed learning experience for the viewer.


Nice doco Stuie!

Even though it didn't work out how you wanted with the original film you have a fantastic piece of work and great viewing.

It is self evident how much you put into it.

That goes for everyone else too. It's great to see the warts and all account of the process without being 'too nice'.

Loved it! Well worth a view.

Que pena, the writer of 'the original' film couldn't appreciate what you have achieved.

Love the attitude too. Great piece. Looking forward to seeing the next work.

Keep going bro! Paully


I found this to be an entertaining account of the challenges an independent film maker might encounter (something I never even thought about). The film managed to keep my interest the entire time and I actually laughed out loud more than once! I'm not a film maker so I know nothing about the technology but I though it was well edited and flowed smoothly telling the story. As a disclaimer, I contributed to this effort after the fact providing music for the soundtrack but I was not involved in the creation of this film and I could not tell you a thing about Repo Man except that I remembered seeing it way back when (I'm not really a sci-fi fiend). I enjoyed the comparisons the film made of punk rock file making to punk rock music. My wife went with me to see the film and she did not know a thing about it before hand and we had a great time.


Fascinating look behind the scenes about how a really good movie CAN get made if the producers, director, & cast simply "refuse to quit." These guys encountered serious obstacles throughout the two years of the project (miniscule budget, trouble with the script and with the script writer) so the finished product wasn't what was first envisioned, but probably turned out to be more interesting than the movie they set out to make, which goes to show that the punk mentality of "just do it" ...with or without any backing, money, or help...figure it out on the fly and do what you want to do. I really liked this documentary movie and know that viewers will see and learn things they didn't know before. This movie is truly "one of a kind...it's hard to classify because it has pieces of "sci fi" and "suspense" and also "how to make a movie." It tells the truth about how films get made, what can go wrong, and how to overcome. I especially liked the music written by Ed Ivey. These guys know how to produce a good movie on a shoe string because they're creative and know how to build props, dollys, staging, lighting with what they can scavenge up...pretty amazing stuff.


I viewed this movie at the Magnolia Theater in Dallas a couple of days ago. Punk! Everyone and everything involved in the movie added to the punkiness of it. The music, well of course. But the movie itself captured the whole punk genre. Even a grandmother and school teacher (me) can appreciate artists who are able to turn their ideas into reality (well, reality, film-wise). This movie takes a handful of ticked-off young film makers and clearly and cleverly shows the "why" of their angst over not being given the green light on finishing the Waldo film. The (relatively) happy girl gave good comic relief, a nice respite from the continual (but understandable) ragging on the dude who left them in a lurch. Gotta love Stu, though. And be sure to watch/read the credits - they're the icing on the cake!


Everyone who has ever wondered how to make a film on no budget should see this documentary. The determination of everybody portrayed in this project was very moving to me, and should connect to those of us who have ever ventured into any part of show business, be it film, music, or writing. I think the film makers could have done a better job with foreshadowing the events that led up to this film becoming a documentary, perhaps by use of a narrator; other than that, the film comes off as a real example of how show business isn't about "the show", but rather "the business".

I hope that the actual intended project, "Repo Man II", gets to see the light of day. I think the film makers did a fine job on it with what little they had to work with, and all that they had to overcome to complete it.


I too must apologize for a somewhat biased opinion of this endeavor as I contributed to the soundtrack. Still I received my copy, sat back and enjoyed the rolling cast of characters who were perhaps more colorful than the characters they were creating in this tale of a film sequel shanghai. For those who feel George Bush is a "credible Texan", one need look no further than this film to shatter the image that Texas is full of truck driving, one-dimensional rednecks. The cast contains some of the most intelligent, peculiar and humorous folks you'll find anywhere as they spin their tales of agony, bliss and disappointment in going for a great film sequel, no budget, guerilla style (i.e. "punk rock style" as each person helps define).

This is a great documentary made with passion and guts and all the venom you'll need to break through to the other side of whatever industry b.s. and doublespeak you're dealing with (take note authors, painters, musicians and fellow filmmakers). It hearkens back to the credibility of the first wave of American hardcore music when the term "D.I.Y." was the standard, a period where courage, passion and commitment mattered way more than technique, style or precious calculations. Not that there isn't plenty of technique or style to this...the tone of the documentary is quite refreshing. The editing cuts provide as much drama as the dialog therein.

The idea of creating a documentary out of the sad demise of the cast, crew and director's initial intent is brilliant, totally Texas and absolutely punk rock. In the truest sense of the term.


After seeing A Texas Tale of Treason, the measly correspondence efforts by Cox could not even afford the massive collusion Stu directed with no budget. It tells a story about dedication, sweat, whiz, fire and punk rock. I love it! My favorite parts are the interviews with Marci (she's such a hot baby babe and she digs me but she just doesn't know it yet). The Japanese clerk muffing his lines, that cracked me up. The sex scene was really cool. I am going to see if Stu will come over sometime and do the box light wave thing when i'm doing it with my woman. The intro and of course my 5 seconds during closing credits. I know thats going to get me some chicks. I hope to see more from Antstuie because I know I can expect the unexpected.


watch this movie. it's truly a good ride through the difficulties of making a indie movie, and what happens when it blows up in the film maker's face. there's a lot of stuff about punk rock, and the philosophy behind that movement and it's relationship to this project. so if you're into old punk, American punk, you'll dig it.... but, beware, there's a ton of bad acting bits from the failed project that are incorporated... yet they do come off funny at times. and, actually, some of the best parts are listening to people who have never been involved in movie making pontificate and what they went through in the three year period that it took to put this together. so anyone out there that's about to make a film, especially if you haven't been to film school or worked in the field, you should watch this and learn from the film maker's mistakes.


This film would be particularly fun for anyone who has been in the film industry, especially in any indie capacity... those whose inheritance includes a film introduction may not appreciate it quite as much. I am hard to please in the documentary category. This doc is different though- its pleasure comes from an earthy realism of indie filmmaker punks who are a hoot to be around and watch. Whether you've ever wondered what it is like to be in films, in front of or behind the camera, or whether you have worked your way through the sometimes painful and hard but rewarding indie world, you'll certainly get a kick out of this film.


After watching "A Texas Tale of Treason" you feel a renewed disgust for the nature of the Hollywood beast. Inside the interviews and conversations of all involved with the project there is a common sense of comradery and rebelliousness that spans backgrounds, social classifications, and even geography. This can be attributed to hard work on the entire production's undying commitment to the project and the love the of the story from the original film, and the complete creation of vacuum that is it's creator. The scale of people involved in "Waldo's Hawaiian Holiday" was amazing to me, at a no budget, no glory production. There were no trailers or craft services, no amenities at all, and yet everyone involved stuck right there with it. If nothing ever comes of this project, Antstuie Productions have laid their foundation for being a serious, honest company that's never going to lay down and take it or sell out and make a movie just for the money. I'd like to see any L.A. director go through the guerrilla process to get a shot. More realistic true to life cinema is lacking in this time of CG and green screens. The masses may enjoy their entertainment spoon fed to them in nice bite sized censored calm bits, but there is a large group of people out here in the world that share the opinions and insights of the filmmakers that still make films for the love of the material or love of storytelling, not DVD sales or box office. I loved this documentary, and I hope that IFC has the cahones to pick it up and air it so that maybe, just maybe, one more person will decide to pick up a camera and film some real life so we the viewer can have even a temporary understanding that everyone everywhere is the same, and anyone anywhere can be a true storyteller.


This film proves you don't need a Hollywood budget to make something fun to watch. What stuck with me is how the crew from different locations was able to pull together with no promises of riches to make something just because they believed in it. I think anybody who makes low budget movies can relate to certain scenes such as actors who just can't get that one line, being bothered by the police, and having most of the crew disappear after the first week. Nobody got paid for this which says a lot for the people who had to travel cross country and for the long hours spent editing. After watching Stuie sell his personal property, use his own money, and trash his house to make the movie I am a bit curious how close his wife may have come to leaving. Good job to all.


This is a very funny movie. There is a self deprecating, iconoclastic tone to the movie that is very appealing. The characters are interesting. The movie flows very well and holds your interest throughout the 1 hour, 50 minutes duration of the film. The film quality is not of the highest Hollywood standards; however the original film was supposed to be made in the genre of a gritty punk-rock style. The documentary about the attempt to make the film and the subsequent betrayal of the film makers is very well detailed and easy to follow. The original film makers themselves become the main characters in the documentary version of the movie. The interviews of the film makers and the actors has been assembled in a highly entertaining story that illustrates the struggles involved in making the original film, the eventual failure of the original project and the phoenix-like rising from the ashes that evolved into this documentary film. In my mind the documentary (A Texas Tale of Treason) is a much more interesting and entertaining film than the original film (Waldos Hawiian Vacation) would have ever been. Two thumbs up for a job well done.


Iam not sure if discussing the television series is exactly where the comments should be drawn to,however it is on the television where the The Lone Ranger really made a name for himself.Iam not even referring to the original radio broadcasts of this masked rider of the plains,Iam though referring to a point where in a little boy, about 9 or 10 years old,I was to see the movie,"The Lone Ranger"and never forgot it.I can recall that I was on a line or we were moving toward the Paramount Theater-the theater was located in the theater district,if I remember correctly.It was directly across,going East to West from the building that has the ball that drops on New Years Eve-This is of course if anybody doesn't know, New York City.High Above the street on the roof tops there was a time and maybe even still today huge billboards would advertise what was being shown and so on.It was at that point in time that I looked up and was never more impressed as I was when I looked at that billboard to see The Lone Ranger across the roof tops-It was great-It made an impression and was never forgotten.That day we went to see The Lone Ranger-It was the story of how the Lone Ranger was born-The terrible ambush that the Texas Rangers rode into and the subsequent rebirth of one of its fallen heroes.It was in this film we learn that The Lone Ranger will not shoot to kill but to injure so as to let the law be the judge.That type of thinking is so worthwhile that we might be good to learn something from history.This is where we learn that Tonto discovers the fallen Ranger and upon seeing the symbol of the boyhood friendship that The Lone Ranger established years earlier when he as a younger person came to the aide of a injured young person in Tonto-For the aide given, Tonto gave to his faithful friend, a symbol of his thanks which now was part of a necklace that Tonto recognized.Tonto said,"you are Kemosabe".The Lone Ranger said,"kemo-sabe,that is familiar?Then Tonto tells the story of this "trusty scout"(the meaning of Kemosabe)I think the Lone Ranger is one of the true heroes of the silver screen and one of the great heroes of television.It should also be stated that these very respected individuals Clayton Moore and Jay Silverheels sought to live there lives according to the legend of The Lone Ranger-It may very well be that there is an inspiring story in the story of the Lone Ranger and his faithful companion Tonto.I myself was so pleased by the ability to find and buy the DVDs, that I stayed up all a Saturday morning and watched The many episodes now available.Long Live The Lone Ranger and His faithful companion Tonto-Hi-Ho Silver-


Someone once defined what is the definition of AN INTELLECTUAL as being: "A person who can listen to "The William Tell Overture" without thinking of the LONE RANGER!" In this, we heartily concur! It surely would be a tall order to accomplish this, and one that Leopold Stokowski, Arturo Toscanini or .Leonard Bernstein would all find nigh well impossible to do.

And in this there is no disgrace. The Radio Series and the Television Series, along with some Movie Serials, Feature Films, Syndicated Newspaper Comic Strip and Comic Books, all did their part to make "the Masked Man of the Plains and his Faithful Indian companion, Tonto" a deeply seeded element of our collective psyche and of our literary folklore.

As with most legends, it all started gradually, first with a series of Radio Plays, written for local use in Detroit over Radio Station WXYZ. The Creator was one George W. Trendle and the Principal Writer on the Series was Mr. Trendle's brother-in-law, Mr. Fran Striker. The year was 1933 when the Ranger first rode out to "the Plains of the Early Western United States!" The Lone Ranger, Tonto and the Radio Series all successfully guided Depression Era Americans through the mid and late '30's up to and through World War II. But the Post-War Era found the country in the midst of a Super-Nova Explosion of invention and technology. There had been a new communications medium standing ready in the wings, but unable to go forth until both VE Day and VJ Day had been achieved. Once these were accomplished and the World and America was ready to settle down to both Peace and Prosperity. The "New Technology" was, of course was TELEVISION! And we would surely need something else than "Roller Derby" and "Wrestling From Marigold Arena" to fill up the broadcast hours. And while at first, the time that a TV Station had anything on, except that portrait of that Mohican Chief (Test Pattern, Schultz!) Very soon and with post haste, the Networks began tapping their existing Natural Resources, their existing programming! Virtually all would be ripe for adaptation to the TV Screen.

So, the folks over at Lone Ranger, Incorporated were very interested when Producers Jack Chertok, Harry Poppe, Sherman Harris and Jack Wrather all approached them with a deal to put The Masked Man and Tonto on the Television waves, as well as the Radio.

Immediately they went to work and gave us the first season, which made use of the considerable back log of Radio Dramas, all potentially adaptable to TV dramas. They cast Clayton Moore, a fine supporting actor in many a feature film, and with about a dozen years experience. He also had done some work in Serials over at Republic Pictures' "Thrill Factory", which would be invaluable experience in doing "THE LONE RANGER". Cast as his "faithful Indian companion" and partner in bringing Justice to various parts of the Frontier, we had sheer perfection in character-supporting Actor, Jay Silverheels.** We must mention that there was that rift in about '53, when Clayton Moore walked and was replaced with John Hart. After a season or so, Mr. Moore was back in-having been missed so much! Now, Back to Our Story!! The first years of filming gave the episodes a look and a sound all of their own. They made good use of off screen Narrator, which gave these shows a feel of authenticity and an individual, stand-out one of a kind series. The actors employed were all veterans of the movies of the late silent era thru the 1930's and 1940's. A lot of them had been just about exclusively "Cowboy Movie" players. A good example of these is the casting of Glenn Strange (Bartender Sam on "GUNSMOKE") as the vicious, murderous Gang Leader, Butch Cavandish. And it was the Cavendish Gang's massacre of the Texas Rangers that led to the origin of John Reid (thought to have been slain with the other Texas Rangers) as the "LONE RANGER".

In addition to the old timers in the cast, you will find a lot of new and up and coming talent (then) in the cast. We see people like Phyllis Coates, Dwayne Hickman, Denver Pyle and others in the cast from week to week. All of this, along with an always calling for fair-play, justice and peace in a western world.

The last couple of seasons brought some big changes. First was the use of Colour Filming. That made no difference as a Colour TV Set was still a long way off for our household. The second was a new set of musical themes and queues. (Other than Rossini's Finale from "U NO Wutt!") The new music was never a big deal to us, as we preferred the "old Radio" stock stuff.

With this series and two Feature Films done during this period, THE LONE RANGER (Warner Brothers, 1956) and THE LONE RANGER AND THE LOST CITY OF GOLD (United Artists, 1958), the character has been permanently and indelibly impressed in our identity as a People, we Americans!


The 221 episodes of "The Lone Ranger" were originally broadcast on ABC from 1949 to 1957; and then for many years they played in local syndication. For most of the original broadcast years the series was ABC's most watched piece of programming.

The new DVD set from Pop Flix contains the first 16 episodes (15 Sept-29 Dec 1949) and for some reason unknown to me episode 22 from the fifth season, for a total of 17 episodes (the same 17 available on last year's Mill Creek Entertainment release so these are probably in the public domain). These sets pretty much render "The Legend of the Lone Ranger" movie superfluous as all three episodes that were combined in 1952 to form the movie are included in these releases.

The early episodes hark back to radio as there is considerably more voice-over narration used as an introduction and to introduce key plot moments.

The series itself was pure kiddie western with clear-cut good and evil distinctions and no romance. The title character (played by Clayton Moore) started out Texas Ranger John Reid. The first three episodes provide the background for his transformation to Lone Ranger status, his partnering with the Indian Tonto (Jay Silverheels), and the taming of his horse "Silver".

There is an unambiguous code of positive morality infusing each episode. The Lone Ranger is totally good but he adopts the guise of evil. While a masked man in the west was normally feared by the good citizens and an Indian was distrusted, the Lone Ranger is feared by those who would do evil. One persistent theme is that when the Lone Ranger and Tonto first encounter an average citizen they are greeted with suspicion, and by the end of the episode the citizen has been convinced of their value. The trademark ending was a secondary character asking the question: "who was that masked man?".

To really enjoy the series you must accept it for the simplistic morality tale it was intended to be. If you don't take it seriously and keep wishing for some self-reflexive campy parody elements you will only get frustrated.

Then again, what do I know? I'm only a child.


Bullets may not have bounced off his chest, but The Lone Ranger was every bit the symbolic icon to me as my other boyhood hero - Superman. He represented truth, justice and the American way in a classic TV Western setting, living by the principle that he would never use his gun to kill, while scouring the American Southwest with his faithful Indian companion Tonto to bring every single outlaw to justice. The advent of TV provided the perfect opportunity for a post War generation to find it's ideal in an enigmatic masked man who stood for law and order, while providing unparalleled entertainment for five seasons spanning almost eight years.

Today I had the opportunity to view for the first time the complete three part origin episodes start to finish without the standard opening and closing sequences to interrupt the continuity of the story. For fans of the Ranger, this is the grand daddy of all Western sagas, telling as it does how Texas Ranger John Reid survived the ambush by the Butch Cavendish Gang, and how he was nursed back to health by an Indian friend from his childhood. Tonto (Jay Silverheels) declares his companion a 'trusty scout', and names him Kemo-sabe. I've read various interpretations of the origin of the term Kemo-sabe, but I'm satisfied with Tonto's explanation. Reading too much into it just detracts from the story, just like the English translation of 'tonto' from Spanish, which I won't reveal, because it's just better not to know if you can help it.

I thought it quite clever how the origin story created the mystique of the Lone Ranger, like the sixth grave that created the illusion that all the Rangers died in the box canyon ambush. You never see the face of the man who becomes the Lone Ranger, as it's always turned away or obscured to hide his real identity. Even the origin of Silver is handled brilliantly; the voice of the story's narrator describing the wild stallion's sterling qualities. Would that relate, say, to sterling..., silver? I got the biggest kick out of that.

Of course with the passage of time, watching the Lone Ranger episodes today offers a view of how unsophisticated the show was beyond the origin story. Some of them are almost embarrassingly goofy, particularly when it comes to a Lone Ranger showdown when he shoots into the middle of a crowd of bad guys to knock a gun out of it's owner's hand. And how about that little wave he gives to Tonto whenever they're about to ambush the bad guys - it's always the same gesture, but Tonto always knows what it means in different circumstances. Then you have the episodes where Clayton Moore takes off the Ranger mask to don a different disguise to impersonate another character in service to the story. He even went under cover once as an actor portraying President Abraham Lincoln to uncover a villain, top hat and all!

Few fans that I come across ever know that actor John Hart replaced Clayton Moore for the 1952/53 season in a contract dispute that Moore had with the show's producers. If you ever saw that "Happy Days" episode where Fonzie idolizes his boyhood hero, you'll notice it was John Hart listed in the credits. It's difficult actually, to tell if you're watching a Hart episode or not, the key is to listen to the voice; Moore's is so distinctive that it's a dead giveaway.

If you ever get the chance to sample some of the final season color episodes, you're in for a treat. The renditions I've seen on VHS are absolutely gorgeous, although I don't know if commercial prints are available. Most of the black and white episodes around have been re-packaged by any number of distributors in different configurations, so getting your hands on those should be no problem. The must see of course is the three part origin, and if you don't watch anything else, this gives you all the flavor and excitement you need to capture the imagination of one of the West's most famous heroes. Hi-Yo Silver, Awaaaay!


I wasn't even born when this series was released in the USA. It took about another decade before British TV networks laid hold of it.

In fact, I was fortunate enough to see the very first episode, in which The Lone Ranger was one of a posse who ran into an ambush and got slaughtered. TLR was the only survivor. Although badly wounded, he was saved by a passing Indian called Tonto. I believe he took to wearing a mask in order to hide his true identity for fear of reprisal. But instead he made himself all the more recognisable. Dunno if he wore it in his sleep.

This was Saturday teatime staple. The fanfare bugles of William Tell's overture presaged a dash to the telly, food still in hand. Though it very quickly became repetitive, predictable hokum. Nobody ever unmasked him. Nobody ever landed a punch, nobody ever out-shot him. He was a little too good, and just a little too camp in his dress for most kids. Poor Tonto, on the other hand, became his Aunt Sally. He was always getting slugged and tied-up and kidnapped and stuff.

And what did he keep calling The Lone Ranger? 'King Savvy' was the general consensus where I lived. It seemed to imply 'the big know-all' in Indian-speak. But is sounded like something else, as if Mr Silverheels had a speech defect. 'Kemosabe'; what the hell's that?

A later, and less well-merchandised duo called 'The Range Rider' and 'Dick West' eventually won my vote. This featured a naked-faced Jock Mahoney who got beat-up pretty thoroughly in each episode and was altogether less camp, less super, and more believable.

Still; even today I can't hear William Tell's overture without expecting the gallop of hooves and a hearty Hi-Oh Silver.

Devine daftness.


I found this movie on one of my old videos, after "Godzilla vs. the Sea Monster" (which should INSTANTLY give you an idea of it's tone) and I hadn't seen it in a while so I decided to watch it. I didn't remember much about Rainbow Brite except I used to like the cartoon and that it was cute. Most people feel that way about her. You probably do to.

Well, when the movie started, I wondered if it was the right one! It didn't fit the mold of Rainbow Brite as I remembered her. But it turns out she kicks butt! This has to be the strangest animated movie EVER! I can't believe these characters were so popular (the series isn't much different) while being so bizzare. As soon as I watched this movie again, it became one of my favorites.

I really don't want to give too much away. Just know that if you see the movie in the video store, rent it and watch it. No questions asked. You will get a kick out of it. Especially the outrageous Princess character. And the robotic horse. And the hypnotized sprites.

If you can't tell by know, this is an 80's cartoon that is really an undiscovered "head" movie in disguise! Have fun!


Rainbow Brite and the star Stealer is not for people who were born before 1980 or after 1989. Most of those people would not appreciate the great things that are 80's cartoons. The fact that Rainbow Brite was made into a movie is a guilty pleasure for many of us who remember watching the tv show as a child. Granted, much of the dialogue is quite amusing and silly, and the plot is nonexistant to pointless, but it's a very cool movie none the less.


Here's what you have to remember about this movie.... IT'S A KIDS MOVIE!!!!! I don't know about the rest of you but I'm an 80s child. I was obsessed with Rainbow Brite. So, naturally I love this movie. But if you watch the other Rainbow Brite movies this one is by far the best. But, like I said, it's a kids movie. You have to judge it as a kids movie. It doesn't matter to kids if the acting, animation or script is fantastic or even good. All they care about is what happens to the characters. If the good guy (or girl) wins then it's a great movie. If not, then it's bad. You all know what I mean. You were all kids once.


RAINBOW BRITE AND THE STAR STEALER, in my opinion, is an excellent masterpiece. I felt all warm and tingly when Rainbow Brite (voice of Bettina) and Krys (voice of David Mendenhall) set out to get revenge on the princess (voice of Rhonad Aldrich). If you ask me, the princess was absolutely bitchy and diabolical. To me, she deserved to have Rainbow Brite and Krys seek revenge on him. However, I liked her castle as well as the rest of the setting. In addition, I thought that Lurky (voiec of Pat Fraley) and Murky (voiec of Peter Cullen) were diabolical. Before I wrap this up, I'd like to say that everyone was perfectly cast, the direction was flawless, and Disney has scored a big hit. In conclusion, I highly recommend this excellent masterpiece to everyone who hasn't seen it, especially die-hard fans of the TV series. I guarantee you you'll enjoy it.


People talk about how horrible the script was, and how horrible the animation was, but Rainbow Brite and the Star Stealer really is a Japanese Anime aimed towards children. If you look at the anime today it's done in the same style, and it's immensely popular. I don't think this movie was ever intended to be viewed by adults. Just as I don't think it was ever intended to be serious. The very things that people seem to hate about this movie are the things that I love. Rainbow Brite is one of the best cartoon characters ever created in my opinion. She's smart. She's funny. She cares about the enviorment. She cares about her friends. This movie can teach so much to young kids. My little brothers even liked this movie. I have to say this movie taught me a lot when I was a kid. When it came out on DVD I was first in line to buy it. It's a great kids movie. So what if it's not perfect, nothing is really perfect when you look closely enough at it.


I first saw this movie when I was very little. I was born in 1985, so it was around the age when 80s cartoons were big. My mother taped it one day thinking I might like it. I had never even heard of the Rainbow Bright TV show before I was introduced to the movie. When I saw it (on one of those old BETA tapes...) I loved it. I became addicted to it. There are people who say it's badly written and all that, but it's a kid's movie, and things like that don't matter much to children. I loved the story, and especially liked the songs and all the female characters. Of course I pretended to be them, and in the scene where Rainbow first met Krys and they were repulsed they had to work with the opposite sex, I could totally relate. The story was the basic good vs. evil that children enjoy, and there were enough happy moments to balance out the scary ones. The world is a fantastic place that would stimulate the imagination of any young child. I am very glad I had an opportunity to see this movie when I was little. It made a big impact, and watching it now brings back happy memories of childhood. I would recommend to any parent with young children to rent this movie. It will trigger their imagination and provide plenty of entertainment. You're only a child once, so don't let them miss out on this one!


when i was a child this was the movie i watched. i think it is a great movie for the kids to watch and parents don't have to be afraid of any violence or obscene images. rainbow brite is a cheerful young girl and she is trying to make the winter go away. she finds that something or someone is trying to steal the source of life and keep it for themselves. i love this movie and i think that even adults can enjoy this movie.


I adored this, but I am an 80's kid. I loved Rainbow Bright my whole childhood. I don't know if little ones these days would be very interested in the show, mine wasn't. (But thats okay, I bought it for me anyway. I just brought the little one so the guy at the checkout stand wouldn't look at me funny.)I love the non violent drama, and the colorful scenery. It just reminds me of a simpler time before cartoons had more violence than our local news can legally show. :) Although I may be just a little biased on the subject. Afterall I was Rainbow Bright 6 years in a row for Halloween........I wonder if they make a Rainbow Bright costume for adults. Lol.


Um, hello.. Rainbow Brite.. the name alone is hard to take it seriously, like she could be the cousin of Strawberry Shortcake.. but when you're a kid, this is definitely serious stuff.

So, there's this vile, snotty, spoiled girl and she wants Rainbow Brites belt, amongst other things, ie the light of the whole universe, and Rainbow Brite and her friend Cris are bound and determined to stop her. As I remember, Murky and Lurky had a minor role in this production. Maybe they wanted too much money?

So anyway, snotty, evil girl has a powerful jewel and she channels it's power to take Rainbow's belt.. imagine? But somehow, Rainbow gets her belt back and re-energizes it with "star sprinkles" and kicks the bad girls' butt with the help of Cris and his prism bracelet, and they also save the whole universe in the process.

So good triumphs over evil, niceness triumphs over rudeness, and Rainbow Brite and the Color Kids are once again safe to spread color and joy for all mankind.


I watched this movie as a child and still enjoy viewing it every once in a while for the nostalgia factor. When I was younger I loved the movie because of the entertaining storyline and interesting characters. Today, I still love the characters. Additionally, I think of the plot with higher regard because I now see the morals and symbolism. Rainbow Brite is far from the worst film ever, and though out-dated, I'm sure I will show it to my children in the future, when I have children.