That's how Burt Reynolds describes this film, which happens to be his best ever. He plays Tom Sharky, a vice detective who's on the trail of an international mobster (Vittorio Gassman) and the man he's financing to be the next governor of Georgia (Earl Holliman). In the novel by William Diehl, the story is more complex because the guy's running for president. This is a very long movie that feels more like three hours instead of two. The filming in downtown Atlanta and the Peachtree Plaza hotel sets the mood just right for the story. Reynolds doesn't do much laughing in this one compared to his comedy films. He's very serious here, especially in the beginning of the movie because he gets demoted for a dope bust that goes wrong. At times though, the movie plays more like a voyeuristic drama than a crime film with Burt trying to get close to the mobster's woman. Only towards the end of the film does the violence get cranked up that leads to the bang bang climax. Just like the great jazz score in DIRTY HARRY by Lalo Schifrin, Sharky's Machine features an excellent urban jazz soundtrack with many guest stars including Chet Baker, Julie London, Flora Purim & Buddy De Franco, The Manhattan Transfer, Doc Severinson, Sarah Vaughan and Joe Williams. Al Capps handles the score with magic. This movie has become one of the best crime dramas ever. Check it out.

Score, 8 out of 10 Stars


Burt Reynold's Direct's and star's in this great Cop film, Reynold's play's the Sharkey of the title, who is a tough cop whilst working in undercover a drug bust goes wrong, and is demoted to vice,

The machine of the title refer's to the motley crew Reynold's's assemble's to bring down a crooked governor who is involved in high class prostitution Cocaine and contract murder,

The motley crew is played by Brian Keith, Blackploitaion favorite Bernie Casey, Richard Libertini,(as alway's quirky as an ace sounds-man) Charle's Durning, as the chief, The beautiful English rose Rachael Ward play's Dominoe a $1000 dollar's a night hooker whom Reynold's's protect's and eventually fall's for, When staking out an apartment used by the governor.

Italian actor Vittorio Gassman, play's the High stake's pimp, who has a deadly gang of triad's at his disposal, And Henry DeSilva, play's His psychotic brother hit man who is highly strung On prescription painkiller's and angel Dust,

The action packed finale see's the remaining member's of the 'Machine' Engaged in a deadly shootout with Desilva, which culminate's in one the Most spectacular stunt's ever put to Celluloid,

Alas Hollywood has ran out of idea's and is contemplating a remake of Sharky's Machine! Why bother a 25th Anniversary Special Edition DVD would be ideal, not a silly ass remake,


***SPOIERS*** Atlanta crime auctioneer with Burt Reynolds,Sgt. Sharky, and his tough and well oiled "Sharky's Machine" Let. Frisco, Charles Durning, and officers Papa & Arch, Brian Keith & Berney Casey, breaking up the Atlanta crime Syndicate who's on the verge of putting "Their Man" in the Geroria Governor's State House.

Busted after messing up a major drug police sting operation, with the drug dealer and a number of innocent pedestrians shot and killed, Sgt. Sharky was transfered into vice. Busting hookers johns and perverts Sgt. Sharky finds a list of call girls in the wallet of a top Atlanta pimp and after bugging one of the call girls apartment it turns out that she's having Don Hotchkins, Earl Holliman, a candidate for governor as a regular costumer.

As Sharky starts to investigate this strange arraignment he finds out that the good family man, married with five children, Hotchkins is also on the payroll of Vittorio "Victor" Gassman the mob "Godfather" of Atlanta.The high-price call-girl Dominoe, Rachel Ward,who's involved with Hotchkins is tired of being a hooker and want's to leave Victor's stable of call-girls and live with Hotchkins as his live-in mistress after he gets elected governor of Georgia, which is already a forgone conclusion, but their's only one slight hitch; will Victor let go of her.

Tangling with the Gassman Syndicate the corrupt Atlanta police and city officials, as well as the local Chinese mob, Sgt. Sharky ends up losing most of his men, including two of his fingers, as he brings down the Gassman Mafia in a final shoot-out with the his Mobsters at the famous Atlanta Peachtree Plaza Hotel's.

Statueques and beautiful Rachel Ward as Dominoe is thought to have been murdered by Gassman's drugged-out hit-man Billy Score,Henry Silva,who blew her face off with a shot gun but in reality it turned out that he really killed Dominoe's call-girl room-mate Tiffany, Aarika Wells, with Dominoe away in the country.

Sharky, who was in love with Dominoe from afar, found out the truth about her being alive and to the surprise and shock of mob kingpin Victor Gassman is going to use her, by getting Dominoe to testify against him, to put Gassman and his mob away for good but the cunning and vicious Victor wasn't going to go willingly and let Sharky know it sooner then he thought.

Blood spattering shootout at the Peachtree Plaza Hotel in the films final sequence with Shark'y Machine having it out with the almost indestructible junkie hit-man Billy Score. Shooting it out on the hotel stairway both Billy Score and Sharky's machine member Arch come face to face with Billy's drug induced invincibility clashing with Arch's Zen reality alerting philosophy in what can best be said to be a battle of two cultures: West and East.


This was one of those films I would always come across (be it on TV or cheap DVD), but never struck me to give it a shot as I thought I wasn't missing out on much. It was on one night and I thought oh well why not. A good decision too, as I would kick myself for taking so long to get around to it. For me it left me impressed, as it's up there with Burt Reynold's best features ('Deliverance', 'White Lightning' and 'Boogie Nights') and streams back to those 70s/80s gritty, hardboiled urban crime thrillers that weren't afraid to be forebodingly obscure and go out of their way to set-up characters, pack-it with realistically brutal force and effectively incorporate the local locations (Atlanta being the case here) to the fold with grounded photography. In certain shades it kind of reminded me of 'Dirty Harry', but that's loosely. However it's saucily honed blues score with its simmering kicks, funky shifts and unhinged sounds, very much had me thinking of Lalo Schifrin's pulsating score he orchestrated for 'Dirty Harry'. The music soundtrack on the other hand is hit or miss.

Sgt. Tom Sharky was an Atlantic narcotic agent before a slip-out during a bust saw him demoted to vice work. Along with his new squad they come across a prostitution ring, which catches their interest due to fact it's owned by one hard-to-track and to convict crime lord. What they dig up involves a prominent government figure and a call-girl which can give them some important names, but they must get to her before she's made a target.

Burt Reynold's acts, but also directs in an unyieldingly firm and muscular fashion which would suit his laconically hard-nosed performance and Gerald Di Pego's thematically hard-bitten and taut screenplay (that was adapted from William Diehl's novel). Well he does show some sort of heart/insightful thoughts amongst that armor within the scenes involving the fetchingly able British actress Rachel Ward, be it the stake-out scenes when he's watching her from another building (and slowly becoming infatuated by her) to when they finally come together, but these latter interactions mid-way through do slow up the momentum but give it noir like strokes. The performances are fairly spot on with Reynold's formulating a great rapport with exceptional actors Charles Durning, Earl Holliman, Brian Keith, Richard Libertini and Bernie Casey. The scathing profanity and witty dialogues between these guys were a blast. As for the corrupt villains, Vittorio Gassman builds imposing strength and power, but it's Henry Silva (who seems born for these roles) icily cunning and unstoppable turn that makes the show. Where his appearance seems to outline things to come and help them fall into place. Plus his adrenaline-filled and violent cat and mouse climax with Sharky and his team is brilliantly done.

The exciting action passages might be quick and dry, but remain lethally violent like an immensely teeth-grinding interrogation sequence. Some handy, old fashion filming techniques add to the suspense. The intriguing material keeps it quite tactical being character derived, but when we think its smooth sailing it offers up a blunt surprise or two along with some intensely brunt confrontations.


Dirty Harry goes to Atlanta is what Burt called this fantastic, first-rate detective thriller that borrows some of its plot from the venerable Dana Andrews movie "Laura." Not only does Burt Reynolds star in this superb saga but he also helmed it and he doesn't make a single mistake either staging the action or with his casting of characters. Not a bad performance in the movie and Reynolds does an outstanding job of directing it. Henry Silva is truly icy as a hit-man.

Detective Tom Sharky (Burt Reynolds) is on a narcotics case in underground Atlanta when everything goes wrong. He winds up chasing a suspect and shooting it out with the gunman on a bus. During the melee, an innocent bystander dies. John Woo's "The Killer" replicates this scene. Anyway, the Atlanta Police Department busts Burt down to Vice and he takes orders from a new boss, Frisco (Charles Durning of "Oh, Brother, Where Art Thou?") in the basement. Sharky winds up in a real cesspool of crime. Sharky and his fellow detectives Arch (Bernie Casey) and Papa (Brian Keith) set up surveillance on a high-priced call girl Dominoe (Rachel Ward of "After Dark, My Sweet")who has a luxurious apartment that she shares with another girl.

Dominoe is seeing a local politician Hotchkins (Earl Holliman of "Police Woman") on the side who is campaigning for governor but the chief villain, Victor (Vittorio Gassman of "The Dirty Game") wants him to end the affair. Hotchkins is reluctant to accommodate Victor, so Victor has cocaine snorting Billy Score (Henry Silva of "Wipeout")terminate Dominoe. Billy blasts a hole the size of a twelve inch pizza in the door of Dominoe's apartment and kills her.

Sharky has done the unthinkable. During the surveillance, he has grown fond of Dominoe to the point that he becomes hopelessly infatuated with her. Sharky's mission in life now is to bust Victor, but he learns that Victor has an informant inside the Atlanta Police Department. The plot really heats up when Sharky discovers later that Billy shot the wrong girl and that Dominoe is still alive! Sharky takes her into protective custody and things grow even more complicated. He assembles his "Machine" of the title to deal with Victor and his hoods.

William Fraker's widescreen lensing of the action is immaculate. Unfortunately, this vastly underrated classic is available only as a full-frame film. Fraker definitely contributes to the atmosphere of the picture, especially during the mutilation scene on the boat when the villain's cut off one of Sharky's fingers. This is a rather gruesome scene.

Burt never made a movie that surpassed "Sharky's Machine."


I'm a fan of B grade 80s films in which the hero is a bit of a bad guy, a strong male, who finds love - and this film delivers!

Towards the finish you do not know how Sharky will not be killed (and doesn't he take a beating! Realistically portrayed I believe). However he does and it's not via some overdone 'Die Hard' stunt. The 'past it' team he works with comes together, hence the title. His team are all characters - people on the sideline at work because they don't quite conform. These portrayals are funny and sympathetic - they have a real feeling to them. They're up against an iceman of an assassin, with a good team of his own. The result is a great film noir.


Burt Reynolds' riposte to Clint Eastwood encroaching on his redneck comedy turf with his orangutan comedies was to make his own Dirty Harry in Chicago-style thriller, Sharky's Machine. Originally intended for John Boorman but in the end directed by the star himself, it's an out-and-out commercial package with Reynolds a narc who gets busted down to the Vice Squad (literally - they're in the basement) who sets out to nail a mysterious crime lord who is backing Earl Holliman as the next governor. You can guess the rest, but while Reynolds tends to lose sight of the story at times he has a good eye for individual scenes and almost gets a performance out of Rachel ward as the high-class hooker he falls for. The romantic subplot is unusually well developed, there are a couple of good action scenes and some nice touches, such as having Vittorio Gassman's lookalike villain a mirror image of the hero or Reynolds and a killer both staking out a witness from adjacent apartments in the same building. One of the star's better films from his glory days, it's no classic but it makes for a more than efficient Saturday night special.


While he was great in Boogie Nights, I think that this was Burt Reynolds' best performance. He's also a great director and has made a tough, violent movie that doesn't hold back (a hooker's death by 12 gauge) and is an excellent detective story with some great actors (Brian Keith, Bernie Casey, etc.) and an outstanding jazz soundtrack. 10 out of 10


This is Burt Reynolds'"Citizen Kane".Tragically nothing else he was ever involved in came close to approaching "Sharkey's Machine".It seemed to me that he put everything he had into it.It is a movie that is in love with movies.The opening sequence where Detective Sharkey single-handedly rescues a bus-load of hostages is an immensely exciting piece of cinema. Everything moves so quickly once it has started to go wrong that it appears to take on a life of its own,a brilliantly achieved effect. It looks cold,tense and dangerous on Mr Reynolds' streets. The precinct house looks dirty and tired,full of desperate people on both sides of the law,shouting,cursing out,trying to do deals or just stay alive.Into this underworld descends the recently demoted Sharkey - a reward for a bungled drugs bust(caused by a corrupt cop) - he and his team are part of the vice squad.Information they pick up concerning a crooked politician leads them into the world of high-class call girls and ruthless drug barons. Watching the apartment of one such call-girl(Rachel Ward)Sharkey falls in love with her portrait on the wall(I know,I know)and when a woman's body is found with its face shot off in one of the rooms,he thinks its her.(Well,I did say it was a movie that loved movies). The scene where she walks in on him works beautifully,even if you have seen the original. The film is full of good touches,I particularly like Charles Durning's war story,subtly acted and shot in sharp contrast to Sharkey's abduction and torture which is suitably harsh and brutal. I must mention Vittorio Gassman and Henry Silva as two disparate but equally evil brothers with absolutely no redeeming features whatsoever. They are "full on" every time they're on screen and are no loss to society when their time comes,Mr Silva's end being extra special indeed. As has been mention,this is a Clint Eastwood movie that Clint never made.The biggest compliment I can pay "Sharkey's Machine" is to point out that in my opinion Clint Eastwood couldn't have made a better job of it. The soundtrack is of an equally high standard,featuring Sarah Vaughan,Joe Williams,Julie London,Chet Baker and other top class artists. Randy Crawford's "Street Life" plays behind the title sequence,and I can never hear it without ,in my mind's eye,seeing Sharkey striding along the sidewalk. Like other correspondents I have never understood why this film was a bit of a flop.I hope it is due for a critical revision,particularly at a time when so many cop movies and shows without a quarter of its energy , freshness and sheer joie de vivre are lauded from the rooftops. If you're ever tempted to think of Burt Reynolds as a burnt - out one - trick pony,put "Sharkey's Machine" in your video machine.I promise you won't be disappointed.


Great just great! The West Coast got "Dirty" Harry Callahan, the East Coast got Sharky. Burt Reynolds plays Sharky in "Sharky's Machine" and I enjoyed every minute of it. Playing a maverick narcotics cop in Atlanta, GA is just what everyone wants. Instead of suspension, he's sent to vice squad. Like in the Dirty Harry movies or any other cop movies, the captain is always going to be the jerk. When I was a kid, I was curious what that movie meant "Sharky's Machine". Well I knew who played Sharky, I wonder what his machine was. It was his GROUP of fellow cops. After uncovering the murder, he goes all out to find the perp. When it turns out to be a big time mob boss, Sharky doesn't play around. When he gets the other prostitute into safety, Sharky fights back hard and good despite losing a finger to the thug. And I also like the part where the bad gets blown out of the building through a plate glass window. That was the BOMB! Randy Crawford's "Street Life" really put the movie in the right mood, and the movie itself is really a great hit to me, ALWAYS! Rating 4 out of 5 stars.


This is the best thing Burt Reynolds ever did . . . . nice combination of suspense and humor, with an excellent supporting cast, this is a very well written and credible urban drama with a great sound track as well . . . makes you wonder why Reynolds doesn't direct more movies . . .


An intense, dark action drama with unusually rich support from Casey, Keith, et. al, many of whom get the best roles of their careers and run with it. The film is oddly shaped -- often the action slows down just to let the characters get caught up in odd but well-done seemingly improved dialogues -- during the stakeouts, almost all of the "Machine" get caught up in perfectly delivered humorous monologues -- and Reynolds the director deserves mucho credit for having Reynolds the star step back and give them room. And unlike most action films, you really get to like the characters, which makes the 2nd half, when their various destinies good and bad unfold, unusually affecting. The combination of character development, brutal violence, a jazzy soundtrack (Tarantino must be a fan -- watch this & then "Jackie Brown" and you'll see what I'm talking about)make this occasionally flawed film (The bad guys are a bit melodramatic) one of the better modern cop films, and in my mind superior to many of the overrated modern noirs such as "Body Heat" & such.


I think this is one of Burts top five movies, along with Deliverance, Smokey and the Bandit, Boogie Nights and City Heat. He also directed this one so he had a talent for that too like his buddy Clint Eastwood. I wish he made more films like this or even a sequel to Sharkys Machine than the likes of Stroker Ace or Cannonball Run II. This is a tough, gritty cop thriller with Reynolds at the top of his game. Having the beautiful Rachel Ward in it of Thorn Birds fame helped too. Henry Silva is the bad guy and he always does a good job at that. The film also a great soundtrack too. I highly recommend this, wish it was on DVD in the UK, an audio commentary from Reynolds would be great as well. ***7/10***


Without a doubt, the best Burt Reynolds film ever! Even better than Smokey and the Bandit. This was probably the first real bloody cop thriller of the 1980s and delivered the perfect blend of humor, action, mystery and style that is missing in today's films.

This one has it all: A psychotic Henry Silva jacked up on PCP, $1,000 a night call girls, ninja assassins and Burt Reynolds getting his fingers sliced off, one by one, with a butterfly knife. The film is based on the novel by William Diehl who also wrote PRIMAL FEAR, another one of my all-time favorites. This movie is worth watching just to see Henry Silva get shot six times, crash through a window, and fall thirty stories from the top of an Atlanta high-rise. This is probably the coolest stunt in Hollywood history, performed by legendary stuntman Dar Robinson.

Robinson also played "Moke" in the Elmore Leonard movie STICK, also starring Burt Reynolds. Stick features another great Dar Robinson stunt. Robinson falls from a Miami apartment building and unloads all six shots from a .44 magnum on his way down. Very cool stuff.

SHARKY'S MACHINE is my favorite police drama. I never understood why this film flopped the way it did. If Burt did more films like this, he would've built a better reputation for himself. He proves to be a talented director with Sharky, as well as a gifted actor. Burt is supported by Brian Kieth, Charles Durning, Bernie Casey, Richard Libertini, Rachel Ward, and everyone's favorite bad guy Henry Silva. PLEASE remake this classic film! Get Affleck and Samuel L. and some other hot actors and you've got a great movie just waiting to be filmed.

I give it a 9 out of 10


Meester Sharky, you look so ... normal. You would never get a table in this fancy cocktail restaurant/bistro. I, on the other 'and eat grapes and pate 'ere every day. You like my fur coat with all the fine trimming? My enormous golden rings of gold? Or maybe you like these blonde, 'ow you say?, bombshells, who are all qualified in aerobics and naked petanques, who decorate my long, maroon velvety sofa like so many soft boiled larks on a plate of pan fried foie gras and figs. You like? You can't have! Zey are all mine.

You will never possess 'er as I possessed 'er. Domino was the best, apart from Maman. You do not understand the art of lovemaking. Just look at your inferior moustache. It is almost funny to me, non, to think of that ludicrous protuberance on your silly face, as you snuffle around Domino's love hillock like the piggy seeking the truffle in the forest, the forest heaving and swaying in the hot winds of desire! You lose again Sharky.

When I make love to the women zey know, Sharky, zey know. Zey learn, zey learn until zey become the teacher. Not nano-maths, the arts of love. Domino was the seedling which I watered. I watered her so very often. Everywhere Sharky. Her scented petals, her proud stalk, everywhere. She will wither under your ridiculous hose, like the soufflé removed from the oven five minute too soon.

I must go now Sharky, you bore me so with your disgraceful behaviour. It is you who will be flushed down le pissoir like the smelly thing.

Bon chance!


Burt Reynolds stars as an undercover cop who is after a crime boss.. Rachel Ward as the high price call girl he falls for..Burt does well in this role and I think he would've done well in more roles like this..

Rachel Ward is beautiful and sexy in her part..good pacing and story but something is missing in the equation.. on a scale of one to ten..7


"Sharky's Machine" is clearly a Burt Reynolds vehicle designed to allow the star room to strut his talents and he spray-paints the machine, the film plot, with colors from other films and other styles, offering a variety of moods within a nourish story.

Made in 1981 at 119 minutes (lengthy for the time period), the film did well, with box office grosses at $37,800,000. It had a lot going for it: Burt Reynolds actor and director, a solid one-two punch; a William Diel novel adaptation, and the south land of Atlanta Georgia, at this time, a land of opportunity for film production out of Hollywood.

Reynolds' Tom Sharky falling in love with Rachel Ward's Dominoe the hooker-with-a-heart-of-gold is here echoed as it was in "Hustle" when he played opposite Catherine Deneuve, and that film also had a corrupt politician at its core, but with downbeat ending not the Hollywood happiness in "Sharky's Machine".

The story is pure Detective procedure/actioner. Sharky a narcotics detective mismanages up a bust of a drug dealer, causing the killing of some innocent bystanders, and gets demoted, literally transferred downstairs to vice, to deal with perverts, and other m misdemeanors that 'upstanding' cops consider latrine duty. His new digs offers him the chance to meet many equally upstanding officers who are doing the dirty jobs no one else wants. When some attention is pointed toward a certain pimp Sharky looks over some evidence and discovers that one particular prostitute Dominoe (Rachel Ward) - Dominoe is being shielded by police forces and political forces and Sharky sets himself up a 24-hour surveillance force to watch her. During the time he watches he learns that the current Governor-elect Hotchkins (Earl Holliman) is visiting Dominoe, as is a slick Italian gangster Victor (Vittorio Gassman). Before the police can build a case with the evidence, Billy, Victor's brother, a coke-snorting gunman (Henry Silva) shoots through the door of Dominoe's apartment seemingly killing the beautiful Dominoe, but when Sharky discovers that the murdered victim was actually a roommate Tiffany (Aarika Wells) Sharky confronts Victor and tells him that he is going to have him arrested. Sharky is captured by some Ninja killers lead by Smiley (Darryl Hickman) and is tortured for information to lead to Dominoe, but Sharky overpowers them and arrests the Governor and in a heated chase kills Billy after he has killed Victor.

Reynolds wants to exhibit the inner workings of a hardened policemen falling in love, but the police-story plot, flavored with noir element, and Reynolds ability at cinematic development tends to slick over the dynamics of the relationships.

We come to learn something about some of the men and this leads us to reason why they are working towards their pensions in vice, instead of fighting real crime- this element of the film seems sketchy under Reynolds' off-handed direction and performance.

There is always uniqueness to a Reynolds film. He likes to hire stars, either character actors or others and then allow them to improvise, sometimes with varying results.

With his crew in "Sharky's Machine" he gets some fine moments, and sometimes some overblown grandstanding but always a sense of ensemble and good-natured-ness. With Reynolds as auteur it works.

Reynolds, the actor/auteur always seems to be smirking at himself and the viewer as if to say it's all fake, but good fun.

Great line: In the scene with Victor when Sharky throws down the gauntlet "You're walkin' all over people like you own 'em ,and you wanna know the worst part? You're from out of state." This seems to be the greatest insult the officer can throw at a criminal.

Reynolds made the film in Atlanta at his career point have shot himself reading the phone book and would have surely targeted and demographic.

The film did mark the appearance of Rachel Ward who was nominated as New Star of the Year in 1981 by the Golden Globe.

Reynolds has always had presence and star power and has chosen to make films close to home, Georgia.

I got my DVD from half.com for $7.99 and unfortunately it doesn't contain any commentary or making-of features, which is a shame. Maybe the next generation will have them.

The movie is still a lot of fun and both Reynolds and Ward are great-looking actors in their prime.


In short if you want to watch Burt Reynolds best films than this one must be included. If you don't like Burt you may still like this. If you love Burt this may become one of your favorite movies of all time! Being from Atlanta it does hit home but it's also nice to see a cop/action/drama that takes place somewhere other than NY City, Chicago, Miami, or LA. The film is funny at points with & good plot & good performances from a great supporting cast (every character is real & the bad guys are not so one sided they are really well thought out)A nice offbeat romance in the 2nd half & it has some good old fashion shootouts & fistfights (no CGI thank God REAL ACTION!)

If Clint Eastwood did his best impression of a Burt Reynolds movie with "Every Which Way But Loose" & "Any Which Way You Can" then Burt responded with his best Clint type flick with this, & it comes off great!


Burt Reynolds directed this action movie and (surprise!) he is actually a pretty good director. This movie starts off well as Burt's attempted bust of a drug dealer is botched, and he is demoted down to the vice squad. The ensemble cast has some pretty funny scenes as Brian Kieth is always eating something, Bernie Casey has more class than all of his co-workers combined, and Charles Durning loses control of his squad.

The vice cops stumble on a high-priced call-girl ring that may have something to do with a series of murders. Sharkey spends days staking out Dominoe's (Rachel Ward) apartment, and starts to really adore her from afar.

Just when they are getting close to the crime leader, Dominoe is murdered. I won't give away any of the surprises in the plot, but the first hour of this film is great.

Unfortunately, the screenplay gets very clichéd and unbelievable after that.

Why would Burt Reynolds confront the crime boss with his big secret? Sure it makes the guy sweat, but it causes many more cops to be killed. And it is not believable that Dominoe and Sharkey would make love after they have know each other for one day, much less while their lives are in danger. And at the end, what happened to all the police that run into the building with our heroes? Isn't there a SWAT team? Also, the film never actually tells you how all of the bad guys are connected, and why they have to kill so many people.

There is a very effective torture scene on a boat near the end of the film, which is probably the only really nail-biting scene of the film. It is a shame that the climax is a typical shoot-em-up. Still, this film is certainly entertaining if you like crime and action movies. Don't think about the plot holes, and you will have a good time.


In the tradition of "neo" film noir flicks like "Chinatown", this film focuses on a crime mystery in a bleak realm with a bit of character insight blended in. The typical noir characters thoughout, including the cop out to prove himself, a damsel in distress and a bad, bad guy. Sharky's Machine gets a 9 out of 10 for its cinematography first, plus its direction, story, strong character acting and superb jazz score. Available on DVD, though the soundtrack itself is out of print (but available "used" on some auction sites). Filmed on location in beautiful downtown Atlanta (novelist Diehl's hometown) and the uncluttered, circa 1979 look of the city would make an old-time Atlanta citizen or visitor long for the old days before 12-lane interstates crisscrossed the city, a cinematographer's dream at that time. This was Rachel Ward's first USA feature film.


Sharky's Machine is a crime drama set in early 80's Atlanta. It stars Burt Reynolds as a renegade cop who is hellbent on stopping crime and corruption in his city. The story is about a dirty politician who is at the top of a crime ring that has been brining the city to it's knees. Sharky's link to bringing down this syndicate is a high-priced hooker that he falls for during the course of the movie. The action sequences are well done for the early 80's and the soundtrack / score are pretty good. The acting is B-level but this is a pretty decent film to have in your DVD collection.

Overall 7/10

Peace

Buggieblade


Sharky's Machine is easily one of Burt Reynolds best efforts. It also stands as one of the best contemporary crime dramas. Erotic and violent, the movie distinguishes itself by setting the story in Atlanta, and delivering a chaotic detective case, to you(the viewer), on a silver platter. Dedicated and determined, Sharky must stop the murder of Dominoe, a lovely lady of the night, who's clientel is anything but ordinary. Before long, Sharky's crimefighting Machine uncovers a conspiracy of the highest order, which threatens to corrupt the inner body of Atlanta. As a resident of Metro Atlanta, I recall the excitement in town during the movie's production. Sharky's Machine goes to great lengths to give an accurate portrayal of Atlanta. Twenty years removed and 2,000,000-more people later, the film stands the test of time. Trust me, Atlanta has not changed. One of the highlights of the picture is Dar Robinson's daring stunt(a classic, symbolic ending). It was even featured on That's Incredible, ABC's reality show of the period. It's just too bad that Hollywood does not make enough films like this one. Kick back, each your popcorn, and watch sterling silver cinema action.


I was very impressed with the latest production from Mick Molloy. As a fan of his, I was used to a different kind of humour than displayed here. He wisely opted with a more subtle, broad style of comedy in Crackerjack, rather than his usual low brow, in-your-face ramblings. It is, at times, inconsistent and un-even, but a decent script works past that, and makes for some entertaining viewing. Directed by Paul Moloney (who has directed almost every Australian TV series imaginable), Crackerjack tells the story of Jack Simpson, a bloke that belongs to his local bowls club for the sole reason of parking. When the club hits financial trouble, he is forced to bowl competitively in an attempt to raise the funds to save the club from becoming a poker machine haven. A familiar, and successful formula, that is handled well. There is no denying that the film owes it's success to the great casting of Molloy. He seemed to have a great rapport with Samuel Johnson, and excellent chemistry with Judith Lucy, and while the character is probably not a far stretch from his own personality, you can't help but wonder why he hadn't tried his arm at film earlier. To smooth out the in-experienced cast, the delightful Frank Wilson and Bill Hunter support, and often steal their scenes. They are two fine actors and the pair cruise through their roles with ease. Had it not been for the huge success of 'My Big Fat Greek Wedding', Crackerjack would have made it to number 1 at the Australian box office, but when you consider what he film is about and who is involved, even making it to number 2 was an outstanding effort. All in all, a witty, feel-good movie. Great cast, great crew, and a great soundtrack, combine to make one of the better Australian films of 2002. 7/10.


WORTH IT FOR: If not for Mick Molloy's work, then for Judith Lucy. She brings her usual classy style of unbridled foul-mouthery to the role, and steals the show in parts.

IMHO: I'm not much of an autograph hunter, but I have collected 3. The first is Samuel L. Jackson's, the other 2 are in this movie: Tony Martin and Mick Molloy. Altho Martin only makes a cameo appearance, Molloy not only stars but co-wrote and co-produced this flick. I've been a fan of their for years now (apparently I was the only one laughing during the on-set urination in the first episode of the short lived The Mick Molloy Show), so I went in to this with high expectations. I'm happy to say I wasn't disappointed. With Mick doing a lot of the work on this thing there's plenty of his usual trademarks. Phrases like "blow it out your arse" and "these bowls are s***house" are all over the place, aswell as plenty of Winnie Blues being sucked down. It's also the sort of stupid, original story you'd expect from someone like him. This is like one of those cliqued, American, sporting comedies where they make a baseball team out of prisoners or something. But rather than trying to make a dull American sport like baseball or gridiron interesting, this movie focuses on a sport usually left to grey army: Lawn Bowls. But the main difference between this and other sporting type comedies is that this is actually very, very funny. What's even better is that even tho the subject of this movie is a young lout joining an old folks game, it's never insulting to the elderly, and it never gets sickeningly soppy or anything. It's just good laughs at genuine 1972 prices. Mick is great in the first real acting role I've ever seen him in, as is Judith Lucy and the rest of the cast, but then most of them have had a lot of practice... This is the best Australian comedy I've seen in a long time. Go see it and learn the joys of Lawn Bowls!

IT'S A BIT LIKE: Major League?

SCORE: 8 / 10


Crackerjack is a simple but feelgood movie where the good guys are very good and the bad guys are very bad and the central character is tempted by both sides.

The combination of the central character being played by Mick Malloy and the central setting being the local lawn bowls clubs drew an unusually broad crowd ranging from large numbers of teenagers to large numbers of senior citizens - and all laughed at the comedy.

As would be expected of a movie with Mick Malloy and Judith Lucy there was quite a bit of swearing, but it was not overdone and the audience I sat with certainly enjoyed it!

Mick Malloy did a good job as the lazy bloke who joined the bowls club (three times) simply to get parking spaces (one for himself and two for leasing to others at a premium) but who has everything fall down on him when he is required to play or lose his membership.

Judith Lucy does a fine job as his local journalist/love-interest and there are fabulous performances from Bill Hunter, Frank Wilson, Monica Maughan, Lois Ramsey and many others.

John Clarke's dour role as the bad guy is not one of his funniest but he gives a solid performance.

The not so subtle swipes at pokies provide a bit of a serious note to this otherwise light comedy.

I'm sure that those who enjoyed The Castle and The Dish would also enjoy this movie.


This is the first feature film from Australian comedian Mick Molloy. Mick wrote the film with his brother Richard with help from John Clarke, another comedian and actor. Mick & John also have starring roles along with several other iconic Australian actors - Bill Hunter, Frank Wilson et al. The basic premise of the movie is that slimy Jack Simpson (Mick Molloy) has become a member of a Lawn Bowls Club for the sole purpose of getting a free car park near his work. The Club is in dire financial straits and calls on Jack to help. John Clarke plays the clubs arch nemesis - he is trying to take the club over and turn it into a "Poker Machine Slum" Jack and the other club members band together to try and save the club with many funny twists and turns and Jacks eventual redemption. This is quite a clever little movie. It is well above Mick Molloys usual gutter humor. It is pretty well written and well acted. The older Aussie actors are brilliant (Bill Hunter, Frank Wilson Monica Maughan and ors) The film meanders along rather then going at break neck pace, but that adds to the charm of the movie. There is low level coarse language.


Crackerjack, starring Mick Malloy & Judith Lucy - both part of the cast in the early 90's Saturday night comedy show "The Late Show", Bill Hunter, an Australian movie icon and John Clarke, who we still see regularly on Australian TV along side Brian Dawe.

Crackerjack, losely is about a guy in his early 30's (Jack Simpson, played by Mick Malloy) who pays his yearly memebership at the local bowls club in order to get a few car park spaces for which he uses himself and rents out to others as cheap inner city parking.

The club falls on hard times, and pulls all the resources and memebers together it can, Jack gets a phone call telling him to turn up to next Saturday's bowls match or lose his membership (and conseqently his car park space)

I wont spoil the rest, but the film is funny, light hearted and contains everything a good aussie film should.

If your not Australian, then some of the jokes and humour will no doubt baffle you, if you are an Aussie - do yourself a favor and sit yourself down to Crackerjack.. Its now available on DVD, I already have my copy!

10/10.. Awesome flick!


I was reticent to see this flick before reading the external reviews and user comments posted here. Why? Firstly because Mick Malloy's humour can (in my humble opinion) be pretty crass and over the top, evidenced by his ill fated shemozzle of a television show some years back. And secondly because good Aussie comedy films are sadly as rare as the Tassie Tiger.

Sensibly Mick has restrained his natural comedic exuberance in this surprisingly watchable movie. Who would have thought that a bowls club would provide the setting for one of the funniest Australian films in years. The cast is excellent with familiar local old timers all putting in believable performances.

Interesting to see John Clarke playing the villain in this piece. It's a one dimensional part but JC still adds a touch of class, as always. Good to see Judith Lucy also getting a Guernsey or should I saw bowls uniform on the big screen. She's a real talent, pity a number of her retorts were expletives. Her own material is a lot wittier. Interesting character though. Bowls reporter on a local rag. How low on the journalist food chain can one get!!

Crackerjack may not be the funniest film I've seen this year but it's certainly an enjoyable diversion, well worth a look. Lots of other people obviously agree with me as it's headed to be the biggest grossing Australian film this year. Good to see someone finally make a quirky, gentle comedy without trying to sledgehammer the laughs like so many Australian 'comedies' before it.

Finally a bit of trivia. If you're wondering which Aussie Rules team Mick supports check out the flag on his workstation. Also look out for his old partner in crime, Tony Martin doing the announcing in the final bowls scene.


A fairly typical Australian movie where the underdog saves the day inspite of himself. I guess there is no real reason to see this pic if you have seen "The Castle" or "The Dish". It still leaves you with a positive feeling at the end and it as good or better than most Hollywood stuff.


A very comical but down to earth look into the behind the scene workings of an Australian bowling club. The way they deal with various problems such as takeovers, memberships and general running of the club, not to mention the car parking dilemma was well scripted.


While not for everyone, Crackerjack is a delight to watch, with tongue planted firmly in cheek. The likeable character of Jack Simpson, played by Mick Molloy, is scamming the local "bowlo" for free parking and making a couple of dollars on the side, selling the parking space to work colleagues. When the Bowling Club members need to raise some money to save their club, they call upon Jack to join their bowling team and play competition bowls.

Filled with Aussie Charm, the laconic wit of Mick Molloy is showing through (he also co-wrote the script) reminding this viewer of his earlier work in Radio. Perfect Aussie casting with Bill Hunter as Jack's bowling mentor Stan Coombes, John Clarke (of The Games fame) as the ruthless businessman and rival bowls club owner Bernie Fowler, with Samuel Johnson as Jack's flatmate Dave, and Judith Lucy as the jaded Journalist, Nancy.

Initially, I figured only fans of Molloy would like this flick but judging by the number of the blue rinse set exiting the cinema chuckling, this is a film for everyone.


Considering the appalling track record of Mick Molloy since going out on his own, I had rather low expectations of Crackerjack. Even the promotional posters for the movie had me nervous. In fact, if it wasn't for the fact that I'd received free tickets to the preview, I would have resisted the pressure from the missus (who thinks Mick's a hunk - there's a worry) to pay money for it.

The first few minutes of the movie had me worried - it starts with one of Micks tired "get angry at insignificant things" routines, but that was given a neat touch, which at least made it a little refreshing. The rest of the script was pretty good, and very light hearted - even the typical Mick Molloy (and Judith Lucy) humour was delivered well and whilst I never had to pick myself up from the aisles, it generated a lot more chuckles that I was expecting (and it was consistant).

There's nothing new in the plot - pretty predictable, but it moved along quickly between one-liners and other jokes - I never felt it harboured on any element too long or too short; Mick must have worked hard on polishing his script. There were a one or two "Late Show" in-jokes, and one or two jokes that only Melbournians would get - but certainly there's plenty of generic stuff in there for a wider audience.

Something that I found disappointing was the relative unfunnyness of John Clarke - he just didn't seem to work as the bad guy, but that doesn't detract from the movie too much.

Over all, I enjoyed this Australain comedy, and was pleasantly entertained for the duration of the movie. I left the cinema with a decent sized grin - a pretty hard thing for an Australian comedy to do in my books. 7.5/10


Coming from Oz I probably shouldn't say it but I find a lot of the local movies lacking that cohesive flow with a weak storyline. This comedy lacks in nothing. Great story, no overacting, no melodrama, just brilliant comedy as we know Oz can do it. Do yourself a favour and laugh till you drop.


Crackerjack is another classic Aussie film. As so many Australian films like The Castle, The Dish and Sunday Too Far Away, it goes somewhere that hasn't been widely explored in film before, this time it is the game of Lawn Bowls and bowling clubs. Crackerjack is a much slower paced sports movie than many you will find such as Remember the Titans or Million Dollar Babybut the characters involved are athletes in their own right. This movie is a show case of a large area of Australian culture and features a sport that is popular and on the rise of popularity in Australia. Mick Molloy presents a classic, unforgettable character. It really is a must see.


Crackerjack is a funny movie, everyone at the bowlo has seen it and all say the same. The wheel of cheese was a great part of the movie, also the loud speaker "dear Mr so and so you have left you right indicator on". Or when Jack goes home and lays down on the couch and cracks a beer, "bowls is hard work" cracked me up. And when his roommate shows interest by joining the club and calling bingo number. Jack buying all the raffle tickets to win the meat tray. Bloody great movie if you are into lawn bowls as you can relate to it, if your not a lawn bowler forget it i think. The Evans Head Bowlo would rate as the best club in Aus, friendly people, great company.Hi to Evans Head Bowlo Steve


Crackerjack is a hit and miss film set in the Australian suburban lawn bowls club of Cityside. Mick Molloy plays a scammer who has been scoring free parking spaces at Cityside. When the club is put under pressure to install poker machines in it's premises they need to raise $8000 to keep this from happening. The club needs new members to help and this is where Mick molloys character comes in and has to bowl to save the club. With many up and coming and aging Australian actors Crackerjack is a hidden gem. Be warned though most of the jokes are for those with a knowledge of lawn bowls but there are many amusing sight gags that provide comical relief. Sam Johnson and Judith Lucy co-star. Overall the movie should be recommended for people who play lawn bowls or have played but there is enough other material in there for an amusing play if you have a slight understanding. If you enjoy Australian humour I suggest you get you're bowling whites on and head on out to the theatre because this is the premiere lawn bowls comedy of the year(also the only one).


I recently saw this at the 2007 Palm Springs International Film Festival. The film's title and in fact much of the outline of the film is from the Robert Graves poem Beauty in Trouble. Jan Hrebejk directs a screenplay by Petr Jrchovský from a story by Hrebejk and Jrchovský. the story begins in 2002 when Prague is hit by one of those devastating 100 year floods that destroys the household of Marcela (Ana Ceislerová) and Jarda (Roman Luknár) and their two children Kuba (Adam Misik) and Lucina (Michaela Mrvikova). Because of the moldy conditions where they now live Kuba's asthma is life threatening. Marcela works and Jarda runs a chop shop out of the garage they live next to. Jarda's shady occupation runs him afoul of the law and one of his theft victims becomes infatuated with Marcela. Evzen Benes (Josef Abrhám) is a wealthy businessman who divides his time between Italy and the Czech Republic and offers to care Marcela and her two kids. Jana Brejchová is Marcella's mother who lives with her common-law husband called Uncle Richie played by Jirí Schmitzer in probably the film's best role. Rounding out this excellent cast is Emília Vasaryova as Jarda's mentally fragile mother who gives any money she gets to the local religious charlatan. There is a lot going on here for a small film and it's good story with a great script and a lot of comic relief. Ales Brezina provides the music score with additional music from Czech singer Raduza and Irish singer Glen Hansard. There is a lot to like about this film and I would give it an 8.0 out of 10 and recommend it.


This was an excellent movie! I saw this at the Karlovy Vary IFF in the Czech Republic, and it won an award there. This is the first film I've ever seen from Jan (the director), and I was impressed. It's a great story about love and family. The movie has a great balance of comedy, romance, drama, and suspense all in one. I will not give away any of the plot, but this is a well-made film, and I would watch it again if I had the chance! The cinematography/editing is great, the film simply flows, and the characters are warm, and they are the kind that one can relate to. I hope you can enjoy this film as I did. If anyone knows where I can find this in the United States, or if they plan on releasing it on DVD anytime soon, please let me know!!


Beauty in Trouble (Kráska v nesnázích) is not a great title. All the descriptions of this film fail to capture what it really is  an adult fairy tale. A poor girl is wooed by a prince. The "girl", Marcela, played by the stunning Anna Geislerová, has an Isabelle Huppert beauty, with a red hair, face and figure that are beguiling, sexual, and endlessly fascinating. She has a louse of a husband, but they have great sex. The kids listen to the lovemaking through walls. It's rough and passionate, as the sex of the working class seems to often be portrayed in film. But it's also for us to recognize that this is the thing that binds them together in an otherwise incompatible marriage. The husband, a professional car thief, is eventually caught and thrown in jail. How she got into this marriage we don't know, but she is not exactly a high-class herself. But she's beautiful, intelligent (we assume) and loves her gorgeous and resilient kids. She deserves more. And she may get the life she deserves - eventually. (no spoiler!) She is forced to move back with mom after her husband is sent to jail. Mom has a hideous second husband (read ugly stepfather). He is a real horror show. He borders on being a child abuser to the kids. He's obsessive about cleanliness, but ungraciously farts at the table, all the while demanding manners and decorum from the kids. He's real low class socially handicapped wretch. Mom puts up with him, like Marcella's husband, at least he's lusty - hideous but horny. The ambivalent, confusing, layered characterizations are what make the film so powerful and interesting. These characters have flaws, some seemed driven by class, some by innate character. These flaws and details of character are charming one minute and contemptible the next. The audience really has to negotiate conflicting feeling of class, sexuality, ambition, commitment, and the role of a woman as mother and wife through the quickly changing terrain of the story. At the bottom line, as with many films like the wonderful Icelandic movie "Thicker Than Water (Blóðbönd), the children can be the victims. What's right in the end may be what's best for the children  who are our salvation and our future. It's a theme played out these days in films ranging from Pan's Labyrinth to Children of Men. Foreign. Cinema is recognizing in intricate morality tales that life is confusing, brutal, unfair and, as adults, we must get our act together in order to pass something worthwhile to the next generation. If we give in to our baser instincts, we may lose ourselves and the world in the process. The extraordinary and complex and colorful characters in Kráska v nesnázích speak to the qualities of what makes a man, what drives a women, what embodies hope, what is class - is it economic status of the fabric of one's character? The film is richly human as embodied by the very last 2 shots, which moved me incredibly and unexpectedly. The director's choices are so subtle and intelligent that to compare this to an American film seems unfair. Americans sometimes seem to lack the desire to consider that paradoxes in human nature don't offer set resolutions. But here, perilously couched in ostensible fairy tale for adults, are interesting moral questions. Don't be fooled by the simple story; this is a great movie.


This film by the well-known Czech director and writer collaborator Petr Jarchovský is remarkable for its particularity but annoying and distracting in its details. Taking its theme and title from a Robert Graves poem, it deals with a woman with several men and some obnoxious relatives in her life who's trying to survive and protect her two children, 15-year-old Lucina (Michaela Mrvikova) and little blond asthmatic Kuba (Adam Misik).The poem is much in evidence, but the theme--it gets a little lost.

Marcela (Anna Geislerová), the Beauty, and Jarda (Roman Luknár) have lost everything in the Prague floods of 2002 and have nothing left, it seems, but good sex, which they go at with such a vengeance in their tiny apartment that Lucina and Kuba, in front of the telly, must hold their ears against the noise. Hrebejek relishes such explicitness and skates on the edge of embarrassment or shock. There's no good explanation precisely why, but financial desperation has led Jarda to processing stolen cars in the big garage that adjoins his flatlet. His car-thief cohort drives off a posh Volvo the easygoing Benes (Josef Abrham) has left with the keys in the ignition while visiting a large property he owns. Benes is a super-nice guy, but no fool. His Volvo is wired for tracking by satellite in cases like this and that leads the cops straight to Jarda's garage and he and his cohort are off to jail.

"Beauty in trouble flees to the good angel,/On whom she can rely," begins the Graves poem. But actually this fracas leads Benes to Marcela, when he meets her at the police station. He introduces her to sushi and how to drink wine and plies her with a picture book about Tuscany, where he, though Prague-born, owns a lovely villa and has lived most of his life. He's here to reclaim the house in Prague now occupied by a couple with an ancient and infirm mother, whom he allows to remain. Benes' every gesture is benevolent, even though he doesn't prevent Jarda from going off to jail.

In the circumstances Marcela must retreat with Lucina and Kuba to depend on the charity of her mother, Zdena (Jana Brejchova) and the far less tender mercies of Zdena's present husband, the scrawny diabetic Richard Hrstka (Jiri Schmitzer)--who, for the kids, starting when they commit the cardinal sin of consuming his dietetic cookies, proves to be the uncle from hell. Jiri Schmitzer hijacks the film at this point, and never quite lets it go. Even in the final scene he is a figure of leering menace. It is surprising that the obnoxious Richard doesn't sexually abuse one or both of the children. He is insistent that Marcela needs to get out on her own, and when Benes offers to take her under his wing he and Richard become improbable allies. Improbable--perhaps implausible. Why should Benes like him? But then, what is Benes's whole story? About some things the film gives too much information and about others, not enough.

Clearly the "good angel," Benes is infallibly kind--and a polished, good-looking older man whose manners befit his Italian upbringing. It's only at the end, when he's pushed to the limits over his Prague property by the devious occupants, he proves that he is not one to won't lie down and be walked over.

Also to be dealt with is Jarda's religious fanatic mother Sdena (Jana Brejchova), and her interactions with Zdena and Richard are something to watch. But she is just another wild card that does not augment the deck.

The poem has been set to music in a Czech translation and is sung on screen by the accordionist-vocalist Raduza, first in a tiny scene, then in a more extended one staged at a prison performance witnessed by Jarda and the car thief pal. If you revere Hrebejk as an auteur you may relish this sequence; otherwise it tends to feel gratuitous. Also included are a number of songs by Glen Hansard/Marketa Irglova of the Oscar-award-winning Irish musical film 'Once,' including the latter's theme song, "Falling." They feel more out of place than they would otherwise because of their familiarity from 'Once'--though this film came first.

Hrebejk's people are arresting; even little Koba has his Shakespearean-child moments and a wealth of charm; but the director and his writer seem unable to resist the temptation to digress and to over-expand. The property hassle Benes endures may be useful for showing he has a tough side. But such an elaborate demonstration wasn't necessary. The acting is fine, and there is a wonderful with quirkiness and specificity, but the basic themes of love, sex, and money get lost in the shuffle and Marcela's conflicts and how she resolves them never become clear. It's fine that there is no resolution and true to the theme and to Graves's poem that Marcela still has hot sex with Jarda during a revisit to Prague after moving to Tuscany with Benes and her kids. But there are too many questions remaining about what to make of the obnoxious Richard or of Jarda's annoyingly pious mother (Emília Vásáryová). How come all of a sudden we learn Koba is getting letters from "India" purported to be from his dad, who's in prison? When did that come about? Interesting details, hastily pasted in. This seems a world in which you can't see the forest for the trees.


First I have to admit that I have had some doubts about the director. He has done some movies (with Jarkovsky) about the recent "czech=east" history or more precisely about families (individuals) how did they survive some historical moments. But it was always like the chines food sour-sweet. This movie was totally different. It was pure, it shows the bones of life, it shows the variations of human natures. This film is an excellent piece of art (story, acting, picture, music) but it shows you the life around you in much brighter light that we don't want to see. By the way I have saw it on a DVD (with English subtitles) but I am afraid that in the USA I wont be able to get it.


Wow. At first I thought who writes these things! How hard is that choice between a man who offers you and your children wealth, respectability and security as opposed to a husband who offers you only oppression, abuse, degradation and poverty. However our choices are not always as clear cut cut as one would think. Indeed the wealthy gentleman was all a woman could aspire to and yet... the pull of her husband, her sexual desire for him was almost overwhelming. What to do, what to do?? As a viewer you became as confused and misdirected as she was. Anyway what I really came on this site to gush about was my admiration of the voice of the Engish, I thought, although it is actually the voice of an Irish singer in the film. Looking him up I find he is Glen Hansard, whom I had never heard of before that day. What a find. I am so grateful. Wow, what a voice! What a day! Thank you BIFF!


If you liked this movie, be sure to check out others directed by Hrebejk - you are in for a treat. This is unfortunately not his best, but still million times better than an average movie from the mainstream cinema. It explores relationships, especially the abusive ones, has some powerful as well as sweet moments and great acting. Some plot inconsistencies, clichés and hollow moments spoil the overall effect. To the previous reviewer and his comments on the Czech psyche: an interesting approach, but I do not see this movie becoming a Czech blockbuster. Those folks are rather spoiled by their movie makers {check out also stuff by Sverak, Gedeon} and this one lags a bit behind.


One of the major successes to The Decline of Western Civilization, filmmaker Penelope Spheeris' indie breakthrough, is that it can perhaps appeal to non-punk fans as to the hardcore ones. More importantly, it captures a moment in history before the movement became completely "market-worthy", when bands would play (or, at the least, try to play in some cases) in dank, dirty clubs to an audience that had as much self-respect as they had respect for the bands. For the fan, such as myself, there are precious interviews with some of the quasi-legends of LA's punk-scum, some dead, some still living and still hard-working in the scene.

Performances and interviews include the likes of The Circle Jerks, X, Black Flag (in the pre-Henry Rollins days), Catholic Discipline, Fear, the Alice Bag Band, and most memorable (in my opinion) being the Germs. While I knew of a few of the bands and performers in the film (The Jerks and Black Flag mostly), I had only heard rumors about lead singer (the late) Darby Crash, and from the footage in the film he seems to be one of the, if not the, epitomes of the punk movement. He doesn't take himself too seriously, he loves to drink, sometimes when he speaks it's complete gibberish, and the attitude he brings on stage is both funny and in a free-form way exhilarating. A performer like that would probably scare Steve Miller and Jackson Browne out of their skins.

Decline of Western Civilization may not turn on every non-punk fan that seeks this film out (it's hard to find on video), but it shouldn't necessarily turn them off either. Like a kind of anthropologist that's sneaked into the party, Spheeris gets the behavior of these people down pat, their motives, their likes and hatreds, and the power that was their on and off-screen personas. A few of them almost come off as normal, some don't, but they're only offensive to those who aren't too open to things. On top of that, the film is a must-see to the kinds of kids that think they're punk fans just because they listen to Good Charlotte and Blink-182: if you want to get the real scoop on the movement and genre of rock you profess to love, give the pioneers a chance. A


Kind of a guilty indulgence nowadays, this used to be required watching when i was in high school. It really is a great illumination of the burgeoning punk scene in LA in 1980. As the bands play, Spheeris prints the lyrics in subtitles, which is of course necessary if one really wants to know what the guy is screaming into the microphone. But also it turns the camera's POV into that of tourist, passing through this alien world. The band interviews reveal an honest approach to the music that really doesn't exist anymore. Then again, it's not as easy to come by $16/month former-church closets like Chavez of Black Flag does. How many unheard of bands do you know that aren't trying like the dickens to get a record deal? These guys just didn't care. And who can't love the commentary of the little French dude who used to be the "singer" for Catholic Discipline (of which Phranc was a member). His gritty voice delivers one of the best soliloquies ever captured on film: "I have excellent news for the world ... there's no such thing as New Wave." Whew! What a relief!


The rise of punk music was scarcely documented on film and most people tend to focus on the happenings of other cities such as London or New York. Penelope Spheeris managed to preserve a snapshot of Los Angeles circa '79-'81 which proves a vibrant and diverse art/music community had spawned which rivalled any other. To some, the bands read like a who's who of now legendary American punk; Black Flag, X, Circle Jerks, Germs, Fear. Purists argue that vital bands were missed (Weirdos, Zeros, Flesheaters) and that the movie was the cause of an onslaught of suburban poseurs and macho violence. However, the issues touched upon in the film remain relevant, the intensity of the music remains unmatched and the influence continues to be seen and heard in the cliques/fashions of today.


Spheeris debut must be one of the best music documentaries of all time. And as far as I know it's also the only one that focuses on the L.A. Punk Explosion of the early eighties. It's all there: not just great, great bands like Black Flag, Fear, X, the Germs, whose names may not mean much to you today, but whose influence on today's alternative rock music can not be over-estimated, but also the promoters, the media and first of all the audiences - the punks - all portrayed in a manner that makes you laugh, shudder and gasp with astonishment about the energy, the anger and the fury these youths put into their music. Where is that today? The eighties may have sucked big time when it cames to mainstream music, but the underground was rocking. If you need a proof for that, watch Fear's performance in Decline. Unmatched. Great film! How come this is not available on vid, LD or DVD? P.S. The follow-up Decline Pt. II is hilarious, too


If I assume that you know what this film is about, I am also forced to assume that you've come to this review knowing that you will probably watch it regardless of what I say. If all this rings true - read on - you are likely to find some consonance with at least part of this review. If you're undecided, or not really entirely certain what happened in the late '70s and early '80s in the urban and suburban youth music culture, you should probably read one of the reviews which pretends to be objective instead.

Although I didn't grow up in California, the American punk scene was the first music scene I ever truly lived in. At the height of the hardcore I was immersed in from about 1979-1981 everybody had a band and the only common denominators between bands and indeed members of their audiences were:

* the rejection of conformity

* tolerance and enjoyment of difference

* a desire to have fun - hard and fast

Hairstyles, politics, dislike of authority figures, and violent slam-dancing were not integral to what I experienced, though there were certainly cliques or factions who tended to be intolerant of those who did not dress, speak or act "punk" enough. And there was often a certain amount of unearned credit extended from some of these cliques to those who tried really hard to live down to the fascistic paradigm of anarchic, self mutilating, angry young cop-haters.

Although the interviews with audience punks in Penelope Spheeris' excellent Cal-Punk documentary "Decline of Western Civilization" present a very narrow view of the subculture some of us enjoyed, the interviews with the bands, club owners, promoters and even the security people are much more representative of at least my own perspective and memories of 'the scene'. nevertheless, it is possible for those who approach this with prejudices about what punk is to experience this film without having their preconceptions challenged. Unfortunate as this is, the blame for it rests solely with those who promote, believe in or feel comfortable with stereotypes - Not the film-makers. Don't blame the messenger.

The music presented here is not going to be for everybody - nor even most. It's not the most crude stuff out there, but it's loud, obnoxious, fast, and less concerned with technique than with raw energy.

For me, seeing early Black Flag with Ron Reyes singing, X, Fear and the Circle Jerks was worth far more than the cost of this hard to obtain film. As much as I like The Germs, seeing Darby Crash for the mess - and the nice guy - that he was left me a bit cold. Nevertheless, the scenes of Darby playing with his pet tarantula while "Shut Down" droned on and on in the background were precious. The X interview is also great.

Spheeris' straightforward documentary style is supplemented by wild pans and zooms during the musical segments. During the interviews, framing is used very nicely to provide context for whatever is being said. Considering her experience and the budget, Spheeris did as well as anybody could have with this film.

Recommended for those who appreciate what this film is actually about, and for those who have forgotten those few years of fun, honest, direction-less rebellion before Amaerican punk was co-opted into yet another flow within the musical mainstream and the stereotypes became more important than the basic philosophy.


Let start off by first saying that I have been a punk fan most of my life. I always kind of had a lack of respect for the LA scene of the early 80's, which The Decline of Western Civilization documents, with the exception of X and Black Flag, being more of New York and English punk guy. After I saw this movie that completely changed. The people shown may look like a bunch of idiotic, strung out kids who think they might accomplish something beyond street-Cree through their lifestyles, but it is a great display of hedonism at it's best, coupled with some fun, loud rock n roll. One of the best scenes, and actually most insightful, is the interview with Claude Bessy of Catholic Discipline, or 'Kick-Boy' as he was known to Slash magazine readers. Originally from France, he rants about punk like a dirty old Frenchman and clues in viewers to many aspects of the punk, or DIY, attitude to music, politics, and life in general. Darby Crash of the Germs comes off as a complete idiot most of the time, but the Germs' performance of Manimal is pretty decent, complete with a young Pat Smear. Black Flag's performance with Chavo Pederast on vocals (it was filmed a couple of years before Henry Rollins joined the band) is decent, and X and FEAR give the best performances in the movie. Look out for the interviews with the young punk kids. You'll hear some of the funniest things you have ever heard in a documentary. Highly recommended.


The decline series is amazing and director PS can't get enough credit for making these movies. I'm slightly surprised to see that not very many people have seen this one, or the other two, but their worth unearthing if you want the picture of punk in the trans-formative years between the late seventies and early eighties. The film starts out with a blistering collection of clips played over music from the band X. Many interviews with bands and punker's that offer an enlightening perspective as to what surviving was like on the low rung of the mainstream rock ladder. No internet, crappy jobs, and all out hostility collide in this genre. For new kids who haven't heard of these bands or are just starting one themselves this movie is a true lesson in how to rock. All the band performances (and there are many) are awesome, especially FEAR who never cease to amaze me. This and the second installment are amazing time capsules offering those who care a rare glimpse into the lives of these crazy people. It's true punk, like in the interview with Darby Crash's girlfriend when their recalling a painter who mysteriously/suddenly died outside their house and it took a week or so for them to figure it out, they take pictures next to the guy and everyone including the EMT's had a chuckle on this one, and in true form the interviewer asks the girlfriend if she was sad or upset that this guy had died while painting their house, the response "no i hate painters". How about Black Flag renting their apartment/rehearsal space for 16 dollars a month! My jaw almost fell off at that moment seeing as i'm renting a ten by ten closet to practice in for 400. Between watching this and Deadwood i feel like i was born in the wrong time period, just missing those cowboy days and nights of the old way. The people and bands associated with the movie paved the way for what harder music today is, and they did it in their own unique way. Brilliant film, ten stars, see part 2 as well its equally awesome, part 3 though, i don't know what to say about.


Absolutely one of the 10 best music films Ever! A totally essential educational experience for any music fanatic--Especially young rock/punk fans today...understanding the beginnings of any particular "artistic" movement absolutely requires understanding the roots of the music,as well as the mindset and musical environment of the times....not to mention the political and social factors involved at the time. And,besides all that,this documentary is flat-out rock-n-roll F U N !! Do Not Miss It!!! that said,can anyone tell me when,if ever, "the decline of western civilization"...part 1,( Not part 2,the metal version) will be made available again..hopefully on DVD?


I LOVE this film. It was made JUST before the LA punk scene changed for the worse. It perfectly preserves the mood and attitude of that time and place. I feel really lucky to have been present at the filming of four of the bands at the Fleetwood that night. The only part that doesn't fit in too well is the sections with Catholic Disipline and their socio-political commentary. I didn't see too many people who were into that at all. The rest of the film shows attitudes that I witnessed a lot; people dealing with hard lives, or taking a swing at the music industry and/or lousy hippies. I don't think I've seen a documentary that captures so authentically and personally the subject matter being covered.


THIS REVIEW MAY CONTAIN SPOILERS! The Decline of Western Civilization......what a great title eh? And of coarse a great movie. This is the best concert film I have ever seen. A close second being the Talking Heads movie "Stop Making Sense". I first heard of this movie when Waynes World came out in 1992. I looked at the director's name Penelope Spheeris and thought cool name, what else has he directed? I thought the first name was pronounced like envelope. After some time looking in movie guides I came across the critically acclaimed Decline and realized Penelope was a woman.....my Mom corrected me. I spent 8 years of my life trying to track this down. I finally saw it on VHS in Vancouver, where I currently reside. It was worth the wait. This captures the LA punk movement very well. This is teen angst at it's best folks. My favourite is the band the Germs who need subtitles for the lyrics because Darby Crash sings so crazy, you cannot understand it. I laughed when I saw this. The band Black Flag live in an abandoned church and the band X are a very intelligent bunch. Also laughed at the letter some idiot writes in to Slash Magazine about how we do not need to save the whales, there are countless miles of ocean for us to pour toxins in! I became a huge Penelope Spheeris fan after this, and saw all her punk movies-Dudes was OK, and Suburbia is a cult classic! I own both of these on VHS. She is a true underground film maker and I love her stuff. I would have loved to have seen this movie in 1994 when grunge was so popular. I was a big Nirvana fan then, but alas I saw this in 2002 and by that point I had grown out of grunge and now I listen to Crystal Method/Fatboy Slim. Quite a change of pace, I know, but what can you do? But if you want a true depiction of the punk movement this captures it better than anything. Much better than 1991: The Year Punk Broke. This is a tough movie to track down, but if you get your hands on it, rent it, even if you don't like the music it is an excellent piece of work. Now days it might be easier to find with DVD's being so popular. By the way Penelope produced a little known Albert Brooks movie called "Real Life" which I also own. Very funny stuff in todays reality TV craptacular! Rent Decline......Highly recommended! Thanks!


I saw this movie in the theater when I was 14 and it changed my life. I immediately cut off my hair and began buying all of the records of the bands in the movie. These were some of the seminal bands of L.A. punk rock caught on film at the peak of their powers. Bands like Black Flag (pre-Rollins), Circle Jerks, Fear, X, and the Germs have few equals in the history of punk music. I can't believe this film has never been put out on video or DVD. Great movie for fans of punk rock.


First of all, I reviewed this documentary because I had an interest in the subject it portrayed, the LA punks.

I listened that music and I loved that music and I read a lot of the small zines that were made in the early 80's and that were not so easily achieved in Finland.

So if you don't like this kind of music why you write here about it? I like this kind of music, it speaks my soul, thus I know punks from all over Europe & Americas, so why do you, who find this music "repugnant" care to comment at all?


Penelope Spheeris (of "Wayne's World" fame) made her mark with the documentary "The Decline of Western Civilization", about the LA punk scene in the late '70s and early '80s. Most of the documentary features interviews with the punks and footage of concerts (which often turn violent). Overall, we get to see how the punk movement was a reaction to the hippies: whereas the hippies were into being natural, the punks wanted to have themselves as altered as possible, what with spiked hair and all. But also, we see how they're really disaffected and sometimes becoming skinheads.

Anyway, this is a really great time capsule. We're not really sure whether we want to long for that era or feel repulsed by it. But this is definitely not a documentary that will leave you neutral. Truly worth seeing.


This is one of the best films made about the 80 punk scene. I saw this a few years back on a "bootleg" copy and was amazed. Very few of todays kids know the true roots of punk and this movie shows some of the 80s punk legends such as The Germs and shows how it was back then. Nowadays so much punk has gone mainstream with MTV and radio and its nice to see the true underground rebellious movement of the original scene. Darby Crash (of The Germs) is one of my heros and this film shows why. A must see for all "punks" and anyone curious about the 80s punk scene


The One and the Only!

The only really good description of the punk movement in the LA in the early 80's. Also, the definitive documentary about legendary bands like the Black Flag and the X. Mainstream Americans' repugnant views about this film are absolutely hilarious! How can music be SO diversive in a country of supposed liberty...even 20 years after...find out!


First off, let it be known that I came into this movie not for the music; actually I find it repugnant. Really, I was interested in the psychology of the punk subculture. On this point, the documentary did fairly well. One disagreeable aspect was the numerous scenes in which songs are played and the hyped-up band and belligerent crowd are shown running amok. If you've seen the first such scene, you've seen them all. This superfluity is party made up for by printing lyrics for some of the songs. With these, the audience is able to somewhat connect mentally with the band. The lyrics are of far more interest than the jumble of sounds projecting from the speakers. I don't know why all the lyrics were not printed. Scenes without lyrics slow (ironic eh?, given the many references to the speed of the music) the flow of the movie. Also insightful were the interviews with fans and bands, though there is a letdown when the latter band's interviews prove to be not nearly as enthralling or humorous as the first two. Overall, a good movie that I'm glad I saw. I'll check out the follow-ups if I ever get a chance.

Favorite quote: He tried to hide the fact that he couldn't play by rubbing peanut butter over himself and breaking glass.

Broad punk generalization: Though their disgracefulness, lack of vocabulary and hygiene, and drug-induced obliviousness is often hilarious, in the end it is understood that punks are just pathetic juveniles who rebel just for the sake of rebellion as seen through sophomoric lyrics and naive attempts to philosophize and politicize (disregarding Black Flag, who are slightly less misguided than their peers).


I'm astonished how a filmmaker notorious for his political left-wing fervor could make such a subtle, non-sanctimonious picture. If you're for capital punishment, you'll still be for it after seeing this. If you're against capital punishment, you'll still be against it. But whatever your stance is, this movie will, at the very least, make you reflect on why you feel the way you do. There's not one false note in the film.


Tim Robbins did a masterful job directing this film. I say this because he avoided convention and cliché. He also oversaw superb performances from Susan Sarandon (who won an Oscar for her role) and Sean Penn. Even more amazing, Robbins doesn't patronize. He just tells the story and lets the events play on the viewer's mind. This is so effective because it allows the viewer to form his own opinions on the death penalty, one of the most controversial subjects of our time, without being unfairly manipulated in either direction. I can't recommend this film enough, 9/10.


'It's easy to kill a monster, but it's hard to kill a human being.'

Set in St. Thomas Housing Project and Angola Prison in New Orleans, "Dead Man Walking" is the true story of Helen Prejean (Susan Sarandon), a Louisiana nun Sister who befriended Matthew Poncelet (Sean Penn), a murderer and a rapist bound for a lethal injection machine for killing a teenage couple Sister Helen agrees to help the convict and to remain with him till the endan act never before attempted by a woman

At their first meeting, Poncelet swears to the nun that his accomplice was the one who shot both of the kids and pleads her help for a new trial in order to convince the pardon board hearing to spare his life

The film challenges the audience to actually give some thought to the human consequences of the death penalty, but gives voice to angry bereaved parents whose kids were shot, stabbed, raped, and left in the woods to die alone

As Poncelet's execution looms closer and closer, his character is seen deceptively complex, harboring doubts about the rightness of what they were doing to him In one moment, we hear him sensitive asking for a lie detector test to let his mother know that he is innocent, in another we see him furious playing the victim, blaming the government, drugs, blacks, the kids for being there Poncelet never understood that he has robbed the Percys and the Delacroixs so much, giving them nothing but sorrow They are never going to see their children again, never going to hold them, to love them, to laugh with them

In the scenes leading up to his execution, the death-row inmate drops his terrible facade and reveals his identity Luckily both Sarandon and Penn are here exceptionalcarrying out successfully an exquisite, tangible harmony of souls When Sarandon was looking at Penn, she was projecting compassionate eyes brimming with tears She asks him to visualize her as he dies ''I want the last thing you see in this world to be the face of love''in that moment, we truly believed that she'll be the face of love for him


In a world in which debatable and misunderstood subjects can be listed endlessly, this powerful 1995 film takes on one at the top of that list; moreover, it does it objectively and realistically, and with a sensibility and sensitivity that makes it a truly great film by anyone's measuring stick. And to add some irony to it all, even the subject matter of this film has been widely misunderstood, as it is wrongly perceived that this is a film about the pros and cons of the death penalty; it is not. At the heart of `Dead Man Walking,' directed by Tim Robbins, is a subject that in reality is possibly the most misunderstood of all, and with good reason, because it just may be the hardest thing there is for a human being to really-- and truly-- understand. And it is what this film is actually all about: Forgiveness. Real forgiveness; not excusing a heinous crime or the perpetrator thereof-- not saying that what's happened is okay-- but finding the strength to go on, and to do so by choosing life.

	Director/screenwriter Tim Robbins has crafted and delivered a faithful adaptation of the novel by Sister Helen Prejean, in which she discusses her involvement with the death-row inmates to whom over the years she has ministered her faith in God. As chronicled in the film, what for her was to become a lifelong pursuit of not only justice, but human dignity, began with a simple letter from a death-row inmate at the Louisiana State Prison at Angola. Sentenced to death for rape and murder, Matthew Poncelet (Sean Penn) was reaching out to anyone who would listen, when his letter ended up in the hands of Sister Prejean (Susan Sarandon), who soon found herself venturing into a territory of which she had absolutely no knowledge or experience. And Robbins has successfully captured Sister Prejean's emotional and turbulent journey succinctly, while managing to keep it devoid of any maudlin sentimentality, which makes it not only real, credible and believable, but makes it a poignant and thoroughly emotionally involving experience for the audience. Through the medium of the cinema, what was once a personal, significant emotional experience for Sister Prejean, becomes one for everyone who sees this film, as well.

	For her soul-stirring, impassioned portrayal of Sister Prejean, Susan Sarandon deservedly won the Oscar for Best Actress. Sensitive and fraught with emotional depth, her performance is incredibly touching and real, especially in the way in which she conveys Sister Prejean's underlying natural fragility and vulnerability, which she adamantly tempered with the toughness she needed to carry on with her endeavors on behalf of Poncelet (and in reality, a total of five since she began). Whatever your point of view regarding the matters examined in this film, Sister Prejean is without question an individual of heroic proportions, which Sarandon exquisitely personifies here; and she does it without resorting to any superfluous melodramatics, but rather by keeping it real, by subtly and humbly exploring the humanity of the person in a very believable expression of characterization. It's an extraordinary performance, arguably the best of Sarandon's brilliant career.

	Turning in a career-best performance, as well, is Sean Penn, who was nominated for Best Actor for his portrayal of Poncelet (he lost out to Nicolas Cage, who won for his performance in `Leaving Las Vegas). Perfect for the part in every way, Penn has quite simply never been better, before or since. He effectively presents Poncelet as a real person, rather than as an overblown caricature of a monster capable of perpetrating the crimes depicted here. Not that it makes Poncelet any less despicable; just the opposite, in fact. It makes it genuinely disconcerting to be faced with the fact that someone who looks like a guy who could live next door to you could be capable of such things. And that's the strength of Penn's performance-- it's so disturbingly real, presented with depth and nuance; you have but to look into his eyes to find the imperfections of a troubled soul. A terrific performance, and -- as good as Cage was in `Vegas'-- Penn should have received the Oscar for it.

	In another stand-out performance, Raymond J. Barry is memorable in a supporting role as Earl Delacroix, father of one of Poncelet's victims. With limited screen time, he nevertheless develops his character in such a way that enables you to empathize with him, as well as with Sister Prejean, as it is through him that we are given some insight into just how complex and seemingly tenuous her position is, at least on the surface. Barry presents Delacroix in such a way that gives the necessary balance and perspective to the story, which is ultimately extremely effective and helps to underscore the message of the film.

	The supporting cast includes R. Lee Emery (Clyde Percy), Celia Weston (Mary Beth Percy), Lois Smith (Helen's Mother), Scott Wilson (Chaplin Farley), Roberta Maxwell (Lucille Poncelet), Margo Martindale (Sister Colleen) and Jack Black (Craig Poncelet). It is doubtful that this film will change anyone's mind one way or another about the death penalty, but that was never the intention; what was intended, was to make a thought-provoking, emotionally involving film, which is exactly what Robbins has accomplished with `Dead Man Walking.' Regardless of your personal point of view, this film will have an impact, and hopefully will open some minds to the true nature of forgiveness. For, as we see through the character of Earl Delacroix, true forgiveness is not something one merely decides to do, but is a task that can become a lifetime's work. And it's possibly one of the hardest things in life to effectively accomplish; and you come away from this film with an appreciation for individuals like Sister Prejean, who has selflessly dedicated her life to helping those in need, and to filmmakers like Robbins and Sarandon for bringing her to life for millions of people who otherwise would never have known her. I rate this one 10/10.


"Dead Man Walking" is a piece of incredible filmmaking. All the acting is top-notch and realistic, and the script examines the issue of the death penalty from both sides, paying equal homage to both. Above all, this is a deeply moving story of redemption, of death with dignity and loss of ego. Any film that deals this courageously and maturely with such incredibly difficult subject matter deserves a rating of 10/10. Thank you, Tim Robbins!


"Dead Man Walking" is one of the most powerful movies I have ever seen. I find it hard to believe that anyone, after having seen the movie, could feel indifferent about the film or its message. Tim Robbins does not try to impose his ideas and beliefs on the viewers, but manages to make a film that are in most ways sympathetic to both views on the death penalty -- whether it is right to murder a murderer or not. I have always known where I stand in this question, even as a child, and this movie -- despite the fact that it does not really take any sides -- made me even surer in my conviction that it can never be right to murder *anyone*.

Sean Penn is absolutely brilliant in his portrayal of Matthew Poncelet, his nomination for an Academy Award was very well-deserved. Even if Nicolas Cage does a great job in "Leaving Las Vegas", I would have been happier if Penn had won the award. Susan Sarandon is also brilliant and she deserved the Academy Award she won. And Tim Robbins certainly deserves the vote I have given this film: 9/10!


it was very sensitive very deep. It's my favorite all the time you can't see movie more deeper than this incredible movie. susan sarandon made her role as matured mind actress, and she realized her role. She deserved the award. She convinced me with for being a nun. The music was very impressive and sensitive. Really i liked this deep masterpiece.


How do you know if a movie is good or not? It is the impact it has on you that makes the difference. "Dead Man Walking" upset me a great deal. I watched it twice. I don't know if I will be strong enough to watch it again. No, I did not feel good at all after watching it, but the film was as successful as it can be.

Robbins did a great job in incorporating all aspects of this controversial topic. He avoided making an argument that could easily be seen as biased or subjective. I hope that many people get to see "Dead Man Walking". I believe that anyone who supports or opposes the death penalty so enthusiastically should see the movie.

I don't know what else it could take to finally convince everyone that this relic from ancient times does not have a place in modern society anymore.

The movie itself does not make an argument for or against death penalty. It describes reality. The reality is the best argument against the death penalty.

A 10/10 for great performances, good filmmaking, and for the most important film made in years

Thank you, Tim Robbins!


I must have seen this movie about four or five times already, and it gets better with each viewing. Suffice it to say: This is the best film I've ever seen. And I think I've seen a lot.

But I've always wondered why this film got so shunned in some reviews or ratings. For example, take the IMDb Top 250. Why does it rank only at #216 (as of today)? Surely, the answer's not in the film itself (because that is nothing but flawless), but in its reception. The film caused controversy in its portrayal of compassion for a convicted murderer and its anti-death penalty attitude. And so, obviously, the more conservative-minded user probably didn't like the film (as you can see from some of the other comments). So DEAD MAN WALKING gets a ranking that's nothing but ridiculous in relation to its quality. Those people didn't understand what the film wanted to say, and maybe they didn't WANT to understand, being pro death penalty. So now I get it: It's all political. You're pro death penalty- you don't like (and therefore don't want to hear) what the film has to say.

I'm truly sorry there are still so many people out there who simply tune out when a new perspective questions their beliefs.

Mr. Robbins, your movie's issue split people's opinions. Some reconsidered their point-of-view, some simply didn't listen, but you made a very important point. Your movie will probably never show up on any "TOP 100 MOVIES OF ALL TIME"-list, but it'll be remembered, long after films like Braveheart or Babe or Apollo 13 (all of which were unjustly preferred over your film at the Oscars 1996) are forgotten. Congratulations, Mr. Robbins, and thank you for this important piece of filmmaking.


One of the best ever. Direction, fotography, a thrilling and dramatic history, wonderful soundtrack and, most of all, the incredible credibility of Susan Sarandon and Sean Penn, the best and most underestimated "under-40 generation" actor. After seeing this movie i guess if there's anyone who couldn't have any doubt about giving death to another man, in spite of the ugly things he could have done?


I really enjoyed this movie. It challenged my emotions and beliefs, making it a true piece of artwork in my book. The acting was unsurpassed. I would never watch this movie with anyone I could not cry around, I don't think I cry harder to any movies, maybe because it makes me look at myself, I dunno. It is a must see.


I read the book before seeing the movie, and the film is one of the best adaptations out there. Very true and faithful to the book. Sean Penn and Sarandon are amazing. Robbins is a talented filmaker and I wish he would add more to his repetoire. He made the film very haunting and intentionally slow-paced to add depth. An especially brilliant bit of filmaking was the reflection of the victims appearing in the glass of the execution room at the very end.


The greatest effort plus the finest cast ever assembled in a movie by The Director Tim Robbins and Susan Sarandon And Sean Penn on the front row. Someone said that this movie is good because directed and written by Tim Robbins but i convince you that Sean Penn and Susan Sarandon had give me a truly superb performance that i cried my heart out. Their acting is so real! No doubt about it that this movie is rated 4 and 3/4 out of 5!


This movie is a story of a Catholic nun as an advisor of convicted killer on death row. The movie describes what she does as a nun, who does not have any productive role. She might have had doubt in her actual role. But eventually she does the role only a nun could do, who has nothing but faith in Christ. In America, there are so many movies that describe condemned criminals or jails. Those scenes, especially execution, are too much different from Japan.


Susan Sarandon is, for lack of a better word, incredible. In my opinion (and yes I do understand that not everyone will agree with me here), she is one of the greatest actresses EVER and should have at least 2 oscars to her credit. I mean, that was an AMAZING performance in Lorenzo's Oil (but then I think every performance of hers is amazing) and they gave it to Emma Thompson...what was that about??? And by the time she got this oscar, she'd been in the industry for some 25 years. I couldn't think of anyone who deserved it more, especially for a performance as brilliant as her portrayal of Sister Helen Prejean. But then again, she is over and above all the artificiality of Hollywood and doesn't need an oscar - people know she's good anyway.

This film carries some very deep, thought-provocing messages, so needless to say it is not to be taken lightly. Tim Robbins, of course, can't escape credit here. You would think that, because of his person feelings against the death penalty, the portrayals made in this movie wouldn't be accurate. However, both sides of the death-penalty debate are given even weight. On one side, you see the interesting side of Matthew, the human side which makes witnessing his death rather heart-wrenching. At the same time, you see the way he savaged his victims and the constant torment of the understandably grief-stricken parents. One word for Tim - BRAVO.

A brilliant movie and, like I said, a well-deserved and long awaited oscar for Susan.


"Dead Man Walking" is a film not about the death penalty, but about the people involved in a death penalty case -- the killer, the families whose kids were killed, the nun who becomes his spiritual advisor, and what happens. It tells the story with little fanfare but a lot of compassion and sensitivity. I have it on DVD, and every time I watch it (not often, it's never an easy film to watch) I'm more impressed by what Tim Robbins and the entire cast did here. So revealing that it could be a documentary, so compelling you can't take your eyes away, so subtle and yet so powerful... "Dead Man Walking" is nothing short of a masterpiece. It doesn't matter whether you're for or against the death penalty (or even have no opinion), this movie will have you thinking about the issues for sure. It takes a courageous screenwriter and director to look this material in the face without flinching even once, and everyone involved in the film pulls it off -- there isn't a single scene that rings false. A masterful film, but don't expect light viewing... to some, the final scenes could be more graphic than anything imaginable, even though no blood or violence is shown. You get drawn into this film and become a participant, and there's a character for just about everyone to identify with. 10/10.