Frankly i just enjoy watching James Caan. Wonderful actor. With such simplicity you know exactly what he's thinking. A true pro.

I have watched the show from the very beginning and found it different - that's something that is unique in Hollywood - a new idea - not a 3rd version of a current hit show -

I also find the show fun and exciting -I like the pacing - you're never bored - I especially like the mystery in each episode - the way it unfolds. I am a big mystery fan and have read a lot of the great mysteries but I find the stories in the show well written and the outcome is rarely obvious. Also extremely interesting to me, probably because I am not a gambler, is the different cons that the 'gamblers' come up with - I was fascinated by the number of schemes that people have come up with to rob Las Vegas. The music: I like the music at the top of the show. Absolutely perfect for the show...Sets the tone and atmosphere . Just marvelous. And of course, there is James Caan.


This show is awesome! I love all the actors! It has great story lines and characters. It is the perfect drama. James Caan and Josh Duhamel have great dialogue. They both can be really funny.I miss Vanessa Marcil on General Hospital, but she's great on here. James Lesure is great! He can be hilarious. Molly Sims plays a dimwit very well. The writing is awesome!They keep up an excellent pace. The show can really leave you hanging, which is one of my favorite elements of a show. I cannot wait until the new season starts. This show makes it to the top ten of all my shows. I hope this show stays on for a really long time. If people know what good is, it will. I never want the show to end. Ever.


I don't usually comment on films or TV shows but had to post a comment about Las Vegas.

Naturally here in the UK we are about 2/3rd's through the 3rd season and though i have managed to watch the last series of season 3 ( via other means ) i'm still glued every Friday at 9pm.

From the very first episode of season 1 i have been a big big fan of this show and own all 3 seasons on DVD, yes i cannot wait for season 4 to start in October.

So why do i love this show so much, well i have to agree with the last poster.... James Caan, i know one person cannot make a team but Big Ed Deline was made for Caan or maybe it was the other way around, i read that the producers were considering Martin Sheen for Ed Deline.... Do'h no way!!! i also agree that Caan's character is getting very soft, i also preferred the tough take no sh*t Big Bad Eddy D that we saw in season 1 & 2, he seems to have mellowed out.

As i said no one person makes the team by themselves's and of course the other cast members Josh Duhamel/Danny, James LeSure/Mike, Vanessa Marcil/Sam, Nikki Cox/Mary, Molly Sims/Delinda all contribute well, even outside cast members such as Cheryl Ladd as Jillian Deline, Harry Groener as Gunther, Dean Caine as Casey, Mitchell Longley as Mitch who may feature 6 or 7 times during a season can fit in just as well as if they've been in every single episode from day one.

This show has everything, drama, action, suspense, laughs, romance, glitz's, glamour and big time celebrity's who often play themselves's.

Many may disagree but this is one of the best shows on digital TV and i hope it may long continue after season 4.


This show is sheer entertainment and doesn't try to be a Greek drama. It certainly contains elements of one what with all the plot twists, but it's immensely engaging and fun. Las Vegas is the perfect setting for a show and they will certainly never have a lack of material to work with! Anything and Everything DOES happen there! The actors in this show are extremely personable and you really do want to see what they are up to and into each week. The show is also very funny. The humor arises from the characters and situations. Not just thrown in gratuitously. It's a well-crafted show in that regard. It certainly makes me look forward to Friday nights and I'm glad I now own the first two seasons on DVD!


I had heard interesting critics on this movie. I believed it was a love story but I wasn't sure what was the plot about. So, when I finally saw it, I found myself in the middle of a love relationship between the ex-con Isabel (Isabel Ampudia) and the junkie Rufo (Sebastián Haro). So, a love story but not probably what I was expecting.

The movie is focused on Isabel, as she struggles to get back into society. She doesn't want to return back to her neighborhood and she finds herself without a home or anywhere to go. So, while she just experiences those first hours of freedom after being released from jail she came across Rufo, an old acquittance of her which while she was in had become a junkie and lives on the streets. Not having where to go, and without money or feasible source of income, she decides to join Rufo on his residence: a covered area on a lonely street.

The story by itself is moving. It explains how the, impossible, relationship between Isabel and Rufo gets deeper until the the almost final twist of the movie.

Definitely, the movie is worth watching. Sebastián Haro is splendid in his role of the junkie. A person being able of both being an innocent and tender giving person and a ruthless street scum. Just depending whom deals him with. I believe his role.

On the other hand, I don't quite believe the role of Isabel Ampudia. Although the movie tries to show the bitterness inside her through several scenes, she is not capable to make me believe it. She is in a way too sweet and too honest for which might be expected of somebody on the same situation.

The movie tries to show a love on a desperate situation. It is a enjoyable movie. But the feeling I get when the movie ends is that Isabel, with the way of thinking and acting she has, would never have arrived to that situation. Her role, partly because of the script, partly because of the acting is difficult to believe.

I specially like the ending, and because of it I have raised my rating one or two points. I liked its bittersweetness and the fact of showing that sometimes, survival instinct is above other more spiritual considerations as love.

Summarizing, an interesting movie, but it lacked some punch to be a total "must see".


This is probably one of those films too many commented but undiscovered... This is probably one masterpiece of Spanish cinema like some Buñuel's masters-piece. "15 days with you" could be the better "now and them" re-visitation from others films of long-time ago: could be "Midnight cowboy" but could be also "Les amants du Pont-Neuf" or a realistic and non-spot-look (but most realistic) "trainspotting". This hard story has place to humour, love and obviously dramatic sense. In the new social Spanish cinema this little diamond could be the resurrection of the Italian neo realism mixed whit the best Ken Loach films.

Probably the better film I discover in the last 10 years.


1st watched 10/28/2007, 8 out of 10(Dir-Jesus Ponce): Simple, sweet story of a homeless couple and their daily adventures surviving in the everyday world without a roof over their heads. The movie starts with the woman in the story(played by Isabel Ampudia)being released from prison but we don't know what she was in for or how long she was there. She runs across the anti-hero of the story and her boyfriend, played by Sebastian Haro, as he's parking cars for change. They shack-up together underneath an old dilapidated building with nothing but each other's warmth and a small mattress to their possession. He is a drug addict who just tries to make it from one fix to another, but she has a strange, obsessive attraction to him as a person, which we eventually accept. He also has some sort of sexually-transmitted disease, so sex for them is out of the question but this doesn't appear to be a problem for either of them. She loves this man as he is, without question, and without him having to change, which is a rare find anywhere. She earns her keep by carrying a bucket around and washing shop windows. They eat a bakery roll every day and consider it a feast. Isabel's character dreams of a normal life but doesn't expect it to happen and doesn't expect to fit into that role so doesn't think much of it. Both characters come from extremely broken homes and therefore the audience has sympathy for them despite their imperfections. Without giving up much of the story, Isabel's character continues to persevere while the man gets worse and worse in his drug obsession. There is a nice melodramatic conclusion to the story that lifts it up for the masses to enjoy, but overall this is a wonderful independent film about a relationship between un-worldly misfits that keeps you interested until the end.


Isabel has just gone out of jail. She is decided to not return again, but life is difficult for ex-convict, specially if they are homeless, as Isabel. When she finds the one that was her boyfriend Rufo, she can see a light of hope, but Rufo is now not only a junkie but also an AIDS ill. This will not make Isabel surrender, because, if there's a will there's a way and she is going to fight for her future, to have normal life, with a house and a family. A very hard and touching film that has passed unaware by most of the Spanish cinemas, actors are great and the story is very touching, maybe a better treatment of the secondary characters would have made the movie better, but it is really good. I highly recommend it to watch it, but be aware that this is not a Disney happy film, it is hard and dramatic.


Like in "Les amants du Pont-Neuf" two outsiders lives a love story without concessions. The film consists out of a lot of interesting conversation and a lot of sweet moments. The best one comes in a listening booth. They listen to a record together and once in a while they look at each other. They talk, they like each other. She suggests a change in their lives but he is out of hope. The realistic stylestrokes over the realistic (but) emotive dialogs. A really mathematic screenwriter's work for this film. Spanish novel director Jesus Ponce creates one of the most perfect gallery from the latest year of Spanish cinema.


Someone reviewed this movie as a "waste of time" because he/she was expecting the "beautiful scenery of Brazil and Portugal" but then everything looked "washed out" or gloomy, or something to that effect. I believe this person missed the entire part of the film. This is reality. The point of this movie is to show that life is not, indeed, ideal, and to show what people go through in their lives for family, love, and survival. A young man leaves his slum in Sao Paolo, Brazil, to go to Portugal to visit his mother's home country after her death. He discovers that not everything is free, and that Brazilians are looked down upon by native people from Portugal. He eventually finds a life, a love, but the story does not end as expected and this is not a "fairy tale" story. The part that got me most was the ending song, "Zeca Bailero (Honey Baby)" by Gal Costa. It fit so well with the movie; especially the ending.


I have read the last comment made on this film and have to utterly and totally disagree with it.

You see, I am of Portuguese nationality and even though this film may say little to someone coming from Boston, it surely says something to both Portuguese and Brazilian people, as well as immigrants everywhere.

And why, you may wonder? Well, firstly, this film deals with two sibling nations: Portugal and Brazil. Brazil gained its independence in the early 19th century (by the hands of the heir to the Portuguese throne)and since then relations improved greatly.

However, meaningful as this may be, there is still a lot of prejudice. Because of the economic climate in Brazil during the 1990's, immigration to Portugal grew massively. You see, Portugal is not only a country sharing a similar language, culture and beliefs as Brazil but is also a gateway to the rest of Europe. Some people were thus forced to make the decision to cross the Atlantic and look for a better life and Portugal was the first logical place to try to immigrate to.

As it happens still with a lot of immigrants, they were paid averages below the minimum wage and were treated like "dirt" - only in this case, because the language is similar, they were constantly made aware of their status as immigrants.

Another curious thing in this film is the idea it conveys of how a man so knowledgeable of the history of his own country still tried to make a quick buck through exporting coveted national resources. It is exactly people like this that keep Brazil in a constant state of arrested development, as the country is well endowed in natural resources and could easily climb the economic ladder should it be given a fair opportunity.

In a sense, this goes to show how colonialism still exists - Pablo representing the exploited people, Igor the man whose status as a "nobleman" (or at least rich or "well off") is assured by the foreign colonialist power which is in turn represented by Kraft.

If you have seen other films by Salles you will recognize this as a recurring topic - the struggle against an oppressing power. I do not mean to lecture or be patronising as to teach anyone history but I thought this film was, symbolically speaking, very powerful. I am not saying there wasn't room for improvement (as there always is) but I think the last comment written on it was not only narrow minded but hands down ignorant.

One last thing to be said on this, I have to assume you have watched this film with the eyes of an "American film watcher". No harm intended by this remark but I mean "foreign" films cannot all be about "beautiful scenery" - Art deals with the problems of its time. You would not expect Otto Dix, for example, to paint all the lovely places in Bayern and the Black Forest... Why should you expect a film maker to focus exclusively on scenery when he feels there are more relevant issues to attend to?

In a nutshell, do not judge films lightly and with only two or three criteria in scope. This film is very interesting, its photography is quite good and even the idea the black and white colouring conveys goes hand-in-hand with what it deals with. I believe the image is purposefully grainy... like reality, no? :)

Watch it and reach your own conclusions...


This existential thriller, in Portuguese with English subtitles, is a modern version of the American filmes noires of the 40s, complete with a surprise twist at the end. It is riveting from beginning to end. My only criticism is its poor production values. The film looks cheaply made, and it probably was, so the black and white cinematography is vastly inferior to that of Godard in Vivre Sa Vie, to cite another film noir of more than 30 years earlier. Most maddening of all, the subtitles are often hard to read. When will filmmakers learn and provide yellow subtitles so that they can be read against a white background. I'd give this an 8 overall, although with better production values it could have been higher.


Fado is a sad almost bluesy style of Portuguese Gypsy music that is heard repeatedly trough the movie. As explained by one of the main characters (Igor) it also means fate.

Indeed it's fate that bring the two main characters Paco and Alex together and triggers the problems that ensue.

On the whole I enjoyed it quite a bit. It starts out as an 'on the down and outs' drama/road movie an builds into a suspenseful thriller / road movie.

There were two things that I found unrealistic that kept me from giving it a higher rating (I gave it an 8). The first is the major point of why did Alex give the stuff away. She was so desperate for cash that she sold her passport for a paltry sum and then she gives away things worth thousands to a stranger? Her explanation was unconvincing. Also how did they get through the gate, where were the cops?


I wasn't sure about getting this movie on DVD because I really do have something against people making black and white films in the 21st century, but I ended up buying it anyway. I still don't understand why it had to be black and white, but that's the only negativity I can see about the film, and it sure is a perfect example to see the definitive rise of Brazilian cinema. Not everyone can understand a film like this, but it's quite rewarding to those who do. Unlike O Homem Que Copiava, the surrealism fits this movie pretty well, and the acting is at least as good as that one, or other successful Brazilian films such as Bicho de sete cabeças, Cidade De Deus, Brava Gente Brasileira, etc..

My only hope is that this gem doesn't get insulted and raped by a crappy Hollywood remake. It's amazing to see how those guys spend zillions of Dollars and still can't make a movie that's 1% as good as this possibly low-budget flick.

Bravo to the entire crew! 10/10


This was a movie that, at the end, I thought "Now that was an enjoyable 2 hours!" I hate spending around $20 (not including baby-sitting $$) for my husband and myself to have that "It was OK" feeling.

I think I like Will Smith better as a comedic actor than an action hero. He was well cast in this. His character was very likable, as was Kevin James'.

There were several laugh out loud scenes. It's also a romantic movie, so guys, if you want to impress the lady in your life, take her to this. Women will like it as much as any chick-flick, but I wouldn't categorize this as one. There is plenty of guy humor in it for men to enjoy. I think that's one of the reasons why this movie is so perfect as a date movie. It has romance AND slapstick. I don't usually like slapstick that much, but it wasn't overdone and I can't think of any those scenes that didn't deliver laughs.

I definitely recommend this movie. The first thing my husband said to me after it was over was "I want to see it again!"


This film was not about stereotypes, nor dance moves, nor pickup lines, really. This film was about the vulnerability of peoples' hearts. It was hard to believe that Kevin James could play in a convincing role, that Will Smith could satisfy without action, and that such a hackneyed genre of film could succeed in such a way. I don't intend to sound overly endeared with this film - it wasn't "groundbreaking" in any sort of way - but it was a film worth seeing. Was it believable? No. New York couldn't be so simple and there has been no human being in the history of mankind that has the "hutzpah" of Hitch. Sure, there are bar-studs, but not ones that can get any chick, at any time - excluding those raking in seven figures, of course. The thing that worked best for this film was its true focus on the dramatic side of things, not just on the comedy. It was a funny two hours, no doubt. But it was also two hours that made you sit in your seat, become immersed in the characters, and smile.


I expected a good movie. What I got was an even better movie. The chemistry between James and Smith is just incredible. Glad to see him in a major motion picture for once!

The movie works, because the actors play their parts perfectly. Will Smith is fantastic with his never ending charm; Kevin James is hilarious, and Eva Mendes...well, let's just say she plays that bitch/sweet/annoying role to the best of her ability.

What I loved about the movie was the fact that Will Smith didn't even have to try to be lovable. He just was!! The "date doctor" had all the right moves, said everything in the most perfect of ways, and never ever went over the top.

The funny parts are hilarious...and the cute, romantic parts are unforgettable.

I totally recommend this movie. And no, it is not a chick flick.


Last evening I had the remarkable pleasure of seeing the movie Hitch. I was stunned and amazed. Will Smith did a phenomenal job in a role that he isn't always associated with. He proved once and for all that he does not need to be holding a gun to be a great actor in a movie. Kevin James was also very impressive. I admit that I've always like him on "The King of Queens" but this role really brought him into the light more, and i hope to see him on the big screen a lot more in the near future. The movie was funny and adorable and I recommend it to any guy as the best date movie you could ever imagine. The mix of comedy, romance, and drama left me feeling complete. It's nothing like most "chick flicks" in the sense of tears and sadness, but holds its own and i think can be equally enjoyed by males as well as females. I encourage all couples especially to see this movie but even if you aren't involved with someone you may pick up some great ideas from Hitch.

TWO WAY BIG THUMBS UP!!!


Not having seen the film in its commercial debut, we just caught with it via DVD. Expecting the worst, "Hitch" proved to be a pleasant experience because of the three principals in it. Thanks to Andy Tenant's direction, the film has an easy pace, and while predictable, the comedy has some winning moments.

Hitch is a sort of "date coordinator" for losers like Albert, who is not exactly what one would consider a hunk. Yet, Albert is a genuine guy who, without some professional help would go unnoticed by the same women he would like to take out. Enter Hitch, to prepare him to overcome the obstacles that he can't overcome, and even though Albert stays overweight and never gets to master social graces, he conquers us because he is a real, in sharp contrast with all the phonies making the rounds in Manhattan.

The basic mistake most production designers make, when preparing locales for Hollywood films, is how out of touch with reality they are. The apartments in which they situate these characters are so rare to find that only by the magic of the movies can these people live in places likes these. Evidently most of the movie people are dealing with fantasy since most city dwellers would kill for spaces so fabulous as the ones they show in the movies, let alone these same people depicted in the film would not be able to afford them.

Will Smith is a charismatic actor. He has a disarming way to charm without doing much. The surprise of the movie though, is Kevin James, who as the overweight Albert, not only win us over, but he proves he can hold his own in his scenes with Mr. Smith. Eva Mendez is fine as the main interest of Hitch. In minor roles we see Adam Arkin, Amber Valletta, Michael Rappaport, and Phillip Bosco, among others.

"Hitch" is a fun film to watch thanks to the inspired direction by Andy Tenant.


That is the promise of the trailer I saw and by which I rented Hitch. Exactly, a serious film viewer shall not expect much further from this title but, surprisingly enough, Smith, Mendes, James and Valletta managed to reach a theatrical performance which could be metaphorically summarised on their rap dance-floor routine by the end of the film: their characters formed an effective combo which may prompt more than a good laugh with this Sunday afternoon DVD, providing your date is not an exquisite, french-swedish-directors-of-the-60's movie fan.

P.S.: The techniques to score are all TRUE, especially the "cocktail girl" routine!


Will Smith is perfectly endearing as the "Relationship Doctor," here to heal all your relationship woes.

I expected this to be a standard RomCom with little to amuse. I'm happy to report that I was wrong. Will Smith is delightful and unexpectedly "fresh" in this Andy Tennant vehicle. Surrounded by a great supporting cast, an interesting story, and fed with witty dialog, I was thoroughly engaged.

We found this one cute, quirky, and inspirational without being preachy.

It rates a 7.4/10 from...

the Fiend :.


OK, OK, I must say I was impressed. It's hard to say what I'm more impressed with: my ability to choose the right romantic comedy to watch so that I don't gouge my eyes out, or the movie itself. Either way, "Hitch" was pretty darn good. Hey, it was good enough for me to watch twice. Will Smith was funny and good. Kevin James was just hilarious, and absolutely essential for the movie. As much as this movie centered around Hitch (Will Smith), without Kevin James it's just not the same.

The story is: Hitch is a match maker that helps the guy woo the girl. His job is to create the chance for the girl to notice the guy when she otherwise wouldn't. After the encounter, the rest is all up to the guy to make or break the relationship. He works on referral only and stays largely unnoticed during the process. Albert (Kevin James) is Hitch's project this time around, and Albert has eyes on Allegra Cole (Amber Valleta) a Paris Hilton type figure. While that plot unfolds, Hitch himself has eyes on Sara (Eva Mendes), a sharp, independent, fanged gossip columnist that wants nothing to do with a relationship.

The two stories make for some funny moments and they tie together for a bit of a quagmire. Of course no love story is complete without the obligatory miscommunication, misunderstanding, or mishap to send the guy chasing after the girl. Fortunately, they make it brief and unsappy. Hitch was a fun and funny movie that flowed very well and rolled along without a hitch.


When one watches romantic comedies, one knows what to expect; we've seen enough of them over many, many years to know how they go. There's a formula, one which almost always begets movies that become popular with the genre's audience... not always in relation to their actual quality. How to play around with that, and create something more interesting? This movie has a suggestion... and it works relatively well. Instead of simply following a lead, we follow him skillfully helping the unfortunate men, those who lack the attractive facade that would allow them to reveal the unseen good qualities that they possess to the women they are in love with. The plot follows Smith as he works on his self-proclaimed most difficult such case; Kevin James. Alongside his aid of James, we also follow Mendes, who is fed up with men who lie to get what they want(one particular scene that inspires great respect of Smith's character is him meeting one such jerk, and putting him in his place). After seeing Smith helping the disaster that is James, we see him with Mendes... and in spite of his talent for helping others, he messes up... badly... with her. Making a marvelous point about love, and how falling in love affects us. For a romantic comedy, this mostly avoids the pitfalls of such(at times almost bordering on feeling like a spoof of the genre), though the last few scenes has the sweetness and the emotions of this type of films. Whether or not they follow the formula will not be revealed in this review. The pace is quite good, it never really slows down, and seldom moves too fast. The acting is great, as far as pretty much everyone goes. The characters are nicely developed, and come off as real people. The humor doesn't always work... there are occasional gags that are less than fortunately executed, and one or two jokes that seem forced. However, for the most part, the film was funny. I recommend this to anyone who likes romantic comedies and anyone who is or have been in love. Those who do not believe in love will have a difficult time with the last few scenes. 7/10


I liked this comedy so much. Will Smith does not do anything slow. It is always right on target with the greatest scripts and comedy that keeps you laughing, and involved in the plot. You are watching a skilled comedian, who plays all his parts well. One fully believes he is who he is playing. I loved him and Tommy Lee Jones in the Men in Black. This comedy rates right up with that movie. The humor is fast moving, and Will Smith is as sure of himself as he was in Men in Black. Quick witted, and well skilled in the art of making others score each time, but doing it in a tasteful manner, and with finesse.

Will Smith seems to have honed his comedy routine well. He was so darn funny. I loved the part where he had an allergic reaction to something he ate, and his face swelled up, and he looked more like Cassius Clay after a fight then he did himself. Then seeing him sipping on the benadryl bottle trying to bring his head back down to the right size. I laughed so hard. He knows how to make us all laugh.


This was a romantic, simple funny movie. I really enjoyed it and would definitely say to watch it and enjoy it, Will Smith was funny, fumbly, nervous, sweet and just a simple guy who got hit by Love. It was cute to see him fall for someone and be so nervous and lost as to what to do or say. It was great. He was great, funny as usual. Eva Mendes was better than i expected her to be as well, i thought there were moments in the movie where Will got the shaft, he was doing everything he could being a good guy and still getting treated bad. The ending was romantic and happy and it was great. I have seen it several times, and would watch it again. A funny, movie, something you don't see a lot of anymore. It had the old time feel with a fresh new look.


-love is hard to find in this fast food society that we live in so man called Hitch makes it duty to help men find love with women that they are beyond madly in love with. his rules are that he only helps you find love and not just some casual sex which seems like a great deal but soon word begins to spread around and people begin to get the wrong idea about what he does which begins to complicate the relationship with woman he just met that he is madly in love with.

-I have to say it's really nice to see Will Smith in a movie that doesn't have him trying to save the world from aliens or robots. There are no jaw dropping effects nor is he showing off his beefed up body. He's just a normal human being in this movie which was really nice. He doesn't necessarily stretch his acting muscles in this movie but then again the story doesn't call for that but all the same it was nice to see him relaxed and not showing off his ripped body to make those of us without six packs jealous. His character here is as with all his characters likable, witty and very charming which is something that almost all the characters in this odd love tale seem to share. The Kevin James character is just a regular guy that needs help hooking up with the girl of his dreams which really makes you feel for the guy and root for him every step of the way. the only character that was a sore spot for me was the Mendez character because she's so cold and calculated that it's hard to believe that Smith could fall for her. He must love a challenge I guess.

-now this is the part of the review in which I'll make a joke about how I would never need Hitch because I'm such a player but I just got through writing about 16 reviews for another web site plus I'm still working on a little project so I'm a little jaded right now. whiles the movie is packed with enough charm and likable characters with funny lines it slowly but surely falls into the sea of formulaic romantic movies in which after the big scene where the terrible secret comes out everyone is forgiven and the relationship is even better than before. But hey there's like 4000 movies about the underdog overcoming adversity so I guess one more movie having a predictable ending that's been done to almost death doesn't cause much harm. I really like the message of the movie as well because in the end you don't need a formula to get the right girl, just be yourself and all will fall into play which is theme of the movie and why it works so well. I'm sure if it had turned out that the James character gets the girl after following everything that the Smith character said then it would have being a pretty empty movie but as it stands it works really well.

-despite being predictable this is a PERFECT date movie. It's sweet, it's funny, and it's romantic so anyone that watches this movie on a date should be getting some after it's over. and by some I mean sex


'Hitch' is a nice surprise: A romantic comedy that actually has romance and comedy. Most romantic comedies for me range from mediocre to horrible because they are not funny or romantic. 'Hitch' takes actors like Will Smith, Kevin James, and Eva Mendes into a fun, light-as-a-feather journey that actually had me laughing and, yes, a little "aww, how sweet!".

Meet Alex Hitchens (Will Smith), aka Hitch. He's a self-proclaimed 'Date Doctor'; he helps hopeless guys like Albert (Kevin James) win guys like Allegra (Amber Valletta). Unfortunately, Hitch has to deal with Sarah (Eva Mendes), a gossip columnist bent on breaking the Date Doctor...

'Hitch' is actually pretty funny, and it even makes the standard slapstick scenes work simply because the cast is so energetic and clearly having fun. I have to wonder why Will Smith hasn't made more movies like this. His sharp, rapid-fire delivery is perfect for this genre, and his chemistry with Mendes and James is wonderful. James is a real discovery; I have never seen his show 'The King of Queens', but he is funny and heartfelt, and he proves once more that fat white men cannot dance hip-hop (Smith's responses to his attempts are hilarious). Mendes is hot and bouncy (not that way, geez) as Smith's perfect match, and Amber Valletta is sweet as Allegra.

'Hitch' isn't perfect; it's a tad too long, and things get too "dramatic" near the end (although this is redeemed by the happy ending filled with funny dancing). But's it a great refresher from the cookie-cutter romantic comedies that keep littering theaters.


A chick flick that Guys still like - Yes! Wonderful. Now I can have fun, enjoy the company of my girl, and not feel like I can't wait until the movie ends! Light - but funny. Great stuff. What ever you do don't miss the DVD extras. This a great "blind date" file too. Will Smith does well in this - even though in is light acting - he pulls trough it all well. The movie is a little slow in pacing - don't expect too much action - the laughs are there - and so is the message - but the timing is a little slow. Use the low moments to whisper or kiss - it will pick up. The ending makes the feel good moments worth it. Most of all expect fun light hearted fare - and watch for some great upstaging by the supporting actors - they make the film. The plot twists are predictable - but it IS a date move, so get the refills of popcorn from the kitchen - and don't make her pause it. Count on more dates after this movie - she'll want o see what is next in line. Remember Hitch's advice!!!

Enjoy.


Hitch is a light-hearted comedy that will entertain you with some fine performances. Will Smith turns in a believable performance as a cloak and dagger Date Doctor who must remain invisible to protect his clients and his profession. Smith was excellent, never schmaltzing it up too much.

The best piece of acting goes to the actor (don't know name) playing this accountant who has fallen for this woman who is out of his league. This actor did an excellent job of character development as he listens to Smith's directions, but in the end, just can't help being who he really is.

And in the end, that's the main message of this film. Be who you are in love, and you'll be OK.

At the same time, Will Smith meets this attractive lady and the Date Doctor gets a taste of his own medicine as he slowly falls for this woman. Don't know her name, but she was pretty good too.

Overall, this was a delightful, light movie that is definitely worth seeing.


I just wish I was eloquent enough to say how GOOD this movie is.

I...it's hard to say.

Maybe I'll just say what comes to mind.

I laughed. I really laughed. I couldn't believe it. I laughed, and, it wasn't bitter-laughter. it wasn't cynical laughter. it was the laughter that is generated by genuine joy.

joy. that's a foreign word for me. i don't feel that word often, but, i did while watching this movie.

Will. Maybe it's Will's face. He is a great human being. "Smile on my face and there's a twinkle in my eye." That line in one of Will's songs describes him perfectly. He has "joie de vivre". Trey is a lucky, lucky boy to have a daddy like Will. Jada is a lucky, lucky woman to have a husband like Will. He is someone...special.

Happy. I actually feel happy. It's a strange feeling. I don't feel this way very often. It's just so nice to see, to see...other people really happy. I mean really happy. In this movie, I did. As Will says in the movie, "Maybe I'm not happy with just 'fine', maybe I want 'extraordinary." You know, watching this movie made me think: so do I.

Fun. Being yourself. We all know we're supposed to be ourselves, but, it feels like we're punished if we do so. Maybe it has to be earned. Maybe it's something that we show after having not been ourselves for a long time. That's why I just loved the ending. Will, Eva Mendes, Kevin James, Amber Valleta, Julie Ann emery all dancing at the wedding. Dancing without inhibitions. NO THEY WE'RE NOT DRUNK! except, on actually being happy. I can understand that, at least, I think I can (at least, I enjoyed seeing them happy, really happy).

Women and Men. I don't know anything about relationships, but, I do feel. Watching this movie I feel like connecting with someone, striving, pushing, wanting to be with someone. It seems to make life...something else entirely. I don't really know. I'm just guessing. but, I felt something, watching this movie. I felt like, that connection, must be...must make, life worthwhile.

That's the kind of movie this is. It's FUNNY. It's CLEVER. It's TENDER. It evokes feeling. It made me think, that maybe, just maybe, life is, truly is, a wonderful thing.

Want to LAUGH? Want to FEEL REALLY GOOD! Want to GET SOME ANSWERS ABOUT GIRLS (and Girls, answers about Guys)? Watch Hitch. YOU-WILL-GET-IT-ALL!!!

GO WILL!!! You are a great human being.


While the "date doctor" concept is the one thing that saves this film from being an otherwise average romantic comedy with a standard plot for the genre, I found it enjoyable enough to elevate my opinion of it so I ended up liking it a lot more than if it'd had just a mediocre plot without many twists. Will Smith does a great job, as always, acting as Hitch, the man who devotes his life to advising men how and how not to win over women...ever since his failed attempt to keep his college girlfriend. There're plenty of laughs as he tries to help his latest patient, overweight, gawky asthmatic Albert Brennman (Kevin James) successfully court beautiful co-worker Allegra Cole (Amber Valetta). Also, when he decides to rid a woman he meets in a bar of the turkey who just doesn't seem to get she doesn't want him around, he finds himself attracted to Sara (Eva Mendes) - it appears to be a big deal for him, so I guess since college he never actually practiced his own rules on himself. Unfortunately, Sara is a gossip columnist who is interested in "the date doctor" who got a seemingly dorky guy like Albert together with Allegra - especially AFTER player/jerk Vance Munson (Jeffrey Donovan) breaks her best friend's (Julie Ann Emery) heart and hints the date doctor he saw disgusted him, when she doesn't realize that he refused to see him. Still, trouble follows and Hitch is stuck left wondering about what to do with his own relationship, while not being any great help to Albert when he tries to figure out what more to do in his. The acting is good, there's a great deal of humor and some other fine points with meaning. Hitch's character is witty and wise, sometimes managing to be both at once. True, the misunderstanding where the woman is affronted at something the man hasn't truly done (why do they always show that?) as common and irritating - guess it wouldn't have been if it was the 1st, not 5th, time I've seen IT - but the rest of them were completely new. I only wish this movie was longer - I remember being able to watch 3/5 of it while it was playing on a restaurant's TV once - but I still approve. It's definitely worth the money to pay for its brevity.


Over the past century, there have been many advances in gender equality, but not so much in the world of movies. I'm not talking about what goes on behind the camera, I'm referring to the tastes of the audience. The idea of a "chick flick" is alive and well today, while there are still plenty of action and horror films which appeal primarily to males. Sure, there are men and women who enjoy the movies that fall outside of their typical demographic, but there aren't many movies which have appeals across the board. Hitch, the latest Will Smith vehicle attempts to change that trend by being a chick flick which throws in a dose of male perspective.

Smith stars in Hitch as the title character, Alex "Hitch" Hitchens, a "date doctor" who trains men on how to approach a woman and have a successful date. Hitch enjoys his job and loves to see men successfully accomplish their goals of going out with the woman of their dreams, but due to a bad experience in college, Hitch himself is somewhat sullied on the idea of love. As the story unfolds, the film introduces two seemingly separate story lines. Hitch's latest case is Albert Brennaman (Kevin James), an accountant who is very attracted to one of his clients, the beautiful heiress Allegra Cole (Amber Valletta). Hitch has his doubts about Albert's chances, but if his clients desires seem sincere, Hitch supports them.

In the mean time, Hitch meets gossip columnist Sara Melas (Eva Mendes) and is instantly attracted to this strong woman. However, the date doctor can't seem to follow his own advice in pursuing Sara. Things get even more complicated when Sara's job leads her to investigate the relationship between the accountant and the heiress. Will Hitch be able to balance his private life and his job? And more importantly, can Hitch believe in love again? If you are a true movie fan, then there's been at least one time in your life when you've complained about the redundancy of the Hollywood movie factory and cried out for something new and original. Well, Hitch ain't that movie. But, most movie fans will also admit that occasionally a formulaic movie can work solely on an entertainment level. Hitch does qualify as that film.


I have to admit that I liked this film much more than I expected to. Will Smith has that clean-cut charm that you just can't help but like. The plot was a minor twist on basic romantic comedy stuff, somewhat reminiscent of Jane Austen's "Emma". This guy Kevin James has a real flair for comic timing and physical comedy. I have never seen his TV show, but he was cast very well in this film. Amber Valletta was good enough. I can't remember why she was a rich celebrity in this film, but if she was supposed to be an actress or model, then the casting might have left something to be desired. I enjoyed Julie Ann Emery, and wish she'd had a larger part. But, saving the best for last, Eva Mendes more or less stole the show. Her beauty, and charm, and just the right amount of standoffishness had me glued to the screen whenever she was there. I hope to see more of her in the future. This film is definitely worth checking out.


Will Smith is smooth as usual in the movie Hitch. Smiths character Hitch is a date doctor. He dates Mendes character who is a gossip columnist. At one point Hitch shows his love interest her Great Grandfathers name in the immigration book at Ellis Island pretending what is actually an arranged event is a coincidence. Not long after I mentioned starlight in my previous review today. There was a view of the starry sky in survivor hinting that My Moon 168 Rtexas already knew that was going to be there due to faster than light communications.

The male star from the show The King of Queens is very funny in this movie especially his dance moves. The allergic reaction on Hitchs face is a little cruel to laugh at even though it is just pretend.

My latest message from my Daughter Julias Artificial Intelligence computer on the Creator of Humans Home world Coaltrain that my Moon 168 as part of Moonfleet is near says: "Daddy I'm Okay again." Her messages are always very short. It is a curious pattern. Daddy will always Love you Julia. Thanks to our Creator we can talk forever. Yesterday Daddy talked to the first you on the telephone and told you your homework time wouldn't be that bad and you said "How bad will it be Daddy?" I said that your Grandma and I would help you with it. You only have to put pictures of our friends the police on a bristol board display and write a title like "The Police protect us." Check out the other movies of Will Smith as well.


As I've said in the title of this review, It pains me to say this, but "hitch" reaches the zenith of what Hollywood Romantic Comedies can ever hope to aspire to. I've been a critic of both the Genre and it's namesake for as long as I can remember myself, but on an almost tragic note, "Hitch" has caused me to spend somewhere in the neighborhood of two hours of my life with a ridiculous smile plastered across my face.

This movie may be misogynistic and presumptuous at times but it nonetheless possesses a certain humor about it whose subtlety may only be described as British. This is a wonderful attempt by Hollywood to make (Or remake as the case may be...) a film which appeals to all of our wishes for a Romantic Comedy which can make us both think and laugh simultaneously. I grudgingly and most evasively give this movie a 9 out of 10... Something you shall hardly see me do for a Romantic Comedy in the near future, or so at least, I hope.


I think that the basic idea of any movie is to entertain or to inform. If you want information you are looking at true life movies and historical movies. Sometimes these are one of the same. The other side of the coin is to entertain. Did Hitch entertain me? Yes it did. Okay the formula is standard. Boy meets girl or in this case boys met girls. They get together have a falling out then get back together. However the way it happened in this movie was refreshing. I particularly liked the bar scene with Hitch and Sara. The Allegra Albert romance was a delight to watch unfold, most REAL men are shy when it comes to wooing the woman of their dreams and had I had Hitch's advice I would probably have got my wife up the altar in half the time.I read the first comment on this film that appeared to suggest that this movie was played safely and good have had a few more laughs. I tend to disagree there are so many laughs you can pack into a romantic comedy without turning it into a farce. Besides relationships have there serious moments. All in all I found Hitch quite entertaining, the actors did a good job (I will be looking out for them in other movies) and Hitch is a film that I am very happy to have in my DVD collection.


This movie was much better than I expected. After a couple of films by Will Smith that weren't that great like I, Robot, he is back to being likable and fun in this one. Smith plays, Hitch, a date doctor. Most of the film centers around him teaching Albert how to be himself and get a date with Allegra Cole, a rich famous celebrity whom he works with. Albert is a klutz and goof and always tripping on his feet or what-not. All Hitch does is teach him how to act more cool and not be so nervous around Allegra.

During all this, Hitch meets Sara, a gossip columnist whom has sworn off men. Hitch charms her, so of course, they go out. But, Hitch may teach other guys how to get the girl to fall for them, he doesn't believe in love himself. He has never really had a girl since he was dumped in college. But, he likes Sara, so keeps going after her. Sara's friend is hurt by guy whom she thinks went to the date doctor. So Sara tracks the doctor down, only to learn its Hitch. So of course, she thinks he's a pig. Then it's up to hitch to explain to Sara and Allegra what he does, so they both end up forgiving.

FINAL VERDICT: Good, has some laughs, and is entertaining. I recommend it.


The Italian concept of "sprezzatura" was the grace and nonchalance in social manners that led to success in love, as described in the 16th century manual "The Courtier." The film "Hitch" is worth watching for the embodiment of the "sprezzzatura" concept in the dynamic performance of Will Smith.

Smith plays the character of Alex "Hitch" Hitchens, who is a professional dating consultant to those short on luck and confidence. The best scenes are when Hitch coaches the painfully shy and maladroit Albert in his quest to win the heart of a New York socialite and in Hitch's own attraction to Sara and a surprise for her when visiting Ellis Island. In these scenes, Smith is supported with good work from Kevin James and Eva Mendes. But this film is driven by the charm and winsome personality of Smith.

From start to finish, Smith rises above the average comic script to make "Hitch" an eminently watchable and entertaining film. I do not believe there is another actor working today who is capable of delivering the charisma and the perfect timing with the comic moments like Will Smith in this film. And his secret is in the "sprezzatura"!


I would recommend this as the most successful attempt so far to make a movie on Soviet Afghan war. And it is very honest and responsible picture starting from small details of uniforms and weapons up to human relations, war routine and Central Asian landscapes. It's been shot in Tajikistan just after the the troop withdrawal which happened in 1989 not in 1985. The Italian star Mr. Placido was just perfect in the role of Major Bandura. Other characters looked also very natural especially always drunk club managing officer:-).The scenario seems a bit jammed in the end but it might be an impact of the Civil war in Tajikistan which had started right during the shooting of the film. All movie team had to escape sometimes even under fire. The last scene is purely "harakiri" type of behavior and reminded me the final phrase from one famous samurai movie - "We've won all battles but lost the war". It could be also a metaphor of USSR collapse - the great country allowing to shoot itself to the back by the small offended child.


Filmed less than a year after the Soviet withdrawal from Afghanistan, the subject matter was fresh in the minds of the cast, the director and the audience. Most of the cast are actual soldiers and officers just back from the war. The Soviet army cooperated quite a bit during filming, which is odd.

The Afghan intervention was a bloody and pointless war in which even the generals had forgotten the reasons for the bloodshed. This film shows the tension and the cruelty of military life, the emotional atrophy experienced by the troops and the pain that convulsed a small nation torn by war and civil-war.

There is no lack of powerful scenes. One of the first is footage of steel coffins being loaded onto a transport bound for the USSR. Solders go about their work while an officer calmly ticks off the destinations: Moscow, Rostov, Donetsk, The Baltic.

An earlier comment describes the last scene with Maj. Bandura as illogical. It is perfectly logical and in the spirit of the film: the only human relationship Bandura maintained was with the Afghan family which he accidentally kills in the assault. Having lost his only buffer against the senselessness of the war, Bandura turns his back on the boy(and his gun) in resignation to his fate.

I particularly liked the last scene: a flock of MI-28s rising over the mountains as the voice of a pilot yells: "Uhodim! Uhodim rebyata! (We're leaving! Boys, we're leaving!) in a tone of sincere relief.

Afhanskii Izlom is an excellent film - brutally honest and as unholliwood as they come.


From the first to the last scene, this film is made very realistically,even too realistically that sometimes we can't see details in night scenes(it's dark as real night),in the desert(sunshine is so strong as in real desert).

Script and actor's play are also very realistic. Shots and episodes are edited not to show things and events "effectively", to "explain" them, or,as many Hollywood films do, to "entertain" viewers. Editing here is to represent the events as if they really happened in Afganistan. Camera is set sometimes far from dying solders, even the moment when the main character Major Bandura is shot and killed.

Such method reminds me of masterpieces of Italian neo-realism. And the construction of the story here is based on the same principles as "Paisà",or "The Bicycle Thief"--chronological series of "true to life" episodes and a few pathetic moments, which at first seem to be sudden and illogical, but have inner reasons.

I think the inner reason of Major Bandura's suicidal death is religious emotion--Repentance for innocent people's death(not only his accidental killing of family in the village, but also death of solders under his command).He is not depicted as a eager believer,on the contrary he is depicted as tactful and responsible officer.Exactly for this reason his last decisions(to go back to the destroyed village and to turn his back to an armed boy, whose family he killed)seem an act of Repentance.

The Russian Orthodox choral, which sounds at the end("Evening Sacrifice")is another context,by which all the film can be seen from this point of view.


Well, the movie is basically about the last days of a specific Russian regiment stationed in Afghansitan, before the main troop withdrawal in 1985. The movie accurately portrays the grim realities of Russian army that have made it infamous: "dedovshina" (officers and NCOs physically harassing, beating and humiliating younger recruits), mixed character of war (you can trade with your enemy one day and kill him the next), life of women at the front lines, documentary footages of helicopter assaults, and coffins being soldered and sent home in heave C-130 Hercules class Russian cargo planes with tracer to jam Stinger missiles, fatigue, boredom, anti-war sentiment, emotional side simply put. The there's some action scenes, but they are poorly done, and often are illogical, like Major Bandura's suicidal walk and turning of his back to 10-year-old kid armed with AK-47 who's father he just killed. Also the fact that in the middle of firefight in the mountains heavy grenade launcher pops out of nowhere (and any half-bright person knows that it's virtually impossible to hump 40-50 lns launcher on the march anyone). But at the same time films shows that war is a dirty affair, where murder is sometimes condoned, wanton destruction of whole villages for little or no reason is normal, indiscriminate killing of civilians is overlooked as collateral damage inevitable during war... Some food for thought as to why Afghan war as lost.. Not the best war movie made, but profound and intelligent enough to be worth watching.


American war movie fans might be bored out of their skulls by this movie, but that boredom is born of ignorance. Guerrilla suppression operations are always like that. Sit around and wait, get some hookers, get drunk at the base, wheel and deal with the businessman, kick a prisoner around, cover up the killing of the street merchant by the green private. Then, boom, there goes two fuel trucks, and for 10 minutes a small-arms battle with one high-caliber machine gun. Then wait for brass to plan a way to knock out their stronghold, and then end up killing a few civilians in the process of doing it. If reality doesn't work for Western viewers, there's always Top Gun or Rambo (Top Gun realistic? nope)

The best part of Afganskiy Izlom's realism was the way all the planes dropped flares like confetti. They had to do that because Carter and Reagan gave the Mujahedin so many missiles. Also, the wave of Mi-24's was excellent, a better helo attack even than Apocalypse now. The sight of their missiles dropping and shooting was a scene of impending "death from above" for whoever they were aimed at.

It's funny how the Soviets were able to make an honest Afghanistan movie within a year after their departure, but it took the US six years. Afganskiy Izlom is just as real if you apply it to NATO's occupation too. Someone will always pick up the gun and shoot you cause they care more about the land. It's a movie Westerners should watch. Unfortunately I don't think anyone has ever made English subtitles; I might have to make some.


NBC was putting out a lot of good product when this series came out, but none of it was getting viewers. At least according to their executives who wisely canceled good shows like Star Trek & My World & Welcome To It because of low ratings. NBC's advertisers were getting a bargain from NBC's ignorance.

This show stands out as the only time James Garner wasn't enough to get viewers. It is ashame as this show had an excellent support cast from Stuart Margolin (later Angel in the Rockford files), to Neva Patterson to Margot Kidder.

It was set in a 1900 western town. Garner was playing a sheriff who did not want to use violence to do his duties. It was small town stuff, but it was excellent. It wasn't long after this that Jim Rockford brought Garner back to success, but for my money, this show was good enough, it just wasn't in the right time, right place, or given the right opportunity.

The show was so good that most of the folks who worked on it also got jobs on Rockford.


As I recall, my family made a point to stay home on the night "Nichols" was on (Mondays? Tuesdays? NBC?). It was a superb vehicle for James Garner, very well written, great ensemble cast. His character very much like the "Support Your Local..." films: Retired gambler with mysterious past settles into town and has adventures every week. In fact, it seemed fairly obvious that it was the same character. It was just a charmer of a TV show. A sleeper, like "My World And Welcome To It", which may have been its contemporary--I forget. I dearly wish these shows would be made available on DVD. It was Just Good TV. Perhaps "Briscoe County Jr." come close, but only by a mile.


Hey, you are not alone! I remember Nichols! I was just 17 when it was on. I remember James Garner was one of the coolest actors, and Nichols was such a great show. I couldn't believe it was on such a short time, wish I could remember the last episode, I probably didn't see it...there were no vcr's back then so it when it was on you saw it, and if you missed an episode it was gone forever unless it came back on summer reruns. Anyway, sure would be great if it came out on DVD, but I don't think that many people even knew about it. What a shame.

Garner would hit it big a few years later with Rockford Files, and he brought along his buddy Stuart Margolin from Nichols to play his sidekick Angel.


This show was a really good one in many ways, although certainly an atypical Western with the hero (?) riding around on a motorcycle rather than a horse, due to the 1914 setting, very "late" for a Western, which tend usually to be set between 1866 and 1890. I remember some controversy about its cancellation at the time but didn't really watch it during its time on NBC. When I came to see it and love it was a decade later when I was in the Army stationed in Germany and it was shown every week from the beginning on Armed Forces Television. By then, Margot Kidder was famous as Lois Lane but I'll also always think of her as Nichols' girlfriend. In a lot of ways, Nichols was a lot like Maverick; both were much more attracted to getting rich with little effort than they were fighting. It was in the little TV magazine that they distributed at the PX (not really an authorized edition of "TV Guide" but made to resemble it as closely as possible without getting into copyright trouble) that I first learned the real story behind the cancellation. I really wonder what the next season with the more violent twin would have been like if they had really made it as planned. Of course, by the time this show was made the "Western era" of TV had been in decline for around a decade; someday I hope to be able to write that the "reality era" has been in decline for that long! While "Gunsmoke" and "Bonanza" were still running, they were both nearing their ends and it had been years since a new Western had really caught on; I think that this trend did a lot to hold "Nichols" back, and was the main reason that NBC executives doubted that it would ever find a large audience But to me, a good Western, unlike a show set in contemporary times, is somewhat timeless, as are other "period" shows; changing fashions and the like do nothing to make them look any more "dated" than they were supposed to be, and I think that watching this show, 10 years after it was produced, is really what brought this point home to me. Also, this show is an early pairing of Garner and Stuart Margolin, who is really one of the all-time great sidekicks, and not just in Westerns.


I loved this show but then I don't remember ever not loving anything he did, starting with "Americanization of Emily". A town sheriff who keeps trying to steal the town blind and ride off to Mexico, gotta love it. Like everything he does it has a tongue in cheek flavor that brands it as a Garner product. James plays the same character in lots of his shows and movies but somehow it never gets stale.

P.S. re: Killing off the main character

If I remember right the "good" brother was killed off and replaced with the "evil" twin in an effort to increase the ratings i.e.; make it more like every other western on TV at the time. I think this show was too far ahead of its time and I still miss it. TV without a Jimmy G show is missing something.


Superb silent version of the story of Francois Villon. Although remade in the thirties as IF I WERE KING, with Frank Lloyd directing, Preston Sturges scripting and Ronald Colman starring, this version is even better. Barrymore, with a cohort of comedians, plays the comic fool and the wine-depressed Villon with a verve that Colman could not match. The photography is startling in its beauty and innovation and the supporting cast, particularly Conrad Veidt in his American premiere, the incredibly beautiful Marceline Day, and the supporting comics, Slim Summerville and Hank Mann, steal every scene they are in.

It is a shame that Barrymore did so few first-rate comedies. Among his sound films, only his lead in TWENTIETH CENTURY and his supporting role in MIDNIGHT can compare to this, and those stand up only because of his superb voice. In this silent movie, Barrymore must tell his tale without benefit of words, and he does so, alternately hilariously unrecognizable as the King of the Fools and tenderly as Villon in love. He even gets to leap around in the swashbuckling style of Fairbanks, most convincingly. He also lets his supporting cast have their share of glory, capering in this ensemble work like any talented comic of the era.

Finally, a brief word about Alan Crosland, a director known today only for directing the first talking feature, THE JAZZ SINGER in the same year this was released. Crosland was a careful, innovative, delightfully original director, and it is a shame that more of his works are not known. Perhaps this movie, far more interesting as a movie than his best-known work, will be your introduction to his other talents. If so, you could do far worse.


And nothing wrong in that! Heartily endorse the comments of boblipton and Snow Leopard.

I'm thrilled to find this movie is available on US DVD - I've only ever seen it through once - I persuaded the Goethe Institute here in London to show it in their Conrad Veidt season some years ago - and long to see it again.

Barrymore is resplendent when engaged, as in this movie, possibly because of the prick of having a renowned German actor as a foil. And Veidt is such a wonderful scene stealer (doesn't he pick his nose at one point?) This is one of the seminal films to connect 'Dr Jekyll' with '20th Century', 'Grand Hotel' or 'Midnight'; and 'The Cabinet of Dr Caligari' or 'The Student of Prague' with 'The Spy in Bladk', 'Contraband' and 'Casablanca'.

See it!


The Beloved Rogue is a wonderful period piece. It portrays 145th century Paris in grand Hollywood fashion, yet offering a bleaker side to existence there as it would be experienced by the poor. And the snow. It's constantly swirling about, adding to the severity of the setting -- brilliant! The setting is enhanced by the odd cast of characters, including beggars, cripples and dwarfs.

A brilliant performance is turned in by John Barrymore, outdone only by the magnificent Conrad Veidt, who portrays a degenerate, dissolute Louis XI to perfection. And yes, Veidt picks his nose on purpose, pushing his portrayal to wonderfully wry limits.


Most of the silent films I've seen have been serious in nature, so it was fun to see one with a comic touch. The setting and some of the scenes for "The Beloved Rogue" were reminiscent of 1923's "The Hunchback of Notre Dame" relative to the Paris street scenes and the celebration of the 'King of Fools'. John Barrymore portrays France's greatest poet Francois Villon in a characterization that ranges quite broadly from virtual slapstick to romantically tender; that 'water into wine' bit early in the picture was rather amusing.

It seems that times never change, and it's interesting to see the movie make a cogent observation nearly a century ago - Paris has it's fool to reign for one night, while everywhere else has one all the time. How true.

The appearance of Conrad Veidt in the film was a little surprising for this viewer, I've only seen him as Major Strasser in "Casablanca", oddly one of his very last movies. As King Louis XI, he's a monarch obsessed with astrology, crafty but suspicious, and it was a bit unnerving to see how closely he resembled Brad Dourif's Wormtounge character from the final chapter of the 'Lord Of The Rings' trilogy. Not exactly exuding the confidence a King of France might be expected to bear. Which is why the ascendancy of Burgundy's duke (Lawson Butt) seemed all the more plausible, until Villon rises to the occasion to put one over on both rulers.

I found it interesting that the use of inter-title cards was exceedingly spare, used only when absolutely necessary to advance the story. Without them though, one would have missed a curious nugget. It seems Villon carried out his exile from Paris at the Hostel of the Lame Flea!

The print I viewed was of exceptional quality, the very first film presented in a one hundred Action and Suspense movie DVD set from Mill Creek Entertainment, that's saying something for a film that's now eighty years old. It's great that movies from the silent era are now finding a wider distribution in this type of commercial format, making them accessible to an entirely new generation of movie lovers.

One question - did it seem like Conrad Veidt's King Louis picked his nose on purpose, or as an inadvertent gesture that simply remained safe from the cutting room?


François Villon was a real-life poet and rogue who lived in Paris in the 15th century. However, most of what is portrayed in this historical film is actually fiction--from a play created at the beginning of the 20th century. Whereas in the film he met and became friends with Louis XI, in reality he died in his 30s and was never involved in all the intrigues like he was in this film. In reality, he wrote some lovely verse and was frequently on the wrong side of the law--not the combination of a patriot and Robin Hood-like character like he is in the film. Provided you know that the film is nearly 100% fiction, then it's well worth seeing--just don't assume it's a good history lesson.

In THE BELOVED ROGUE, Villon is played with wild abandon by John Barrymore. I was also pretty excited to see that his three friends were all played by very familiar faces. Angelo Rossitto, who was the plucky dwarf, played in tons of films over the years and had a very long career. Slim Summerville was a character actor known for adding a touch of comedy to films. Mack Swain is best known as the silent film foil in many of Chaplin's short films and played his partner in THE GOLD RUSH. All four of these men did a nice job and have no complaints---even with Barrymore's rather over-the-top treatment that was rather reminiscent of a Douglas Fairbanks performance. However, the performance I had a serious problem with was Conrad Veidt as King Louis XI. To call this "unsubtle" would be a gross understatement. He played the role like a high schooler who thought he was supposed to be the stereotypical Richard III--skulking about and acting like a demoniacal caricature. While Veidt was wonderful in many, many films (both silent and sound) but here he is just ridiculous.

As for the story, it's full of lusty adventure and action--like a swashbuckling film minus the sailing ships. The sets worked out well for all this, as they'd been used the previous year for THE HUNCHBACK OF NOTRE DAME. Both films were set around the same time period.

Overall, it's one of the last great silent films. There's a lot to like and the film is a lovely combination of romance, comedy and action. Well worth seeing, though it loses a couple of points for Veidt's overacting as well as the way the film plays fast and loose with history.

By the way, this film was also made twice as IF I WERE KING (1920 and 1938) and apparently these two films are closest to the original play. However, in total, six films have been about Villon and tell, more or less, variations on the same tale!


This film is a good start for novices that have never watched a 'Silent Film' and for those who believe that quality Cinema started with their generations efforts. They are doing a disservice to themselves by not expanding their horizons. The 'Silent Film' is a art-form of acting in pantomime that is different from the sound film and the stage, it can stands on it's own merits.

THE BELOVED ROGUE (1927) United Artists is a fictionalized history of the relationship of French Poet 'Francois Villon' and 'King Louis XI'. Through 'Villons' prodding 'King Louis' will defeat his nemesis 'Duke of Burgandy' minimize the Feudal System and establish the KING as head of the State and the beginnings of modern France.

The cast is exceptional, lead by JOHN BARRYMORE (yes, Drew's GrandFather). For those who only remember him for the decaying actor 'Larry Renault' in DINNER AT EIGHT (1933) or the ham in THE INVISABLE WOMEN (1940) this will be a revelation. Fit, trim with the 'Great Profile' still in evidence he commands the screen. Co-Starring in his first American film is CONRAD VEIDT with his 'cadaverous spider' interpretation of 'Louis XI'. This is a duel of acting titans, each not giving the other a inch. On a trivia note is Character Actor and Dwarf ANGELO ROSSITTO in his first film, his last, MAD MAX BEYOND THUNDERDOME (1985). There are other character actors who would continue in sound that are easily picked up on.

United Artists spared no expense in this handsome production supervised by WILLIAM CAMERON MENZIES. Costumes, Props and Sets are well done and not exaggerated like in a DOUGLAS FAIRBANKS productions. There is a touch of reality here. The copy on DVD that we watched from 'Delta Entertainment' came from a good master. Though not 'restored' its musical soundtrack was clear and the print only suffered from nuisance black-spots (dirt) and drop-outs. The only major damage at the end of the last reel from water. 'Kino' also has a edition which may be of a better quality since they do major restorations on their prints. Best check with them. In our opinion this is a 'must have' particularly if you have no 'silents' in your collection. This is a good place to start.


Just love the interplay between two great characters of stage & screen - Veidt & Barrymore


No matter how many times Wile Ethelbert "Famishius Famishius" Coyote tries to get Road "Burnius Roadibus" Runner, we always know what's going to happen, though our sympathy always remains with WEC. The highlight in "Hook, Line and Stinker" is a Rube Goldberg-style scheme that WEC hopes will finally finish off RR; but of course you know what happens.

So, Wile E. continues hilarious engaging in fanaticism (defined by George Santayana as redoubling your effort after you've forgotten your aim) while Road Runner pretty much never becomes aware of the potential danger - or lack thereof - in which he could find himself. A real classic.

And yes, the coyote's middle name is Ethelbert. I learned that from "Jeopardy!".


If you love Vampire lore and are a fan of Gothic horror, then you might want to check out Soul's Midnight. I did not know much about this movie before I watched it, and I wasn't expecting much, but I found the movie to be fun and entertaining.

Starring Armand Assante as the leader of the vampires Simon, Soul's separates itself from other low budget vampire flicks by weaving in the mythology of St. George and the Dragon in a fun new way.

I'm not sure what the budget for this movie was, but I sense that if it was a little more then they might have really been able to hit home the gore and effects.

If you're up late one night and you're in the mood for a fun low budget vampire flick then Soul's Midnight is a good choice.


Soul's Midnight stars Armande Assante (Simon) who stared in "The Mambo Kings" and Elizabeth Bennett (Alicia Milford). Together with Sexy vampire vixen, Lucila Sola (Iris), Simon lures pregnant Alicia and her husband Charles into the netherworld of Soul's Midnight. Assante sinks his fangs into the script by writers Brian and Jason Cleveland and you enjoy watching him and Iris kill. Alicia and Charles (Robert Floyd) try to stay alive while gore keeps your lust for blood sated.

(spoiler alert) In today's jaded landscape, it comes as no surprise that a back-stabbing preacher gets bitten. Set looks cool  lots of detail at the Borgo Hotel and cool special effects at the end. I had a lot of fun watching this movie  it doesn't take itself too seriously and looks great.


As a huge fan of horror, I had given up on the vampire sub-genre due to the fact that in most vampire flicks the vampire has become feminine and non-threatening, benign and basically weak. This was the attitude I brought to a viewing of Soul's Midnight and I am happy to say that the vampires in this film at least have the hunger to kill old ladies and sacrifice babies! Armand Assante, one of my favorite actors of all time, was born to play the charming vampire with savage intensity.

Another thing that interested me is that the central location is the Borgo Hotel. That is cool because (and I went back to my high school copy to look this up) in Dracula, the Borgo Pass is where Jonathan Harker must pass to get to Dracula's castle.

Finally, my hats off to whoever made the decision to make the creature a real effect and not a darn CGI! That's the one thing great about many low-budget movies, they cannot afford the garbage computer effects that plague many Hollywood monstrosities.

Bottom line...this is better than Underworld for sure, especially if you are a vampire purest. Cheers, JA


China White (1989) was Ronny Yu's first international film. This U.K,/Holland/Hong Kong production was shot in English and was slightly edited for the western audience. The American Wong brothers (Michael and Russell) were supposed to star in the film together but due to prior commitments was unavailable so another western actor Steven Leigh took his spot. Several Hong Kong stars such as Tommy Wong (playing a mute) and the always creepy William Ho appear as well as the director in an interesting cameo spot.

The Chow brothers are in Holland to run the family business. They want to the family business to go legit but the other Asian gangs don't want to and see there move as a face saving move to please the "foreigners" and want to keep on making money the old fashion way. Others want to take their business to even a new low by smuggling drugs and what not. After the Chow elder is gunned down in cold blood, the brothers make their move against any family who's not with them. Can the Chow family keep the families from killing one another or while the streets of Holland flow with the blood of the innocence and gangsters?

A highly underrated movie. I was surprised by how good it was. I haven't seen the Hong Kong version. That would be a huge treat for me. It's longer and has a lot more stars of the Hong Kong Cinema involved with the production. Too bad this film isn't available on D.V.D. The video print i saw was washed out and the sound reproduction wasn't that great.

Highly recommended for action fans.

factoid: This film takes place before the decriminalization of drugs

in Holland.


I already gave my comment on this movie under the name BruceV3. Now under BruceV13 I want to add something! Now after a long time I have seen a lot of so called heroic bloodshed titles! But not many come close to the action shown in John Woo movies! That's why after all these years I think it is strange that "China White" doesn't get the credit it deserves! No matter what version you have seen! The action is top notch! The scenery,China Town in Amsterdam is very unique. You get the impression it is a large district. But having lived in Amsterdam myself I know it is only a small area part of the red light district which happen to have a lot of Chinese stores and restaurants! But because of the way they shot the movie it actually looks like a big and important territory where people know not to mess with the triads (chinese mafia)! Besides the action "China White" is a compelling gangster drama with some good acting! For this i have to give credit to Russel Wong! Too bad we don't see much of him lately,since he has a lot of potential! Must see movie!


With some wine, some friends and some good humor, I had a really good time watching this film. I particularly enjoyed the performance of Jilon Ghai (as "Randy"), who was such a kick in the pants! His scenes with Charity Rahmer ("Michelle") were wildly amusing. I wouldn't want him coming on to me, but it was great watching "Randy" try to score with "Michelle" and even better seeing the results! Of course, the girls in the film are lots of fun to watch too. AND, a friend of mine showed me the PLAYBOY issue that had Pilar Lastra as the Playmate of the Month. She's definitely a looker. All in all, this film totally served its purpose, which was to entertain us in a light and care-free way.


Wow, I just LOVED watching all these hot babes! The scenery around Malibu and California was off the fizzy. I could watch it again just to see all that flesh crammed into those tiny, teeny bikinis! I recently saw Pilar Lastra, the steaming hot housekeeper in Malibu Spring Break, as a center fold in my favorite mag, PLAYBOY. She is hot, hot HOT! The opening seen was bitchin. When the two main girls run out of gas and stop at this desert gas station, they drive the gas-guy nuts with their bodies and skimpy outfits! The slow-mo lets me enjoy every inch of them! My girlfriend liked looking at this shredded hot dude too (now I'd like a bod like that) and at all the other hot dudes....and some of the girls too! Any movie that can bring that out in my girlfriend is a 10 + for me!


Not having seen this film in quite some time, we caught with it not long ago in the nicely transferred Criterion DVD. "Le cercle rouge" is a film that owes a lot to other movies, as it keeps reminding us about "Rififi", "The Asphalt Jungle", among others, because they all deal with capers that take center stage in the movie and reproduce it in great detail. Unfortunately, one knows that old adage that crime does not pay, and from the start, these men involved in it are doomed from the onset.

Jean-Pierre Melville was a director of few words. He didn't fill his pictures with a lot of dialog, as it's the case here. Yet, for not being "talky", they had a style of their own as proved with "Le Dolous", "Le Samurai", and his masterpiece, "Bob le flambeur", among others. Mr. Melville had a sense of style that comes across in everything he did. In this film, working with his cinematographer, Henri Decae, he takes us along for a ride through the streets of Paris that shows the vibrant city mainly at night and the bleak winter in France. The score is by Eric Demarsan that emphasizes a jazzy music that accompanies most of the action.

Although the film shows Alain Delon, as Corey, at the center of the action, it is however, the smart inspector Mattei who is the real hero of the movie. As played by the great Bourvil, he is a man that shows a lot of patience because he has figured from the beginning how to catch Vogel, and in the process he gets involved in the investigation of the jewel heist in which he knows the escaped man he is tailing looms large behind it. Bourvil gives an enormously satisfying performance as Mattei showing equal parts of determination and tenderness, as it's the case with the three cats he adores.

Alain Delon always responded with interesting performances his appearances in Mellville's pictures. In here he is Corey, the man who is first seen leaving prison and promising himself he won't go back, but he cannot pass a good thing when he decides to go ahead and participate in the robbery. His association with Vogel and Jansen, pays off in the way they get the job done, but it will also prove a mistake in the way they will not be able to dispose of the loot as the fence they have relied on has a change of heart.

Gian Maria Volonte and Yves Montand are seen as Vogel and Jansen, respectively. They were excellent actors who blend well in the action of the film. Both actors were at their best moment when they took the roles in the film and it shows. Mr. Montand has the more complex character to play as we witness him in his first moment in front of the camera as a man with many demons inside his head.

Jean-Pierre Mellville got wonderful results from his cast and crew in a film, that although feels a bit longer, but still succeeds in showing his style in one of the most memorable pictures from the director.


THE RED CIRCLE (Jean-Pierre Melville - France/Italy 1970).

This might be the coolest film ever made, in the most literal sense of the term. The men here never lose control and never - not once - show their emotions. No dramatic outbursts in this film. Everyone is cool all the time. It's an abstract dream-world, where the men live by their own code, a gangster code with the values of the outside world conspicuously absent. In this masterfully filmed heist saga, Melville tackles the American crime thriller in his distinctly dark and desolate style, yet made in grand fashion with a hefty budget of ten million dollars and with four of the greatest French stars at the time. Alain Delon as the master thief, Yves Montand as an alcoholic ex-cop, Italian star Gian-Maria Volonté as an escaped criminal and André Bourvil in an atypical role as the cynical police chief.

Melville described LE CERCLE ROUGE as his penultimate film and it is indeed a masterfully stylized policier. He also claimed he wanted to shoot a film noir in colour and in many ways he succeeded. The two primary influences for this film were John Huston's 1950 heist movie THE ASPHALT JUNGLE and Jules Dassin's RIFIFI (1955). But unlike these films, where we learn much about the background of the individual gang members, with all their petty needs and worries that motivate them, making clear these are not just ruthless underworld types, but ordinary individuals engaged in a world of everyday worries and human endeavour, Melville, though, tells us almost nothing about his criminals. Why was Corey (Alain Delon) in jail? Why was his associate, Vogel (Jean-Marie Volonté) arrested in the first place? Or why the ex-police marksman Jansen (Yves Montand) left the force, was it his alcoholism? We never learn the motivations behind their actions and never find out what drives these men. Women are even more absent than in his earlier films, with the "emotional" ties exclusively between men. They don't even seem to have personal lives. A sort of an emotional twilight zone and although the setting is not as abstract as in his earlier LE SAMOURAI (1967), Melville still sketches a very eerie world. Melville's favorite actor, Alain Delon, is perfect and almost outdoes himself in coolness, if imaginable.

Deliberately paced and with a length of over 140 minutes, Melville takes his time to tell the story, but its slow pace and length seems a perfect way to show the desolate world these men live in. Nothing is ever out of place in Melville's films and here it's no different, every little detail seemingly of pivotal importance for the story. Although LE SAMOURAI remains my favorite Melville film, even up there with the greatest films ever made, this one also belongs to the very best.

Camera Obscura --- 10/10


Everyone likes the coolly created, memorable heist movie. Alain Delon provides the antihero, Melville provides the cool, and a handful of other great talent (Yves Montand, Gian Maria Volonte, and Andre Bourvil, mostly) arrives to add a crisp engaging movie...

...with very little dialog. This is great, because one certain aspect of the genre tends to be a lot of dialog involving the quick-witted and their various repartees. This movie, however, could be watched with the sound completely off and not too terribly much would be missed. Not to say the sound is bad, oh no, the jazzy soundtrack and the crisp audio catching the little movements makes the slow, patient deliberation of the patients very compelling.

What's also really neat about this film is that the color cinematography is pretty fantastic. Usually when it comes to cinematography, black and white movies tend to stick out in my mind, but this film has some very strong and beautiful imagery that makes the movie pure visual pleasure to observe.

--PolarisDiB


I decided to write a comment on this amazing movie because here on IMDb it is cited that John Woo, a mediocre director who made some decent films back in his pre-American years but totally ruined his reputation by his latest, made in US films, plans to remake it. Well, here are a couple of reasons why it is one of the stupidest ideas for a remake ever: The plot of the film is simple and even clichéd by today's standards, but what makes the film a masterpiece is acting by the four leads, unique direction by Mellville, cinematography, music and its style. There is no way any director today can make such film, it is impossible to create such an atmosphere in a movie in today's Box-office targeted movie business.

John Woo did make a more or less decent film which borrowed from Melville's Le Samourai - The Killer, but remember, it was made when the director was not spoiled by big budgets and expensive (in salaries) but cheap (in acting merits) actors. So what I'm saying is that this is one of the greatest films ever made, together with another film by Melville - Le Samourai. Watch it. And even if the remake will be made, try to avoid it before seeing the great original first.


Jean-Pierre Melville is a director I've only recently gotten acquainted with (I need to see Bob le Flambeur and Le Samourai again to fully grasp them), but in watching Le Cercle Rouge (The Red Circle, supposedly based on a saying in Buddhism) I realized I was watching as skillful and absorbing a crime film as I had seen in a quite some time. Though his film has dialog, it is mainly to keep the film's scenes rolling along, adherent to the plot. What kept me on the alert, even in seemingly mundane scenes/sequences, was the emphasis on the characters' movements, or behavior patterns. Melville has his story laid out, and he is careful to take his time to tell it (this could seem boring to some, but it does seem to work since he puts a little more emphasis on the weight of the characters/environments over plot).

Yet look at each of the four main players: Alain Deleon as Corey (just released from prison, scheming a new heist), Gian Maria Volonte as Vogel (escaping & on the lam from hand-cuffed custody, meets Corey by luck), Yves Montand as Jansen (an aged pro with many years of experience with weapons, a friend of Vogel), and Andre Bourvil as Mattei (an experienced investigator, who is on the look-out for Vogel, and on his toes with internal affairs). Each of these actors plays their parts with precision, detachment, and they each have their own kinds of moments that indicate to the audience what their personalities might be besides as criminals and cops. The heist sequence gives little hints, for example, like how Vogel cops-a-feel off a female statue while passing down the halls, or how Jansen takes out a flask and merely has a whiff of the contents (and what a dream this guy creates). Even Corey's movements involving a photograph of a woman arouse interest.

As absorbing and cool the story becomes, and as great the skills were to make it happen (via cinematographer Henri Decae, the editing, and the musical score by Eric Demarsan), it's the people on the screen that gain fascination, in how they stay true to their natures and ideals. Not a film to be missed by French new-wave enthusiasts, and modern-day crime movie buffs might want to take the 140 minutes to soak up the atmosphere of Melville's work. A suave piece of film-making that still ranks as one of my all-time favorites.


While its not the masterpiece that "Le Samourai" was (I've accepted by now that Jean-Pierre Melville was never able to top that classic), I find "Le Cercle Rouge" to be much better than "Bob le flambeur". I felt that "Bob le flambeur" was an above-average and influential b-film, but still a b-film. "Le Cercle Rouge" proves that as a filmmaker Melville improved as he continued. John Woo is a massive fan of Melville, even though their film-making style differs. While Woo uses fast-motion for shootouts and an operatic sense of violence, Melville has a minimalist style that suits him very well. He wasn't interested in creating quickly paced action films but more meditative crime thrillers. In that department, he was one of the best.

"Le Samourai" is still his best work, mainly because it has more character development than this, but on a technical level they're probably equal. Besides, while "Le Samourai" had one great lead performance, this has four. Alain Delon is once again an ultra-cool gangster on the prowl - this man's silence is fascinating. Bourvil is superb as the police inspector on the case of the heist and escaped con. He steals every scene he is in, and proves that he was a skilled dramatic actor (in France he is best known as a slapstick comedian in the mode of Buster Keaton). Yves Montand is great also as the shaky and paranoid gun expert. Gian Maria Volontè (a regular in spaghetti westerns) is overshadowed by his three co-stars but still does an adequate job.

Once again, Melville's direction is superb. Taking equal influence from both American crime thrillers and the French new wave, the man always seems to know the best shots and angles to choose. This is more slowly-paced than most caper flicks, but it really pays off by the end. "Le Cercle Rouge" is a bit short of being an absolute classic, but is still one of the best heist flicks ever made. Tarantino must've seen this before making "Reservoir Dogs". (8/10)


Having finally caught up with this "masterpiece," it strikes me that it must have seemed terribly clever, in its day. It's French, arty, under-played to the point of agony, and ultimately downbeat. But viewed from the vantage of 37 years in the future, it's also just a bit vacuous, pretentious and unsatisfying.

Others have summarized the story, but I don't think anyone has pointed out the dramatic flaw at the heart of this film: the lead characters, Corey and Vogel, really don't deserve what they get. They play square within their code, never harm anyone who didn't ask for it, and show great courage and initiative. Moreover, Corey in particular is victimized by his former gangland 'friend,' who stole his girl and who repeatedly tries to have him killed, apparently just because he (Corey) dared to 'borrow' a few thousand francs. These are guys who really ought to be due for a break! Instead, things go far worse for them than they really need to, within the logic of the story.

One might contend that this is the whole point: that the real villains never get caught; that they collude with the police as needed, sell out their friends, and always come out on top. But that's not shown either. Corey's old gangster friend is not shown colluding with the police. Nor is he shown gloating over his victory. In fact, after materializing several times when he's needed, he's nowhere to be seen at the conclusion, leaving a dramatic tension (his feud with Corey) entirely unresolved!

Nonetheless, I'd say this film is well worth seeing for its beautiful photography, its slow, deliberate pacing, its great deadpan performances, its elaborate heist sequence, and its encapsulation of the art-film style of the late 1960s.


I guess Melville intended this movie to be the definition of the cool; it has the cool approach of the late '60s/ early '70s thrillersthe same discrete quirkiness. LE CERCLE ROUGE, a bitter and fatalist story, is also the playground of Delon, Bourvil, Volonté and Montand in defining roles.

Bourvil is a cop who has in his flat three cats and a daily routine. Delon is a hoodlum. Montand is a sick, failed cop. Volonté plays an escaped suspect. LE CERCLE ROUGE is of course far above a heist movie; Melville uses his techniques long wordless detailed depictions of every step of the heist, etc.. Yet this particular action drama is far better than his other moviesand it's very unlikely them by being so much better. The look of LE CERCLE ROUGE is very peculiar to Melville, very Melvillian.

Delon was sharp and cool; Bourvil brings his craft, and Montand makes maybe the finest role of this movie; his performance has an unexpected warmth .

On the other hand, the characters are barely sketched, no more than strictly necessary, and are personae. Or masks; yet the portrayal is inspired, economic but suggestive.

Another of the movies that prove Delon to be a good, a very good actor; and the fact that he's not a genius does not imply that he ought to be despised as a fourth rate actor. He's good, he can bear the proximity of a Bourvil and Montand.

Only ten yrs. before LE CERCLE ROUGE, Melville was doing, towards the end of the '50s, a boring overlong insipid noir pastiche (starring himself)and after only a decade, here he is, in full form, with this quite amazing action drama. Stylistically, it's a success.

Before seeing LE CERCLE ROUGE, I was not a Melvillian fan; now I guess I rather am one.

LE CERCLE ROUGE is a dramanamely, an action drama, one of the most exigent genres. Melville scores.


you have loved The shawshank Redemption, Pulp Fiction, Vertigo, Oldboy.... And i guarantee you will love this one more. its a brilliant thriller. The story is so simple yet so gripping. it keeps you at the edge of your seat till the end. the slow moving scenes, simple music adds more perfection to the movie. its so genuine. the performance is top class the direction the sequences...they are too perfect..if i could i would place it in top 10 thrillers ever made. Most entertaining thriller i have seen in a while... *****/***** my vote help me move this movie to top 250

you will love it...