I saw this movie at the 18th Haifa film festival, and it is one of the best I've seen this year. Seeing it on a big screen (and I mean BIG, not one of those TV screens most cinemas have) with an excellent sound system always enhance the cinematic experience, as the movie takes over your eyes and ears and sucks you into the story, into the picture.

The movie presents a set of characters, which are loosely inter-connected. Their stories cross at certain points, and the multiplicity of story lines reminded me very much of the great Robert Altman and his exquisite films. But the true hero of the movie is obviously the city of Madrid, which provides the backdrop for the entire movie. It houses the characters, contains the pavements and roads on which they walk, and sets the background atmosphere for all the events, all in beautifully filmed scenes.

The movie returns again and again to certain themes (shoes, for instance), and in essence Salazar makes his metaphores more and more understandable to the viewer as the movie progresses. He combines the views of the city with the shots of the characters, and elegantly matches the feeling of the scene to the background. A set of talented actors helps him portrait a wide variety of characters. One excellent example is the scene in which Juaquin takes Anita across the street for the first time. It might not work on a small screen, but it gave me goose bumps easily on a big screen.

The message of the movie is very positive, and accordingly the movie is light and funny at times. The music along the movie is usually pop, with a few instrumental pieces (I hope to put my hand on the soundtrack one day, although I seriously doubt I will).

All together, I came out of this movie with a sensational feeling, and I'm not easily impressed (you'll have to take my word for it). For this and more I give this movie a solid 8/10.


The movie begins a with mentally-challenged girl with bright yellow sneakers looking skyward on a Madrid street corner and being spellbound by a passing plane. The movie examines the life of five womenAdela, Leire, Maricarmen, Anita & Isabelwho have completely different lives and choices of shoes. Their shoes is the first superficial, yet affixed with some glancing meaning, clue we get at their fragile identities. In a theatrically embroidered and embellished way, a podiatrist tries to esoterically reveal the deepest secrets of a woman's souls by the sole of her feet. The premise is risky and slightly contrived, but the tone and depth of the movie takes a daring plunge for the good.

What may have been light-hearted and superficial, quickly switches gear with the a superb dysfunctional couple scene that leaves the viewer riveted for minutes, seeing the love or lack thereof, the pain, the confusion, the hope, the needs and escape mechanisms develop through minutes different rooms of the house and down to the street and eventually below... What a scene (!) , but there will be others as effective to follow and strengthen the strong characterization and directing displayed in this slice of life affair.

Moving along, a woman has lost the husband she loved and inherited his kids and his taxi, while another has completely lost her husband emotionally, sexually, intellectually, but not physically. A ghost, a pending divorce reproach, regret & remorse. A new love? Can you love a mirage? Can you love the person in the mirror? Can you love someone you can't love? Or think you can't love? Can you love and live life even though it will always be somewhat hopeless? Yet isn't it exactly these hopes and dreams that keep us here grounded and in a spectrum of relative happiness? A lot of deep themes emerge and the final act brings people and ideas together to coalesce in an existential crisis with no clear cut solution, definitive decision or effective healing. Maybe a elusive thought, a fleeting feeling, but a lasting appreciation of life and of the artistry and intellect of the film. Live. Live again. Rewind the reel. Unveil the real, the important; the big stones (piedras) of life. The rest is just details.


Spanish films are into a, if not Golden, definitely a Silver Age. Piédras is another example of a movie that takes people and their conflicts seriously. Although the feelings are strong or nearly at life or death-level, they still aren't really melodramatic. This could happen.

There are different stories here, which become connected. One is about the retarded girl, who doesn't dare to pass the street to the next block. One is about the middle-aged woman who finds the lover of her life in a foot fetischist. Another is about the girl with drug problems who's lover leaves her. Still another one is about the madame of a brothel who (almost) finds true love.

Definitely worth seeing. It's in Spain the moviemakers take women seriously.


a pure reality bytes film. Fragile, beautiful and amazing first film of the director. Represented Spain on the Berlinale 2002. Some people has compared the grammar of the film with Almodovar's films...Well, that shouldn't be a problem...


Domestic Import was a great movie. I laughed the whole time. It was funny on so many levels from the crazy outfits to the hilarious situations. The acting was great. Alla Korot, Larry Dorf, Howard Hesseman, and all the others did an awesome job. Because it is an independent film written by a first-time writer, it doesn't have the clichés that are expected of other comedies, which was such a relief. It was a unique and interesting and you fall in love with the characters and the heart-warming story. I heard it was based on a true story? If so, then that is hilarious (and amazing!). I highly recommend this movie.


I gave this movie such a high mark because it was really cute, really funny, all while being unpretentious. I went to see this film when it was playing in the Philly area, and it was the centerpiece of a great night out with friends. The film is well written and well acted, and though it does feel a bit like a sitcom rather then a movie, that doesn't take away from the film. You just don't find comedies like this anymore, where you don't have to shock people to be funny. The film centers around a Ukranian housekeeper that finds herself working for a young couple in need of help. Though at first she helps, soon she adds more craziness to their lives then the couple bargained for. Things get further and further out of control until....you'll have to see! The banter had me laughing, even after leaving the theater. This film just put me in a good mood. I can't wait until it is released on DVD because I want this movie in my collection.


Adorable! I saw Domestic Import in Philly in October with my kids. We all liked it so much that we saw it a second time with my parents. I haven't heard them laugh like that in years! It was the first time that I can remember seeing a movie that my parents and my kids could enjoy. It's really cute and we can't wait for it to come out on DVD. They need to make more movies like Domestic Import. It is refreshing to go to a movie that three different generations can enjoy (and not be embarrassed). I have not seen a movie this cute since My Big Fat Greek Wedding. I loved Mindy Sterling as the mother. She was also in Austin Powers. Howard Hesseman is in this too and he is hilarious. I remember him from WKRP.


A charming, funny film that gets a solid grade all around. I saw a screener of this film recently at work. It was so nice to see this film in contrast with all the crappy horror movies I see every day. So much so, that I figured I'd write in. Not sure if this film is going to theaters, but I hope it does. Its a nice film to see with friends, its a charmer, and has some funny jokes. The acting was terrific (especially Howard Hessman and Larry Dorf. The directing was pretty good (not a film that needed to be over-directed). What really makes this film stand out I think is the writing. It was like Neil Simon, Seinfeldish, and the banter between characters is smart and has a nice rhythm. As an aspiring screenwriter, I notice those things! (I'm a dork). Anyway, a really cute film that I recommend.


I saw this independent film when it was in Philadelphia and it was a pleasant surprise. I left the theater with a smile on my face. One of the things that made it so funny was that it was based on a true story -hilarious! It has some great character actors in it too. Mindy Sterling is in it and is very good. I loved her in Austin Powers. Howard Hesseman is also terrific. I remember him from Head of the Class. I am tired of all the dark edgy movies that keep getting made. This is fun and light, and I can watch it with my family and not be embarrassed. I keep checking to see when it will come out on DVD. I will definitely buy it.


I am the parent of a special needs child and I enjoyed the the movie very much! It was loving, warm and fun. I learned a long time ago to see the humor in things. I especially thought it was sweet how all the other characters worried about Frankie and who would take care of him after his grandmother died. I attended a focus screening of the film with other parents and siblings of special needs children before the film was edited. Everyone enjoyed the film and it actually inspired wonderful discussions. We talked about how our kids make us laugh and we also talked about how we worry about them. The screenwriter talked about how she work with autistic children and other special needs children as a volunteer for several years. She based the character on a real person. Our family is blessed with a sense of humor that has gotten us through some very stressful times. I give the movie two thumbs up!!!


I think that this film adds to diversity and is very accurate in terms of historic reconstruction. The way it shows the various communities leaving together in Thailand is very interesting...The Portuguese, the Japanese, and the various communities being managed by the king. The plots around the court are as usual a struggle for power with a lot of treason. The wardrobe is fine. The film is also done locally in Thailand in a reasonable production. The scene with the elefant as executors is very interesting. It is fun and I think that is also usable in schools for its historic accuracy because it shows that the European in Asia were subjects of the local kings in way very different from the traditional Hollywood perspective.


A fabulous film. With everything you could want in a film. Huge battle scenes and lots of other action. Suspense, and a romantic love story.

Kind of like an old swashbuckler film. Totally entertaining from start to finish.

The editing was fast and you are never bored for a second. The story is like a classic story of trouble in the Royal Household. The actors are beautiful and the sets magnificent. The costumes are spectacular and the stunt work is imaginative. The special effects are amazing too.

Gary Stretch is really impressive as an actor and gorgeous to look at. He looks like a sure bet for Super Stardom.

John Rhys-Davies is wonderful as he usually is. He is one of the great actors of our time.

And Cindy Burbridge, Ex Miss Thailand is excellent and perfect for the leading lady, even doing an English accent with remarkable success.

I found out that the film has won numerous awards, and i can see why.

All in all this is an amazing Independent film. See it for sure.

I highly recommend it. And give it a TEN +!!!


"Hollywood Hotel" is a fast-moving, exuberant, wonderfully entertaining musical comedy from Warners which is sadly overlooked. It should be remembered if only for providing the official theme song of Tinseltown -- "Hooray for Hollywood." The score by Richard Whiting and Johnny Mercer has a number of other gems, however, including the charming "I'm Like a Fish Out of Water," and "Silhouetted in the Moonlight." The best musical number is "Let That Be a Lesson to You," in which Dick Powell and company detail the misadventures of people who found themselves "behind the eight-ball," a fate which literally befalls slow-burning Edgar Kennedy at the number's end. The picture celebrates Hollywood glamour and punctures it all at once, as it gets a lot of comic mileage out of pompous and ego-maniacal actors and duplicitous studio executives. The cast includes a gaggle of great character comedians--Allyn Joslyn as a crafty press agent, Ted Healy as Dick Powell's would-be manager, Fritz Feld as an excitable restaurant patron, Glenda Farrell as Mona Marshall's sarcastic Gal Friday, Edgar Kennedy as a put-upon drive-in manager, Mabel Todd as Mona's goofy sister, and Hugh Herbert as her even goofier dad. The "racist" element mentioned in another review here is a ten-second bit where Herbert appears in black-face during a pseudo-"Gone With the Wind" sequence. It's in questionable taste, but it shouldn't prevent you from seeing the other delights in this film, notably the Benny Goodman Quartet (including Teddy Wilson and Lionel Hampton!) in what I believe is the only footage available on this incredible jazz combo. The "Dark Eyes" sequence goes on a bit too long and comes in too late, but otherwise "Hollywood Hotel" is a gem, well worth your time and certainly a film which should be considered for DVD release.


"Hollywood Hotel" has relationships to many films like "Ella Cinders" and "Merton of the Movies" about someone winning a contest including a contract to make films in Hollywood, only to find the road to stardom either paved with pitfalls or non-existent. In fact, as I was watching it tonight, on Turner Classic Movies, I was considering whether or not the authors of the later musical classic "Singing In The Rain" may have taken some of their ideas from "Hollywood Hotel", most notably a temperamental leading lady star in a movie studio and a conclusion concerning one person singing a film score while another person got the credit by mouthing along on screen.

"Hollywood Hotel" is a fascinating example of movie making in the 1930s. Among the supporting players is Louella Parsons, playing herself (and, despite some negative comments I've seen, she has a very ingratiating personality on screen and a natural command of her lines). She is not the only real person in the script. Make-up specialist Perc Westmore briefly appears as himself to try to make one character resemble another.

This film also was one of the first in the career of young Mr. Ronald Reagan, playing a radio interviewer at a movie premiere. Reagan actually does quite nicely in his brief scenes - particularly when he realizes that nobody Dick Powell is about to take over the microphone when it should be used with more important people.

Dick Powell has won a Hollywood contract in a contest, and is leaving his job as a saxophonist in Benny Goodman's band. The beginning of this film, by the way, is quite impressive, as the band drives in a parade of trucks to give a proper goodbye to Powell. They end up singing "Hooray For Hollywood". The interesting thing about this wonderful number is that a lyric has been left out on purpose. Throughout the Johnny Mercer lyrics are references to such Hollywood as Max Factor the make-up king, Rin tin tin, and even a hint of Tarzan. But the original song lyric referred to looking like Tyrone Power. Obviously Jack Warner and his brothers were not going to advertise the leading man of 20th Century Fox, and the name Donald Duck was substituted. In any event the number showed the singers and instrumentalists of Goodman's orchestra at their best. So did a later five minute section of the film, where the band is rehearsing.

Powell leaves the band and his girl friend (Frances Langford) and goes to Hollywood, only to find he is a contract player (most likely for musicals involving saxophonists). He is met by Allen Joslyn, the publicist of the studio (the owner is Grant Mitchell). Joslyn is not a bad fellow, but he is busy and he tends to slough off people unless it is necessary to speak to them. He parks Powell at a room at the Hollywood Hotel, which is also where the studio's temperamental star (Lola Lane) lives with her father (Hugh Herbert), her sister (Mabel Todd), and her sensible if cynical assistant (Glenda Farrell). Lane is like Jean Hagen in "Singing In The Rain", except her speaking voice is good. Her version of "Dan Lockwood" is one "Alexander Dupre" (Alan Mowbray, scene stealing with ease several times). The only difference is that Mowbray is not a nice guy like Gene Kelly was, and Lane (when not wrapped up in her ego) is fully aware of it. Having a fit on being by-passed for an out-of-the ordinary role she wanted, she refuses to attend the premiere of her latest film. Joslyn finds a double for her (Lola's real life sister Rosemary Lane), and Rosemary is made up to play the star at the premiere and the follow-up party. But she attends with Powell (Joslyn wanting someone who doesn't know the real Lola). This leads to Powell knocking down Mowbray when the latter makes a pest of himself. But otherwise the evening is a success, and when the two are together they start finding each other attractive.

The complications deal with Lola coming back and slapping Powell in the face, after Mowbray complains he was attacked by Powell ("and his gang of hoodlums"). Powell's contract is bought out. Working with photographer turned agent Ted Healey (actually not too bad in this film - he even tries to do a Jolson imitation at one point), the two try to find work, ending up as employees at a hamburger stand run by bad tempered Edgar Kennedy (the number of broken dishes and singing customers in the restaurant give Edgar plenty of time to do his slow burns with gusto). Eventually Powell gets a "break" by being hired to be Dupre's singing voice in a rip-off of "Gone With The Wind". This leads to the final section of the film, when Rosemary Lane, Herbert, and Healey help give Powell his chance to show it's his voice, not Mowbrays.

It's quite a cute and appealing film even now. The worst aspects are due to it's time. Several jokes concerning African-Americans are no longer tolerable (while trying to photograph Powell as he arrives in Hollywood, Healey accidentally photographs a porter, and mentions to Joslyn to watch out, Powell photographs too darkly - get the point?). Also a bit with Curt Bois as a fashion designer for Lola Lane, who is (shall we say) too high strung is not very tolerable either. Herbert's "hoo-hoo"ing is a bit much (too much of the time) but it was really popular in 1937. And an incident where Healey nearly gets into a brawl at the premiere (this was one of his last films) reminds people of the tragic, still mysterious end of the comedian in December 1937. But most of the film is quite good, and won't disappoint the viewer in 2008.


When we talk Hollywood Hotel we could be talking about one of three things, the actual hotel, the radio program, and this film which was partially inspired by the first two. Dick Powell was the host of the Hollywood Hotel program on CBS radio network in which Louella Parsons dished out the weekly scoop on the stars.

Powell and Parsons debuted the Hollywood Hotel program in 1934 so by 1937 it had its fair share of the radio audience. Powell hosted, sang, and kibitzed with Louella and her movie star guests. With the power she had with her column, she was able to get the various stars to go on and plug their latest films for nothing.

Then the American Federation of Radio Artists stepped in and demanded she pay wages accordingly and they won the case. That ended the Hollywood Hotel program in 1938. Of course both Powell and Louella went on to other radio venues. The whole story is covered in the Tony Thomas book, The Films Of Dick Powell.

But before the plug was pulled this film came out from Powell's home studio of Warner Brothers inspired by the radio program. Powell plays a singer/saxophonist with the Benny Goodman band who gets signed to a Hollywood contract. But when he gets out to Hollywood he gets himself tangled up with an egotistical film star Lola Lane, her lookalike double real life sister Rosemary Lane, and a ham actor in Alan Mowbray.

When Mowbray is called upon to sing in a Civil War epic he's making with Lola Lane, it's Powell's voice they use. Then Mowbray develops a Lina Lamont problem when he's asked to go on the Hollywood Hotel radio program, broadcast from the Hollywood Hotel. That's got the studio in a tizzy. Let's say the problem isn't solved the way it is Singing In The Rain, but Powell's manager Ted Healy proves to be resourceful.

Richard Whiting and Johnny Mercer provide a really nice score for the film. The big hit song comes right at the beginning as the Benny Goodman band with scat singing Johnnie Davis sing Hollywood's anthem, Hooray for Hollywood. My favorite however is Powell and Rosemary Lane singing, I'm Like A Fish Out Of Water. Just listening to Johnny Mercer's lyrics about Ginger Rogers running the Brooklyn Dodgers or Sally Rand without her fan, it's a compendium of American popular culture in the Thirties.

Busby Berkeley does the choreography here and while the film doesn't have the soaring imaginary stuff that his earlier work with Warner Brothers has, the numbers are well staged. Berkeley's big moment is in a drive-in eatery where Powell and Healy have been forced to take jobs. The number starts with Benny Goodman broadcasting from the Hollywood Hotel doing Let That Be A Lesson To You and then at the drive-in Powell, Lane and the entire place start joining in song to the exasperation of owner Edgar Kennedy. And you know what you can expect from Edgar Kennedy exasperation.

Benny Goodman gets to show why he was named the King Of Swing when the band with drummer Gene Krupa and xylophonist Lionel Hampton as part of his ensemble. That together with Frances Langford singing as well. And possibly the last surviving cast member of the group was a fellow who had a small bit as a radio announcer. He died in 2004, but not before he became the 40th President of the United States. Ronald Reagan always credited Dick Powell and Pat O'Brien as being the two guys on Warner Brothers who were the most helpful to an eager young player looking to make his mark.

Hollywood Hotel is one delightful and entertaining motion picture, dated, but charmingly so.


I'm not a fan of Adam Sandler. In fact, I don't think I've ever liked him in anything I've seen him in. The opening scene of this movie confirmed my worst fears. There was Adam Sandler, playing a somewhat ridiculous looking character riding around New York City on a motor scooter, looking pitiful and lost. Typical Sandler-type loser character again, I thought. I almost gave up then and there. But then, as I stuck with this, I actually discovered something I never knew before: Adam Sandler can act! He is truly outstanding in this movie as Charlie, a lost and lonely figure, whose entire family (including the dog) was killed in one of the hijacked planes on 9/11 and who has apparently lost all touch with reality as a result. Don Cheadle plays his former college roommate who unexpectedly reconnects with Charlie and takes it on as his mission to help him get better. Of course, Cheadle's Alan Johnson has his own problems and sources of unhappiness, and somehow these two men manage to help each other through their difficulties. The two of them made a completely believable team, and Sandler in particular made Charlie real, working through his emotions and feelings. This is not a Sandler comedy. If your looking for that go to some of his other, sillier, stuff. This is a pretty heavy movie - sometimes sad, sometimes hopeful and always engrossing. There are some funny parts in it. I loved the scene in which Charlie convinces Alan to confront his partners by reminding him of how tough he was in college, and then the conversation the two of them have afterward.

I personally didn't think that Saffron Burrows added much to the movie as Donna, an obviously needy patient of Johnson's. The only reason for the character seemed (based on one flashback) to be that she looked eerily like Charlie's late wife, but that was never really developed, and I just didn't care that much for the character. Do look for the part of the judge, however, played by Donald Sutherland, who I thought nailed the part bang-on. As far as I'm concerned, though, this is Sandler's movie, and kudos to him for a great performance. Definitely his best in my opinion. 8/10


A powerfully wonderful movie. You are held in a death-grip once you let yourself get involved with the story. A successful dentist, Alan Johnson(Don Cheadle), is torn in a life crisis of balancing his career with his family. He notices his former college roommate Charlie Fineman(Adam Sandler)and wants to touch base. He finds that Charlie, who lost his wife and family in the 9-11 attack on America, is no longer in touch with reality...choosing to involve his mind with his favorite music from the past and video games. The former roommates rekindle their friendship and strengthen their former bond. Johnson has his friend Angela Oakhurts(Liv Tyler), a psychiatrist, to try and bring Charlie out of his grief...but it is Alan that accomplishes in getting his friend to emerge from his deep darkness. Jada Pinkett Smith plays Johnson's wife. Writer and director Mike Binder plays the role of Charlie's attorney/guardian. Also in the cast: Saffron Burrows, Donald Sutherland, Adell Modell and Robert Klein. Outstanding soundtrack featuring the likes of Bruce Springsteen, Graham Nash, Pear Jam and The Pretenders.

NOTE: I have never been a Sandler fan; but I found him outstanding in this role. In some of the scenes, I thought out loud...why has he never been approached to play singer/songwriter Bob Dylan in a biopic.


Sandler is amazing again... I have already become a Sandler fan. This movie is the saddest Sandler story. Its expression is fantastic. I cried more watching Click but there are some similar points. To consider the value of the family before losing it and to be able to say 'I love you' are a few of the most impressive truths in life... It is tough, it is real... and actually there is a real owner of this success, Binder. I don't think another director could give these emotions in such a way.

Cheadle and Burrows are also amazing... Cheadle is one of my favorites since Crash. Don't expect laughing or much positive atmosphere... If you are ready to face the realities of life, don't miss this movie.


**Possible Spoiler*** Adam Sandler is usually typecast in Comedy,but in "Reign",gives a deeply moving performance.While there are people who showed Courage facing post September 11,2001,Sandler plays Fineman,a widower who is lonely and "lost in his own world".Johnson(Cheadle),a practicing dentist,encounters his old College buddy(Sandler)and wants to catch up on "Old times".We see,as in Rain Man(Dustin Hoffman),Fineman also gets emotional and withdrawn in stressful situations.Oldies music,appears to be a comfort and "Psychological" crutch for him to lean on.

Johnson looks for,in Fineman,that certain pleasure and ease missing in his Family.He also feels unhappy and unsatisfied in his Job.In the same instance,He also wants to make sure his friend does not fall through the social "cracks".I came away from this movie,with a different outlook and more sympathetic Compassion for grieving families.


For those of you that don't that reference, clubberin was 4 fists hitting one body...

Anyways, onto the review.

I miss WCW Saturday Night. Some of my favorite wrestling moments took place on this stage. I remember watching Stunning Steve Austin, Rick Rude, Brian Pillman, Cactus Jack, Dustin Rhodes, Johnny B. Badd, DDP in his jobber days, Lord Steven Regal, Harlem Heat, Ricky Steamboat, STING...I'd be here a while listing everyone. Point is WCW had an awesome roster in the pre Hogan days and they were producing entertaining television. Dusty Rhodes on commentary in it's later years gave me a whole new reason to watch when I started smoking pot as a teenager...I really wish Vince would put him on the mic for a show or two, maybe at the next Great American Bash? They CLUBBERIN! Here comes DA PLUNDA! He was great.

-DirrTy


True, the idea for this TV series may have sprung from the immense success which Ally McBeal is enjoying worldwide, even here in Germany. However, this said, Edel & Starck is very different from Ally McBeal in many ways.

The two main characters work beautifully together. Felix Edel (Felix Noble), played by well-known German actor, Christoph M. Ohrt and Sandra Starck (Sandra Strong - Noble & Strong, get it ???), played by charming Rebecca Immanuel, exchange quick romantic repartees and continually spy on each other while engaging in sitcom-like criminal cases in Berlin and surroundings. Further, they are aided by a magnificent cast of co-stars, most notably their secretary, played by Isabel Tuengerthal, who is a rare gem with GREAT comic potential. Also the shady wheeler-dealer, Otto, and the noble childhood pal of Felix, Frank, work very well, not to forget Sandra's best friend and room-mate, Patricia, played by the beautiful Barbara Demmer.

All-in-all a joy to watch on Monday nites: no wonder that the series and its stars have received several prizes. Will Felix get Sandra ?

I hope that we will have to wait for many more episodes to find out......


This series it's "something different". Sometimes European series are less accurate than the USA ones, but this time authors have hit the right target creating a mix that works in a smoothly way. Edel & Starck is great, it has all: great plot, smart, witty, always well delivered lines, an amazing theatrical timing showed by all the stars and beautiful shots of Berlin, one of the most interesting city in the world. It's entertaining to see how things works in the justice field in other countries than the USA and for once "feel" the old Europe way of dealing with life. Kudos to all the cast and crew for a well done comedy that is going to be a must to see in the years to come.Watching the series in German is super.


German private TV is ill-renowned for copying Dutch and  naturally  US formats. Well, in the case of Edel & Starck, the xeroxing only went as far as the basics: Screwball.

You can't stand screwball comedy? Don't watch Edel & Starck. Seriously. If you expect yet another lawyers' drama thingy similar to Law&Order or something, well, go somewhere else. (Or watch Law&Order as it's quite brilliant at what it does, but I digress.) E&S is funny, often addresses thought-provoking themes, is funny, romantic, funny, funny, and witty, too.

Frankly, I am quite dismayed the writers didn't get better deals after the serial's final. And my cynical nature needs to readjust itself re: private German television productions. German residents will understand what I'm talking about.

In short: Watch it. I don't have the foggiest what the English synchronisation is like, but hey, it's worth learning German just to watch them four seasons. Pseudo-happy end included.


Anna (Ursula Andress) is brought in as an official R.N. by ex-lover Benito Varotto (Duilio Del Prete), ostensibly to nurse an aging widower, Count Leonida Bottacin (Mario Piso), back to health after a heart attack. But Benito is actually leading a group of heirs and businessmen, including American entrepreneur Mr. Kitch (Jack Palance), with ulterior motives, reflected by what Anna hopefully will actually accomplish with the Count. He has a history of, well, liking women, and would be actually a bit more "vulnerable" as he is cured. The bad guys get derailed as Anna does not go along and grows closer to the Count. The ending might be said to be ironic, but it is probably better described as predictable.

But so much for plot--this film is totally an erotic comedy, from start to finish, and oh how good. There are many nude scenes, including ones of Anna and Jole, one of the malevolent heiresses, played by Luciana Paluzzi. Both Ursula and Luciana are noteworthy continental ex-Bond women, and thus fulfill the fantasies of male viewers. As she did in Thunderball (remember Fiona Volpe), Luciana plays a femme fatale, sort of, although less elegantly.

Perhaps the best scene is Anna's (slow) complete strip and jump in bed with the young Adone, the "other patient" (who incredibly is resisting), in an attempt to find out what he knows about the plot. But even at this point she is already two-faced (for the better), for she has decided not to go along. However, Benito is more than a two-timer with women, having had lengthy flings in the past with both Anna and Jole, and the rival best erotic scene follows an invective-filled (to put it mildly) argument between him and Jole. This is a standing-up encounter in which Luciana is down to black panties only. Another nice one is Ursula swimming fully naked in the estate's pool. The Count is free, as the client, to put his hands wherever he wants to on Ursula, and he takes advantage. Hey, somehow I've gone back to the actresses' names in my descriptions. Erotic scenes involving other women include an amusing naked wine cellar chase. "The Sensuous Nurse" is compact, 77 minutes, but it doesn't need to be--it is enjoyable without interruption, start to finish. Definitely recommended.


The Sensuous Nurse (1975) was a Italian sexual comedy that starred the one time Bond girl Ursula Andress. Man was she hot in this movie.. She was stacked and built like a *@#% brick house. Ursula was smoking hot in this movie. I have never seen a nurse's outfit that filled out before.

Ms. Andress stars as a nurse who is hired to take care of a rich elderly man. Even one in the house seems to be knocking the boots. One night, the nurse decides to take the grandson's temperature and give some needed T.L.C. to her ancient client. The old man takes to his nurse and this angers the rest of the family. What kind of job did the family hire her out to do? Will the geezer fall for her car giver? How can she deal with the octogenarian crone and the rest of the family? To find out you need to find a copy of the SENSUOUS NURSE!! Italian but badly dubbed into English.

Highly recommended.


Having lived in Ontario my whole life, in the same town that Marlene Moore grew up in, I've heard stories of her from my parents, grandparents and family members. So when I found out that they would be filming a movie about her, and that the beginning would be shot on my street, and her house quite close to mine I was excited.

If you read the book Rock a Bye Baby, which is about Marlene Moore you get quite the different image of her as a person, she was considered awkwardly beautiful by people who really had the chance to know her with the exception of her own family who frequently abused her as a child, with the exception of one of her brothers. Also, if you live in my area and are intelligent enough to listen to those around you who knew her from school you'd find out that she was truly wounded before she even set foot in an institution, she was always defensive and what would seem like an unwillingness to learn in a school environment was actually embarrassment over the fact that she was unable to.

Marlene did not deserve the life she was given, with the lack of help she desperately needed to receive. It was the government and the people around her that aided further in her death by not attempting to understand her needs and why she did what she did. I still find myself angered that she was put in jail for self-defense from a man who tried to rape her. As her brother once said, "They didn't know what to do with her so they locked her away and it killed her." I believe in that with all my heart.

Rest in peace Marlene, you deserve it so much.


This is a great film. Touching and strong. The direction is without question breathless. Good work to the team. I feel so sorry for Marlene, By the grace of God go you or I


This film was on last week and although at that time of the day (around 6pm) the quality of the movies is almost never good (at least here on Mexican TV), I couldn't switch the TV off. The story about Madelene Moore really touches you. She doesn't come across as a very sympathetic character at first, but seeing the whole film, you just want her so succeed. This film really leaves you thinking. And i think that basically due to the great acting of Brooke Johnson. I had never heard of her before nor knowingly seen her in another film, but this was great great acting. Compliments to Brooke. I hope to see her in another film soon.


"Dangerous Offender" is the story of a seemingly anti-social girl, and how she got that way. It's based on a true story, and though I was irritated by the one-note depiction i.e. ever scowling, of the title character, and the hard-to-believe dedication of her lawyer, I'm forced to accept that life does imitate art, and that there are people out there like that.

The movie succeeds, for me, because, although there's little softening of the title character's demeanour until almost the end, one is gradually moved to sympathy for her, as the movie shows how she got to her present state - which proves to be self-destructive, rather than anti-social.

Truly a moving movie, which will bring a lump to your throat, when you think on it - which will be often.

Despite its many flaws,(including that it's hard to watch, sometimes, because of bodily functions, and suicide attempts)this is another production that I'm proud to call Canadian.


I have seen The Perfect Son about three times. I fail to see how this film is a gay film, I am not even gay, but I don't see it as a gay film. It is a film with a gay character, I can't see why every film with a gay character should be strictly a film about being gay. I find the film to be sympathetic to the study of death, the death of someone who is your kin. I think Theo turns his life around fairly quickly after rehab because he wants to and watching his brother dying in front of him makes him reassess his life. I found the dialog in the scene when Theo tells Ryan he is going to be a father to be very moving, Ryan states that he doesn't want to know about the things he is never going to see or share with anyone. Isn't that horrific and sad? I highly recommend the film.


The Perfect Son is a story about two 30-something brothers, one who is seemingly "perfect" and the other who is basically a screw-up, frequently landing himself in drug rehab centers. After the death of their father, the two are brought together after a long absence and the usual sibling rivalry resurfaces. It isn't until the "perfect" brother makes the startling revelation that he has AIDS that the irresponsible younger brother finally makes a move to get his life in order, and take some responsibility.

The movie does a nice job of chronicling the younger brother's "comeback", though it may seem a bit far-fetched at times (beating drug addiction is never so easy). What makes the film more tender is the treatment of AIDS, a topic that has become somewhat passe in cinema over the last 5-10 years. And also the development of an almost sweet relationship between the two formerly feuding brothers is very believable and well-done. The two main actors were both very competent, if not terribly charismatic.

A solid first feature effort from director and writer Leonard Farlinger whose own brother died of AIDS. The ending is nicely done as well.


I am writing this after just seeing The Perfect Son at the 2002 Gay and Lesbian Mardi Gras Film Festival in Sydney, Australia.

When their Father dies, two estranged brothers meet at the funeral and after discovering that one of the brothers is dying from AIDS, they enter on a heart warming journey of reconciliation. The two leads do a magnificent job of creating the gradual warmth and respect that builds up between them as the movie progresses. I do have one qualm about the movie though - whilst the brother who is dying acts sick, he doesn't look it. A person of 0 T4 cells would look quite ill - not even a make up job to make the actor look ill was employed. A small gripe, but one that makes it a bit less realistic. Despite that one small gripe, The Perfect Son is a wonderful movie and should you have the chance to see it- do. I'm hoping for a DVD release in the near future!


I have to be honest and say I bought this movie, not because of the content, but because David Cubitt is in it; I know ... shallow, or what? - but, come on, Mr Cubitt is a fantastic actor to put it mildly.

I really didn't know what to expect from watching this movie, I'd read the other write up, and those on other sites but I have to say I was drawn into the world of the brothers almost from the get go. David Cubitt as Theo, and Colm Feore as Ryan are so believable as the two estranged brothers, the film moves through their relationship as they start to try getting to know each other again after their fathers death. The scene where Theo finds out Ryan is gay was played brilliantly, he literally walks in on a scene and tries to leave without Ryan noticing - which of course he has.

The film has been very well researched and is therefore incredibly sad, moving, uplifting and a celebration of life in parts. I came away from this feeling sad at what Ryan went through but also with the knowledge that he was given hope and unconditional love by the ex drug addict brother Theo. I agree with the other reviewer who finds the scene where Theo says he will be a father moving, and I'd go a little further to say I actually vocalised my thoughts at Ryan when he cruelly says to Theo 'What makes you think you can be a father' and Theo says simply 'You.' Theo walks away then, but that small exchange of dialogue speaks volumes to the almost self pitying aspect of Ryan who is brought up sharply by the simple retort.

A brilliantly conceived movie on all counts, the acting, directing, writing etc are all so well done. I can't really find anything else to say about this movie, except to say that it is very hard dealing with the death of a loved one but this is done superbly, to the infinite degree. The respect for the subject matter and the outpouring of love (without being contrite and mawkish) speaks volumes in this rather selfish world we live in today. Well done to all concerned.

Not many movies bring me to tears and give me pause to think about life in general, and also to be glad for all the things I have and not be sad for the things I don't, but this movie did, it was unbelievably uplifting considering the subject matter.


I have found this movie available for streaming on Netflix and thought I'd give it a try.

The plot revolves around Ryan and Theo Taylor (Colm Feore and David Cubitt) who have finally seen each other after their father has passed away. Ryan and Theo at first argue about who did what. But later, Theo finds out that his brother Ryan is not only gay but he is dying of a terminal illness. So, Ryan and Theo spend their time patching up their differences.

This is such an incredible film. I have only seen Colm Feore in Season 7 of 24 but he was phenomenal in this. David Cubitt, an actor I have NEVER heard of before did a phenomenal job as well.

I would recommend this to those who are interested in the Gay and Lesbian genre. This is one movie you don't want to miss.

I give this film 10 stars out of 10. Excellent film!


I've read a few of the reviews and I'm kinda sad that a lot of the Story seems glossed over. Its easy to do because its not a Book, its a movie and there's only so much that can be done in a movie- US Or Canadian- or anywhere.

Colm Feore does, at least for a recovering "F@g-Hag" like myself, a great job of not only playing the 'friendly neighborhood' gay man- but playing sick. I mean, the man really can't get much more pale! Though, you might never know it from the strip down near the... um, end.

If you need decrepit, there are a few SKing movies you might like.

Being the daughter of a Recovering Alchoholic, the druggie brother {David Cubitt} was the trick for me. I'm going to give him cred, he grew up quick- and believe me that's good. And, as an Aspiring writer, moimeme, I can dig a lot of his insights and overviews. But I'm more prosy than poetic.

I may be easy to please, but I enjoyed it. A nice story pretty well put together- by Canadians, quelle surprise. Just toed the line of the 'Movie of the week,' missing it by not being as drawn out, GREATLY Appreciated. And it was rather cleverly portrayed.


For me this movie was powerful. I don't want to be a spoiler, but I had a friend years ago; we were like brothers. This movie brought back some vivid memories.

For some reason, I couldn't place my vote for this movie which would have been a 10. I kept getting a message like "No votes have been placed...." And yet I saw in the stats that there were. Will try again tomorrow (Monday).

Minor flaws I overlooked. It was the relationships between the characters that got me. Beautifully acted and real situations. I've been in a couple of them.

A small gem of a movie. Just like "Spring Forward" is another overlooked gem. I'm very glad movies like these are still being made; about relationships between people, well written, sensitively unfolded with first-class acting and direction. After all, isn't that what it's all about?


I´m glad that someone has made a movie about how hard it is to risk your heart for a second time. Or third. This movie is exactly what it promises to be - lovely, amusing and it gives you this good feeling around your heart when it ends. The plot might be not very inventive, but there are millions of ways to tell the story and they have not been all used yet. The cast is perfectly selected although Scott Wolf does not look like a father of an eight year old not even when he is wearing a suit. So, the sparks are on all the right places, supporting cast is lovably supporting and although you could probably predict the whole movie you would not want to switch the channel. It is just the right sort of entertainment for a Sunday evening.


As romantic comedies go, this was a cute and winning one. I thought that the writing could have been stronger to build up the final connection a bit better, but that is not a huge tripping point. But, Amanda Detmer and Scott Wolf give nice performances and are as charming as ever. These are two of my favorite actors, and I was just glad to see them cast as romantic leads. I hope to see them cast in more projects soon.

Overall, this movie won't change your life, but is is sweet, warm and winning. Not a bad thing to be at all.


An MGM MINIATURE Short Subject.

The editor of the Cole County Clarion must decide what is the real IMPORTANT NEWS for his readers: an impending frost which may spell disaster to their crops, or the sensational shooting-down of a notorious gangster on their small town main street.

This is an enjoyable little one-reeler, featuring a good performance by comic Charles `Chic' Sale. Today's viewers will perhaps be more interested in the appearance of uncredited James Stewart, as Sale's nephew/assistant. Slow talking & somewhat goofy, Stewart shows many of the attributes which would make him a huge star in a very short time.

Often overlooked or neglected today, the one and two-reel short subjects were useful to the Studios as important training grounds for new or burgeoning talents, both in front & behind the camera. The dynamics for creating a successful short subject was completely different from that of a feature length film, something like writing a topnotch short story rather than a novel. Economical to produce in terms of both budget & schedule and capable of portraying a wide range of material, short subjects were the perfect complement to the Studios' feature films.


.......Playing Kaddiddlehopper, Col San Fernando, etc. the man was pretty wide ranging and a scream. I love watching him interact w/ Amanda Blake, or Don Knotts or whomever--he clearly was having a ball and I think he made it easier on his guests as well--so long as they Knew ahead of time it wasn't a disciplined, 19 take kind of production. Relax and be loose was clearly the name of the game there.

He reminds me of guys like Milton Berle, Benny Hill, maybe Jerry Lewis some too. Great timing, ancient gags that kept audiences in stitches for decades, sheer enjoyment about what he was doing. His sad little clown he played was good too--but in a touching manner.

Personally I think he's great, having just bought a two DVD set of his shows from '61 or so, it brings his stuff back in a fond way for me. I can remember seeing him on TV at the end of his run when he was winding up the series in 1971 or so.

Check this out if you are a fan or curious. He was a riot.


Red Skelton was still another major star who made the transition from movies to television with ease.

His shows certainly brought a laughter to the American households of years back.

He would begin the show with an opening monologue. Afterwards, we would have a variety of characters. Remember Gertrude and Heathcliff in the monologue? How can we ever forget San Fernando Red? I remember one episode where as a king Red introduced his queen by referring to her as your fatness.

Go know that Red would use his comedic talents to really hide from his tragic life. He lost a son to leukemia at age 11 or so. His wife, Georgia, died by suicide.


I've seen this film criticized with the statement, "If you can get past the moralizing..." That misses the point. Moralizing is in the conscience of the beholder, as it were. This is a decent film with a standard murder mystery, but with a distinct twist that surfaces midway through. The resolution leaves the viewer wondering, "What would I have done in this position?" And I have to believe that's exactly what the filmmaker intended. To that end, and to the end of entertaining the audience, the film succeeds. I also like the way that the violence is never on stage, but just off camera. We know what has just happened; it's just not served up in front of us, then rubbed in our faces, as it would be today with contemporary blood and gore dressing. Besides, the violence is not the point. The point is the protagonist's moral dilemma, which is cleverly, albeit disturbingly, resolved.


Walter Pidgeon is Braley Mason, a civil attorney who takes on a criminal case in "The Unknown Man," a 1951 film also starring Ann Harding, Barry Sullivan, Keefe Braselle, and Richard Anderson. A great believer in justice, Pidgeon accepts a pro bono case defending a young man, Rudi Walchek (Braselle) accused of murder and gets him acquitted. Shortly afterward, he realizes that the man is guilty and was extorting protection money from his victim as well as other shopkeepers in the neighborhood. He is advised by the DA (Sullivan) that Rudi is small change, that to wipe out the organized crime, one has to find the top man. Mason finds the top man, and is faced with a dilemma.

"The Unknown Man" is a small, black and white film that manages to hold the viewer's interest with its various plot twists, though the plot is somewhat contrived. It's really the story of a good man seeking his god, justice, and what he is willing to do in order to attain it. And that's the most contrived part of all. I suppose there was a time before O.J., the Menendez Brothers, etc., etc., when people believed in justice and the integrity of attorneys. For this viewer anyway, those days are long over.

Walter Pidgeon does an excellent job -- his handsome, elegant demeanor and declamatory voice show us a successful, confident man but also a deeply caring one. Pidgeon had a magnificent career spanning 60 years but never really rose to superstardom. He was a solid actor who could play just about anything and did. It may be because by the time he was getting leads, he was well into his thirties and missed being a matinée idol; or it could be he lacked that certain something; or that he was typed early on as second lead to a big female star like Greer Garson. Hard to say. He gives an honest and touching performance here.

Very good movie with good performances.


Prominent attorney Walter Pidgeon takes a murder case pro bono, wins an acquittal and discovers that his client (Keefe Braselle) was not only guilty but part of an extortion ring reaching to the highest eschelons of the city. Panged by his own complicity, he undertakes an investigation, stumbles onto the identity of the "unknown man" who heads the syndicate, and murders him.

The ironies engage when Braselle is charged with this second murder and Pidgeon must defend him by pointing to the existence of another "unknown man" -- himself. Though somewhat short of urban grit and long on rhetoric, the Unknown Man belongs to the noir cycle less by style or structure than by its acknowledgement of the pervasive corruption of American municipal politics that came to light in the postwar years.


Only saw this show a few times, but will live in my memory.

It is very frustrating that it is so difficult to find this anywhere to purchase and yet there seem to be endless repeats of stuff like Friends! Especially even more difficult to obtain being in England I guess..?

They say it was low ratings or was it a complaint from the Bakersfield PD themselves? Maybe it was just too clever for certain people?

Anyhow, just about the one comedy I would love to see again but is almost impossible to find. I hear it is being or has been repeated on another network? But alas not over here!!

Summary: Ingenious.


I liked this show a lot - we got the first and only, it would appear, series in the UK on channel 4. The characterisation was right on the money - a bit like the Simpsons in that all the different facets of small town populace were represented.

There was no laughter track - I hadn't seen this on an American TV comedy at the time except for on Larry Sanders and it really worked well here, heightening the suggestion that these wacky cops were really like that, and not just hamming it up for the cameras.

All in all, a quirky little number that tickled me just right: I can't help but think that maybe it missed it's mark with certain audiences. I think it would have been a cult hit in the UK had it been shown at an acceptable hour.

I'll round this off with my standard comment: Where the hell can I get hold of this to watch it again? Any ideas?


I love to watch this movie a lot because of all the scary scenes about the raptors. I like raptors because they are scary. My favorite parts are the ones where the raptor looks behind the pillar because it reminds me of a scene from the Friday the 13th movie with the girl who eats the banana.

I really love to watch a lot of this movie because the computer graphics seem a little fake but it's okay because once you get into the movie you hardly even notice what is going on and I think it's got a good ending even though I didn't really understand what was going on on my first couple viewings I figured it out over time and that's the important part. The other important part is how scary the dinosaurs can be if you're watching it the first time.

THIS IS BEST MOVIE.


This was the worst movie I've ever seen, yet it was also the best movie. Sci Fi original movie's are supposed to be bad, that's what makes them fun! The line, "I like my dinosaur meat well done!" is probably the best quote ever! Also, the plot sounds like something out of a pot induced dream. I can imagine it now, the writers waking up after a long night of getting high and playing dance dance revolution, then putting ideas together for this: Space marines got to alien planet, which is infested with dinosaurs and has medieval houses in it, to protect a science team studying the planet. Best idea ever! In fact, in fits the complete Sci Fi original movie checklist: guns dinosaurs medieval times space travel terrible acting

So go watch this movie, but don't buy it.


wow, how can I even discuss this movie without tears coming to my eyes? It was surely the highlight of my year--nay--my life. As if the raptor graphics weren't amazing enough, the award-winning editors continued to use the exact same shot throughout the entire movie, even when the background didn't actually match up with the setting of the scene. Wow, what genius. And while the movie is full of plot-holes (for instance, a few clips of a t-Rex type animal where a raptor should be and one key moment where Pappy finds a torture chamber, screams "Colin's a girl!" and runs out) I will never forget the brilliance that is Raptor Planet. Thank you Sci-Fi for another classic.


dear god where do i begin. this is bar none the best movie i've ever seen. the camera angles are great but in my opinion the acting was the best. why the script writers for this movie aren't writing big budget films i will never understand. another is the cast. it is great. this is the best ted raimi film out there for sure. i know some of you out there are probably thinking "no way he has plenty better" but no your wrong. raptor island is a work of art. i hope it should have goten best movie of the year instead of that crappy movie Crash with a bunch of no names AND no raptors. i believe this movie is truly the most wonderful thing EVER.


If you are used to seeing Gabriel Byrne in serious roles such as Tom in Millers Crossing or Keaton in The Usual Suspects I recommend you take a look at this film. Even if you are not a fan of Gabriel Byrne in particular, all the actors in this film give really great performances. If you've got about eleven bucks (that is close to nine quid) I say order it online, or rent it from you favorite movie rental place. Guaranteed to make you laugh, whether or not you normally like gangster type movies. Mad Dog Time/Trigger Happy is one of those movies you never forget, and find yourself watching over and over. You will talk about it so much your friends will be begging to borrow it.


Not a movie for everyone, but this movie is in my top 10. I am a lover of black comedy. With a cast including Richard Dreyfus (Vic), Jeff Goldblum (Mick), Larry Bishop (Nick) and Gabriel Byrne (Ben 'Brass Balls' London) in the leads, the lines can't help but be dry. The supporting cast is nearly dead center. Counting the minor flaws in the movie: Ellen Barkin's make-up gave her face has a washed out look; there were a couple of gimme cameos by Joey Bishop and Richard Pryor that served no purpose, and Michael J. Pollard's screen time was too short. Over all, the cast was just incredible without egos to wreck a fine script. If you have seen Larry Bishop's (writer, director) film, Underworld (a dark crime flick), you will enjoy this one. His next outing (writer, director, actor) is Hell Ride with Michael Madsen and Quentin Tarantino.


The world is a terrible place. But this movie is farce and it's fun. And if you don't like it... you don't get it... and if you don't get... it doesn't matter. It's up to you if you want to play along. Every actor in this one had fun. It's only a joke. And that's good enough for me. Gabriel Byrne is priceless. Byrne and Paul Anka doing MY WAY is, as "Vic" puts it, "...the best version ever". Okay... it's no masterpiece, but it's not bad. I was warned against seeing it, but I'm sure glad I did...


This a superb self-contained work that is unconnected with anything before or after. Brat Pack crooning and club exclusivity are not my biscuits of choice, but in this law-free world they make an alluring ambiance. The film is packed with Our Guys, distinctive actors who add distinction to this work with winning performances. The dialogue is a joy. In fact it's a new vernacular. One of the few films that can be watched repeatedly with deepening appreciation.

Highpoints include Billy Idol's British loutishness, Ben London's vulturine brassware, Kyle's squirmishness, and the survey of ad hoc philosophies.


This movie is great. Simply. It is rare that you find a comedy with levels, and this is a bloody good example of such. When I saw this movie first, as the credit rolled, a friend and I looked to one another and asked... 'did you just catch that?' For those doubters, look at the levels. See the comparisons between Vick and the people in the club, the DNA! See the diverse characters, each jostling for position, and if you see nothing else, see the connection between the cure of Vick and the path through the film. IT'S ALL IN VICK'S HEAD! The opening line about Vick's world. The closing scene with the camera going into Vick's head, and inside, a whole universe! Thoroughly quotable, wonderful cartoon gangsters, beautiful, beautiful, beautiful!


When seeing this movie you should take notice to that it´s not a normal movie. It has no real story just characters, a bunch of gangster characters who come together in a perfect harmony. The dialogue is wonderful, you can just lay back and listen. The movie stands out thats why it´s hard to find a right way of describing it.

Thats why the user comments on this movie is so mixed.

I for one love the movie and recommend it to all who love one-liners and things that differ from the "normal". You can´t really put the finger on what´s so wonderful about it it´s just a comical world where gangsters rule. A place of love and danger. A movie that you can see more than one time.


Most of the comments have been positive but I would like to add that viewers should also focus on the sets. The set designer used a lot of beautiful art deco treatments along with beautiful buildings, stairs, doors, furniture and so forth. It is worth paying attention to. The movie is driven by characterization and symbolism which is very rich. All the gangster actors were cast - it was like seeing old friends and it was a treat. The dialog was amusing at times but stilted at times and I suppose it was meant to be that way. This is a film buff's film. It was made by people, for people who love the medium. Don't miss this one.


I originally saw this very dark comedy around 2000 or so on cable TV. What a surprise and delight! Everyone is covertly armed in this movie! Dreyfuss plays the "mental" don (remember the New York don who was supposed to be schizophrenic? Art imitates life or vice-versa?). Diane Lane and Ellen Barkin are at their most beautiful and NOT to be toyed with! Thus proving that beauty and toughness DO go together! Then there is the great "bullshit" scene between Barkin and Jeff Goldblum (Rita and Mickey) where they verbally play off the world "bullshit." This film is both subtle and bald. For all the shooting, it can be a very quiet film. And, you have the opportunity to see several actors in their final or near final roles. Joey Bishop. Richard Pryor. Henry Silva. It is not a film for everyone. But, if you like a film that has a lot of word play and keeps moving without blowing up everything in sight, this is the film for you. Roger Ebert dumps on this film. He's flat wrong. THIS is a fine, fine film! Maybe just not one for Ebert. I consider it as a 10 because of how well it is done and how funny the script can be, while not really being a straight comedy kind of film. I like it so well that I bought it on DVD because it just doesn't get shown very much on cable TV. Now, it's all mine!


I don't know much about the Rat Pack, and Frank Sinatra always seemed a bit too self-consciously full of himself to me. So when I call this one of my all-time faves, it's nothing to do with a tribute-band mentality. As another reviewer says, Mad Dog Time is about symbolism, not realism. It's kafkaesque (a pity Kyle MacLachlan is probably the weakest of a very strong crowd, when he was so good as Josef K), it's stylish, knowing, sardonic and slick. Jeff Goldblum is navigating his way around a variety of characters, trying not to get shot and acting deftly rather than dorkily, trying to stay abreast of what he knows and others don't, whom he can outshoot and whom he can't. Gabriel Byrne and Richard Dreyfuss (his best performance) have a ball, and the supporting cast look spot-on. The symbolism, the settings (the one outdoor motion shot with Jeff Goldblum walking down the steps seems really weird after so much lounge lizardry), the dialogue (style, not practicality, is the order of the day), it's all about characters interacting, not really gangsterism. Fun to watch, must've been fun to do. What the critics were up to is really a mystery...


Loopy, but shrewd and formidable mob boss Vic (an excellent performance by Richard Dreyfuss) gets released from a mental hospital. Several of Vic's fellow criminal cohorts who include volatile henchman "Brass Balls" Ben London (a gloriously manic and over-the-top hammy portrayal by Gabriel Byrne), the smarmy Jake Parker (a perfectly smug Kyle MacLachlan), and vicious rival "Wacky" Jacky Jackson (a neat turn by Burt Reynolds) all try to bump Vic off. Meanwhile, laid-back and self-assured hit-man Mickey Holliday (nicely played with low-key confidence by Jeff Goldblum) finds himself caught in the middle of all this deadly lunacy. Writer/director Larry Bishop brings a supremely hip, quirky, and original idiosyncratic sensibility to this deliciously dark and deadpan pitch-black comedy about betrayal, loyalty, and ruthless ambition run dangerously amok. The bang-up cast have a field day with the colorfully grotesque rogues' gallery of blithely amoral and treacherous hoodlums: Ellen Barkin as tough, sultry moll Rita Everly, Henry Silva as Vic's reliable right-hand man Sleepy Joe Carisle, Gregory Hines as philosophical smoothie Jules Flamingo, Diane Lane as Vic's sweet, perky mistress Grace, Billy Drago as the slimy Wells, and Christopher Jones as brutish rub-out artist Nicholas Falco. Bishop makes the most of his juicy secondary role as lethal and laconic ace assassin Nick. Popping up in nifty bits are Billy Idol as a blustery thug, Michael J. Pollard as the ill-fated Red, Joey Bishop as mortician Mr. Gottlieb, Rob Reiner as a jolly chauffeur, and Richard Pryor as Jimmy the Gravedigger. Byrne's delightfully insane duet with singer Paul Anka on "My Way" rates as a definite sidesplitting highlight. A tense and amusing climactic Mexican stand-off likewise tickles the funny bone something hysterical. Frank Byers' slick cinematography, the outrageously nutty dialogue, Earl Rose's jazzy cocktail lounge score, and a choice soundtrack of vintage swinging golden oldies all further enhance the engagingly peculiar charm of this immensely entertaining one-of-a-kind curio.


Simply, one of the funiest movies i've ever seen. It's a parody of crime-life, parody of everything that represents the Chicago 1930.- There is no realy need to underestimate this movie because rating is under 5. Its a opinion of a mass, and mass is hypnotized. Who decide to watch it - it will regret, Who decide not to watch it - will regret more.


This has to be one of my favourite movies of all time. The dialogue, with the constant use of puns is very tight, the cast are superb, and the plot is highly original.

Don't take my word for it - watch this movie and enjoy it for yourself.


I love this movie. It's wacky, funny, violent, surreal, played out in a madman's head, and definitely not your usual comedy.

If you don't find the film amusing then I guess it's just not for your tastes, so this is a tough one to write a review for.

For reference, some other comedies I love are The Big Lebowski, The Princess Bride, and Zoolander (that one only got me the second time around). There are others, but my taste is definitely for the unusual, and I am willing to accept that most people just don't tend to like that kind of thing. I make no apologies for having an unusual sense of humour - at least I have one.

The scenes and characters of this particular movie are well put together, the verbal humour is hilarious, the situations are intriguing, the acting is very good (as you would expect of the cast), though the acting demands made of the cast by the script are not particularly high. The overall package makes for fun, funny, watchable yet violent entertainment.


It was hard for me to believe all of the negative comments regarding this all-star flick. I laughed through the entire picture, as did my entire family. The movie clearly defined itself as an old time gangster comedy--the players were hysterical--I'll bet they had a good old time while making it. Of course Goldblum and Dreyfuss were great--and how about those Everly sisters, each of the two Falco's, and the divine music throughout. Rob Reiner made a great laughing limo driver, and Gabriel Byrne a laughable neurotic. Not to mention Gregory Hines, Burt Reynolds, the Sleepy Joe character and the whole mortuary and grave digger references. Paul Anka was his usual entertaining self, with the added attraction of running scared after Byrne decided to make a duet of his "My Way" welcome home to Vick performance.

I am of the opinion that this movie was a comical tribute to Frank Sinatra and friends; Dreyfuss imitated him well. I am also of the opinion that no one, of any age, would even think of imitating the actions which occurred in this movie--it's a joke--not a terrifying "gangsta" film. The cars and clothing were impressive, as was the decorative, "Vic's Place."

Truly, I think of "Mad Dog Time" as a musical comedy, less harmful than many cartoons, TV crime dramas, and talk shows. I would recommend the video for an evening of family entertainment.


Before I start, I should point out that I know the editor of this film. We've never met, but we belong to the same fanzine(those things which came before message boards), and we have talked on the phone, so I do have a bias here. Anyway...

Somehow, it's ironic how while the "Rat Pack" culture of the late 50's and early to mid-60's made a comeback in the mid-90's, this movie, from the son of one of the original Rat Pack, and which was made in a similar fashion, was a flop. Not only that, it was a critical flop; I believe Peter Travers of Rolling Stone was the only one who did not savage this(he gave it a mixed review, as I recall). And while I don't think this is the greatest film in the world, and I am not a fan of the Rat Pack, or "cocktail," culture, I do think this is worth seeing.

For one thing, this looks stylish, and moves right along. For another, the core performances are all good. Richard Dreyfus is surprisingly restrained here as the head gangster coming back from a sanitarium, and has a droll edge to him. Jeff Goldblum goes back to the quietly ironic performances he gave in his pre-blockbuster days, like THE BIG CHILL. And while Ellen Barkin is only required to vamp in this movie, she does it entertainingly. Admittedly, it's not a great film; the dialogue is mostly made up of puns, and a lot of them don't work(like the whole "Zen of Ben" speech). And Gabriel Byrne and Kyle MacLachlan are awful here. Still, I was entertained, and if you like gangster films, you might be too.


Hint number one - read the title as "the Time of the Mad Dog," or perhaps dogs. This is a pretty good ensemble piece (look at the cast and rent it - you know you're curious already), and first-time director Bishop gives them their chance, taking his time, letting the characters interact and chew the scenery as they wait - not enthusiastically - for the return of "the big boss" and whatever revenge ensues.

For some of us, the highlight is seeing Christopher Jones after his self-imposed exile from films; he remains a commanding film presence. And yes, with Christopher Jones, Larry Bishop and Richard Pryor involved, this IS the "Wild in the Streets" reunion party!


If you like film, don't miss this one. If you prefer action, or horror, or romance, then you'll wonder what's happening. Everyone here is stuck in a gangster film. And what happens is transcendental murder.

There are few similar films. No doubt it will see limited release, and be hard to find. But the search will be worth it. If you want to study a mileu as a potential symbol, then this is indeed a film to study.

You can't watch it once. If you do you'll never see what's happening. Dark City is better. Joe Vrs. The Volcano is more fun. But Mad Dog Time could convert the gangsta crowd to symbolism. . .or at least to think twice before shooting again.


An interesting look at Japan prior to opening to the West. John Wayne as America's first consul to Japan arrives in accordance with agreements resulting from Perry's gunboat diplomacy. He is not welcome. Wayne eventually wins his meeting with the Shogun after bring a cholera epidemic, introduced by an American ship, under control. There follows a colorful procession to the capital bearing gifts for the Shogun, including a bottle of Old Tanglefoot. The meeting with the Shogun, the debates among the Japanese nobles and an assassination during an archery exhibit present an interesting look at the politics of the period. Altogether a rather enjoyable movie and besides how often do you get to see the Duke lose a fight to a guy half his size.


This is very much not the sort of movie for which John Wayne is known. He plays a diplomat, a man who gets things done through words and persuasion rather than physical action. The film moves with a quiet realism through its superficially unexciting story.

For the open-minded, the patient and the thoughtful, this movie is a rich depiction of an intriguing part of history.

There are two intertwining stories. The big story is of internalised, isolationist Japan and externalised, expansionist America clashing when their interests conflict. The small, human, story is of an outsider barbarian (Wayne) and a civilised Geisha's initial hostility and dislike turning to mutual respect and love. The human story is a reflection of the greater story of the two nations.

The movie is very well done and all actors play their roles well. The two lead roles are performed to perfection. John Wayne is excellent as Townsend Harris, striking exactly the right blend of force and negotiation in his dealings with the Japanese. Eiko Ando is likewise excellent as the Geisha of the title, charming and delightful. The interaction between her character and John Wayne's is particularly well portrayed. This is exactly how these two individuals (as they are depicted in the film) would have behaved.

The script is very well written. It lacks all pomposity. and is a realistic depiction of the manner in which the depicted events may have occurred. The characters are real people, not self-consciously "great" figures from history. Furthermore, the clash of cultures and interests is portrayed with great skill and subtlety. Indeed, the clash of a traditionalist, and traditionally powerful, isolationist Japan and a rising, newly powerful nation from across the ocean is summarised very well in one exchange between John Wayne and the local Japanese baron. Wayne complains that shipwrecked sailors are beheaded if they land in Japan, and that passing ships cannot even put into port for water. The Baron responds that Japan just wants to be left alone. Wayne's character replies that Japan is at an increasingly important crossroads of international shipping, and that if things continue as before the nation will be regarded as nothing more than a band of brigands infesting an important roadway. A very real summary of the way in which the two countries each saw themselves as being in the right, and saw the other as being in the wrong. The resultant clash between two self-righteous peoples with conflicting interests has its reflections throughout history, a continuing theme that echoes into the present and on into the future.

Cinematography and the depiction of mid-nineteenth century Japan, before the accelerated growth towards industrialisation that was to follow later in the century, is excellent. A visual treat, and an enlightening insight into Japan's ancient civilisation.

I highly recommend anyone, whether a John Wayne fan or not, to watch this film if you get the chance. Just be aware that it isn't an action film. It is a representation of an interesting place and time in history, and a slow-boiling love story which (much to their surprise) comes to dominate the personal lives of the two main characters. Watch this film on its merits, without preconceptions, allow yourself to be immersed in its story, and you will thoroughly enjoy it.

All in all, an excellent film.


In THE BARBARIAN AND THE GEISHA, John Wayne plays Townsend Harris, a real envoy from the United States who was responsible for truly opening up Japan to International relations in the late 1850s. Before him, Commodore Perry basically pushed into Japan with gunboats and forced a treaty upon the Japanese in 1853. Harris, who arrived just a bit later, worked through the details and helped ensure compliance--as many of the Japanese felt no particular inclination to honor the first treaty. All this is true and shown in the film. According to some other sources I found, the romance between Harris and a Japanese Geisha is mostly fiction and this romance is much of the focus of this film (hence, the title).

My first reaction the first time I saw this movie was one of surprise. John Wayne as a diplomat?! When he's being diplomatic in most films, he says please and thank you as he pummels people!!!! So seeing him playing a man who is NOT a man of action and is able to play the diplomatic game seemed very odd indeed. In fact, I can't think of too many actors in 1958 who would have been more unusual for this role. By the way, I've seen photos of Harris and Wayne has practically no resemblance to him at all.

However, despite the story taking a lot of liberties with the truth and the strange casting, the film is still very watchable. The color cinematography is nice, the film shows some nice insights into Japanese customs and culture and the acting isn't bad. All in all, a likable and watchable film despite it's odd casting.

PS--Read through the trivia for this film. You find out a bit more about the real life characters as well as a supposed fight between Wayne and the director (John Huston) where Wayne apparently knocked him out!! Based on what I've read about Huston and the way he got along with actors, this is an incident I tend to believe. And, it's also a nice example of John Wayne "diplomacy".


I found this to be a surprisingly light-handed touch at a 1950's culture-clash movie. John Wayne would hardly be one's first choice as a cultural attache, being about as diplomatic with his good intentions as a bull-run in Harrods. But this time he was left to play a part that was far more passive than his usual bluff persona, and he accomplished his task with style. The Duke was a guy who really could act well. His facial expressions and body language could be extremely subtle.

Despite his considerable presence both as an actor and in terms of screen time, he failed to dominate this movie. Many of his good intentions came a cropper. He had authority over nobody, and the intermittent narrative was provided by the titular geisha to whom he was the barbarian.

The story of American attempts to curry favour with an isolationist Japan was one of political intrigue rather than swashbuckling or hell-for-leather battles. I cannot comment on the accuracy of its research but the strangeness of the Oriental culture to western sensibilities was demonstrated well. There was a great deal of minutely-choreographed ceremony entailing what looked to this observer like authentic costume and props. The set pieces were complex and detailed. A lot of money and thought had been applied to it.

The fractured romance between Wayne and his geisha added a little extra element, and stopped the movie becoming just a political or flag-waving effort. Script was good without being too wordy. There was a great deal of Japanese dialogue, but the lengthy periods of translation didn't interfere with the narrative. It was nice to see plenty of genuine orientals on the set. Whether or not they were Japanese, I couldn't say. But anyway they looked the part. At least the leads were not played by cross-dressing Caucasians, unlike other efforts such as 'Blood Alley' (yes, I know they were Chinese) 'The Inn Of The Sixth Happiness' or even 'The King And I'.

Frankly, I enjoyed this more than any of those other movies. The script was better for a start. I never liked the songs in 'The King And I', and wasn't impressed by the heavy-laden anti-communist subtext of 'Blood Alley'. I confess to never having seen this work before and found it compared very favourably to many of The Duke's more popular outings.

Recommended.


Several young Iranian women dress as boys and try to get into a World Cup qualifying match between Iran and Bahrain. When they're caught, they're penned in an area where the match remains within earshot, but out of sight. The prisoners plead to be let go, but rules are rules.

Given the pedigree of its director, Jafar Panahi, it was disarming to discover that Offside is a comedy, and a frequently hilarious one. In 1997's The Mirror, Panahi presents two versions of Iranian girlhood and leaves the audience to wonder which one is "real". In 2000's The Circle, several Iranian women step outside the system; their transgressions are different, but they all end up in the same tragic place.

However, thinking now about Offside, it's hard to imagine it as anything other than a comedy, because the situation it presents is so obviously ridiculous. As the women demand to know why they can't watch the soccer match and their captors struggle to answer, the only possible outcome is comedy.

What makes Offside most affecting is that the young women are not portrayed as activists attacking the system. They are simply soccer fans and patriots, and despite the fact that they are clearly being treated unfairly, they never lose their focus on the match and the historic victory that is within their nation's grasp.


I saw this film at the Toronto International Film Festival. Filmed during an actual qualifying match for the 2006 World Cup, Offside works brilliantly as both a comedy and a tragedy. The film follows the fortunes of a group of young women who are caught trying to sneak into a football match at Tehran's Azadi Stadium. The country's Islamic religious leaders have decreed that women may not sit with men at sporting events, lest they be exposed to cursing and other morally questionable behaviour. This hasn't stopped the country's young female fans, who continue to sneak in using various tricks. But Panahi focuses on a small group who have been caught and are being detained agonizingly close to the action. They beg the bored soldiers guarding them to let them go or at least to let them watch the match. The soldiers tell them they shouldn't have tried to get in, that they could have watched the game at home on TV. They banter back and forth in almost real-time as the game continues, just off- camera.

There is one very funny sequence where a young soldier accompanies one of the girls to the restroom. Since there are no female restrooms at stadiums, he has to clear the room of any men before he can allow her to go in. Plus, he makes her cover her face so no one can see she's a woman. This is accomplished using a poster of Iranian soccer star Ali Daei as a mask, with eye holes punched out.

You get a real sense that even the soldiers are baffled by the prohibition, and are only carrying out their orders so as to hasten the end of their compulsory military service. One soldier complains that he was supposed to be on leave so he could take care of his family's cattle in the countryside. Little by little, the girls and the soldiers talk to each other, and there are numerous small acts of kindness on both sides to show that these are basically good people living in terrible circumstances. However, the soldiers' constant reminder that "the chief" is on his way lends a sense of menace, since we don't know what sort of punishment the women will face.

Unlike most Iranian films, which are known for their strong visuals, Offside is filmed in a realist style with no artifice. In fact, the film was made during the actual qualifying match against Bahrain that took place on June 5, 2005. The "plot" in many ways was determined by the result on the pitch. If Iran won the match, they would qualify. If they lost, they would not. Since the World Cup has come and gone, I don't think it is a spoiler to say that Iran won the match. The scenes of celebration at the end of the film were real and spontaneous, which gave the film a real authenticity. Seeing how much this meant to the people of Iran was deeply touching.

As well, one of the young women makes reference at the end of the film to seven fans who died during the Iran-Japan match on March 25, just a few weeks before. They were trampled to death after police began to spray the crowd with water to move them in a certain direction. Knowing that this was a real-life tragedy added another level of poignancy to the celebrations.

I don't want to go off on a long political tangent, but this film gave me real hope that there are those in Iran who are hoping for change and working at it. Iran is a nation of young people, and it is only a matter of time before they take the place of their elders in the political sphere. Films like this one show the proud spirit of the Iranian people in spite of their present difficulties, and it's my sincere hope that there is a brighter future for them.


Finally! An Iranian film that is not made by Majidi, Kiarostami or the Makhmalbafs. This is a non-documentary, an entertaining black comedy with subversive young girls subtly kicking the 'system' in its ass. It's all about football and its funny, its really funny. The director says "The places are real, the event is real, and so are the characters and the extras. This is why I purposely chose not to use professional actors, as their presence would have introduced a notion of falseness." The non-actors will have you rooting for them straightaway unless a. your heart is made of stone b. you are blind. Excellently scripted, the film challenges patriarchal authority with an almost absurd freshness. It has won the Jury Grand Prize, Berlin, 2006. Dear reader, it's near-perfect. WHERE, where can I get hold of it?


This film is being described as a comedy, but it wasn't a comedy at all. Like any Panahi film, it was a very realistic drama depicting the common thread of social inequity and hypocrisy. But it was very funny; much lighter than the director's dark and serious The Circle (my favourite Iranian film). The resourcefulness of the girls and the banter between them and the soldiers was both completely believable (as if it were a documentary) and completely hilarious.

The filming the actual match and aftermath was astonishing. It added a realism much like Australia's Kenny, of course a very different film.

The performances from all the non-professional actors  soldiers and girls  were very credible. It was very moving to see the passion, disappointment and excitement of these girls. Anyone in this country who thinks Muslim girls wearing a chador are any different to their own daughters should go see this film  it will be a real eye-opener.

To me, the soldiers represented the current paradigm. They started out with stock-standard official policy responses to all the pleas of the girls. As the film progressed, they found it more and more difficult to maintain this stance. When what seems like all of Teheran breaks out into wild celebration, everyone is caught up in it, and the ridiculousness of the current policies is obvious to one and all.

It was a very moving and unexpected ending, and gave the film a really nice blend of emotions, frivolity, drama and social commentary. Though it's adult cinema, I think mature-minded children from about seven onwards would really appreciate this film (as long as they can read subtitles).

It is remarkable that a repressive country like Iran is able to produce films of such quality by the likes of Panahi and Kiarostami. Perhaps the constraints there force directors to be extremely resourceful. Australian (and other) film makers could take a leaf out of their book.


In Iran women are prohibited from attending live sporting events because of the fear that they will be "corrupted" by bad language, close proximity to thousands of men, and the fact that there are no toilet facilities for women in the antiquated stadiums. Based on an actual incident involving the daughter of the director, Jafar Panahi's Offside follows six girls, disguised as men, who are refused entry into the soccer match in 2005 between Iran and Bahrain, a match that will decide whether or not Iran goes to the World Cup. In a departure from the bleak, minimalist films we have been accustomed to from Iran over the last ten years, Offside is an exuberant comedy that has a patriotic fervor and a universal appeal but contains enough subversive social commentary to warrant its prohibition from screenings in Iran.

Shot with a digital camera using non-professional actors who are more than up to the task, the girls try to sneak into Azadi Stadium in Tehran but are arrested and placed in a holding area outside of the stadium. They are guarded by three young army conscripts (Safdar Samandar, Mohammed Kheir-abadi, and Masoud Kheymeh-kaboud) who express ambivalence about their task but are pledged to follow the rules. The women are soccer enthusiasts, not political activists and cheer for Iran's victory but this does not deter the soldiers from detaining them while they wait for the girls to be transported to the Vice Squad and an uncertain future.

Outspoken rather than acting like victims, they continually question the soldiers about the rationale behind the restrictions, making their absurdity quite obvious. Although they can hear the crowd noise, the women cannot see the action but achieve a minor victory when they persuade one of the soldiers to provide a running commentary on the game. One of the funniest sequences takes place when a female "prisoner" is escorted to the men's room by a soldier. The young recruit then must cope with a near riot when he has to prevent anyone else from using the facilities while the girl is still inside.

Little by little, to paraphrase Adlai Stevenson, that which unites them turns out to be greater than that which divides them and the unlikely antagonists rally behind their country and root for the victory that will send Iran to the World Cup. Although the point is made early and often and the film sags a bit in the middle, Offside makes a telling point about a society where a political elite with a medieval social mentality has to contend with an growing group of educated and politically astute citizens. One can only hope that world pressure and the awakening of its own people will force the Ayatollahs to come to terms with the 21st century.


In Iran, women are not admitted to soccer games. Officially it's because they are to be spared from the vulgar language and behavior of the male audience. But of course it is about sexism. Women are lower forms of human beings.

Some brave girls oppose this and try to get into the stadium by using different tricks. They are caught by soldiers and hold in a kind of cage, until the police will come and pick them up.

Despite the insane situation, this is a film with lots of humor. It's also encouraging to see how people always find different ways of fighting oppression. You'll get touched at the same time as you have lots of laughs. Good job by director Jafar Panahi. This is in many ways a heroic comedy.


I don't know how and where do the Iranian directors get their inspiration in coming up with a plot like this. In fact, it's a very simple plot that many directors could come up with --- but may not be able to project it onto a movie the way Jafar Panahi did.

The film is like 2 worlds revolving at the same time, one connected to the other - the football match and the battle between sexes that's going on behind the walls of the stadium.

It makes you feel like you are in the movie and you're one of the characters, and while watching the movie, as if you also would like to have a glimpse of the football match. You will feel exactly the same excitement and sentiments as those female actors in the movie. It's gripping in a way that you wanted to see the ending, you will want to find out the verdict, you'll be dying to see what will happen to the girls.

I like the intermittent conversations between the smoking girl and one of the military trainee. It's like venus VS mars, it really shows the difference in the thinking of men and women and the struggle of women to get equal rights and opportunity especially in a very patriarchal society like Iran.

This is the second movie of Jafar Panahi that I have seen (the first being Crimson Gold) and am looking forward to watching some more.

Am already hooked with Iranian movies and this one is a must-see!


In Iran, women are officially banned from men's sporting events. In June 2005, the Iran's national soccer team has an important game against Bahrain in the Azadi Stadium for the qualification of the World Cup. A group of Iranian girls and lovers of soccer dresses like boys and unsuccessfully attempts to enter in the stadium being arrested.

Soccer (and Flamengo's team), beach and movies are my greatest passions; therefore I loved this little gem about a group of girls and their passion for soccer. The director Jafar Panahi, from "The White Balloon", "The Mirror" and "The Circle", shot this movie on the day that Iran defeated Bahrain and qualified to the World Cup in Germany. The dramatic and funny adventure of these Iranian girls is one of the most delightful movies I have ever seen. My vote is nine.

Title (Brazil): Not Available


Jafar Panahi's comedy-drama "Offside" portrays some women trying to enter a Tehran sports arena from which women are banned. The official reason: lots of foul language, and the soccer players have their legs showing. But of course, it's really a case of sexism. So, most of the movie consists of mild comic relief as the women try to ask the men serious questions about why women are banned from the stadium, and one woman even comes up with her own scheme to defy the men.

As I understand, all of Jafar Panahi's movies (this one included) are banned in Iran. The real tragedy is that the CIA's 1953 overthrow of the prime minister and subsequent backing of the brutal shah gave Ayatollah Khomeini an excuse to use his narrow interpretation of the Koran to establish a chauvinistic society, and that George W. Bush's current policy towards Iran gives Mahmoud Ahmadinejad an excuse to act the cowboy and tighten censorship.

Above all, this is a neat look at people coming up with ways to challenge the system. Not a great movie, but worth seeing. Considering that all Jafar Panahi's movies are banned, I wonder how he's able to even make them.


In The White Balloon and Crimson Gold, the two other films by Jafar Panahi that I've seen, the director mines surprising amounts of depth in subjects that seem, on the surface, slight. In Offside, Panahi's seriocomic tribute to Iranian women standing up for their rights, I don't think he's as successful. Not that what he's saying isn't important, of course (and it's too bad that, like pretty much every other Panahi film, Iranians can't see it). But, after a while, the film feels a tad flat, and it feels long even at 90 minutes. Not saying I didn't like it, though. The actors are all fantastic, and the celebration at the end of the film is infectious. But it's not an important work, in my opinion.


"Cinema is dead, long live the cinema!" said Peter Greenaway, one of the most innovative and productive contemporary directors, at the last year's Romanian film festival Anonimul, which got to the third edition and takes place in the Danube Delta. This year the direction prize went to Jafar Panahi's "Offside". I got to see it this evening in Bucharest at the festival's retrospective. Cinema is dead but still very lively. Panahi's film tells in a compelling manner how Iranian society looks. Digitally filmed, "Offside" is a story inspired by a real-life event happened to Panahi's daughter: the trouble and risk took when decided to attend a football match. This is forbidden in Iran as we are informed. What Panahi manages to do is to render with few means, but with, probably, a lot of work, intelligence and humor the cultural patterns in a society that places women at a distinct level. The absurdity of the laws becomes comical. The film has a happy end, after all because Iran's team goes to the World Cup. What I appreciated most was the concept, the idea behind this film. I would be very interested to see Panahi's other films that were forbidden in Iran as well. I guess that he can be thought as an activist director.


The US State Dept. would not like us to see this movie, because they have a beef with the Iranian govt. However, it shows us just how civilized Iran really is, despite the content of the film, which centers on the struggle of women there for equal rights in the simplest of terms: the ability to watch a soccer game at the stadium, which is strictly limited to male audiences alone. The film is hilariously funny, and in and of itself is proof of freedom of speech and expression in Iran. I enjoyed this movie intensely. Five girls try to penetrate the police border at the ticket gates to a soccer match between Iran and Bahrain. The ensuing comedy is too funny to describe, from the bus trip to the stadium, to the interceding of the police and subsequent detention of the girls, to the resulting end. Don't miss this classic film. Its a MUST see. One of the best foreign films I've seen in years.