This is another outing for Speedy Gonzales, the fastest mouse in all of Mexico, however in this cartoon most of the laughs come from Pablo and Fernando, two of his friends who have had too much tequila in the taverna. As the stagger home they decide to pick a fight with an alley cat. Luckily for them Speedy is at hand to rescue them, although as soon as they get rescued they are back trying to fight the cat again meaning speedy has his work cut out for him.

The combination of English and Spanish is well done, even if like me you don't speak Spanish it is easy to figure out the gist of what they are saying. Some people might not like the suggestion that Mexicans like their tequila a bit too much but as it is done in a funny way and didn't suggest that they were all like that, just those two I didn't think it was offensive. Definitely worth watching for a laugh.


This time, Speedy Gonzales isn't fetching cheese, but is rescuing his drunken friends Pablo and Fernando, both in danger of getting eaten by a cat (not Sylvester). Watching "Tabasco Road", I get the feeling that it may be one of the Looney Tunes cartoons that drew criticism: it basically portrays Mexicans as drunks. On that subject, maybe the cartoon was intended as an anti-alcohol warning.

Then again, maybe I'm trying too hard to analyze it. As long as we understand that it sort of makes stereotypes about Mexicans - namely with "ceety leemits" - we can enjoy it. And as long as we know to drink responsibly.


1957 must have been an awful year for cartoons for this mess of a short to be nominated. There are some very funny Speedy Gonzales cartoons out there, but TABASCO ROAD is not one of them. The Speedy Gonzales cartoons tend to be a little annoying anyway, but this movie is just plain unfunny and unbearable to sit through. If you really want to watch a Speedy Gonzales cartoon then check out CAT-TAILS FOR TWO or MEXICALI SHMOES. Now, those are funny. All three of these cartoons are available on the Looney Tunes Golden Collection Volume Four. If you are easily offended by racial stereotypes then I would avoid this cartoon - actually all Speedy Gonzales cartoons for that matter.


Solanas made a wonderful piece of art, not just a movie, but a theater play and a tango as well.

The anguish of exile, trying to show all the melancholy charged with irony and good humor. As a Discépolo's tango.

Marvelous, oneiric. A way to learn more about this kind of music that is famous around the world as "the dance of passion", but showed in its pure essence, with three of its' men, Gardel, Discépolo and Piazzolla.


I saw a print of this film in a Latin American class a few years ago and was blown away." Who was the director?" was my question. It combined elements of Godard, Bertulucci, and the American musical. The images are as stunning as any by Vittorio Storraro and the story is ultimately uplifting and hopeful as it details the lives of Argentine exiles trying to survive and move on with their lives while in exile in Paris. Brilliant , but virtually unavailable in the states. This film needs to be discovered by film lovers and lovers of the tango.


Forget about Sissy Spacek and Halle Berry. If "The Sleepy Time Gal" had been released theatrically in 2001 (and the fact that no distributor picked it up is a tragic commentary on the state of today's film scene), the glorious Jacqueline Bisset would have been awarded the Best Actress Oscar at last week's dismal ceremony. Long-acclaimed for her dazzling beauty ("The Deep," "Class," etc.), but sadly overlooked for her impeccable acting abilities (was everyone dozing when she gave breathtaking performances of subtlety and nuance in "Under the Volcano," "Rich and Famous," "High Season," "Le Ceremonie," etc.), Ms. Bisset's portrayal of a woman trying to put her life in order when she is told she has terminal cancer is one of the finest performances ever committed to celluloid. Independently produced on a low-budget, "Sleepy Time Gal" is exactly the type of superior filmmaking so rare these days, and the fact that it was sold to the Sundance Channel (where it premiered on March 29, 2002) instead of being theatrically distributed to art-houses whose discerning patrons crave exactly this type of subtle, intelligent, exquisite jewel of a film) is a tragedy. Christopher Munch's direction/screenplay are sublime. In supporting roles, Amy Madigan, Seymour Cassell, Nick Stahl, and Martha Plimpton give performances of astonishing intelligence and warmth. As does Jacqueline Bisset, probably the finest and most underrated (as well as achingly beautiful) actress of all time. Ms. Bisset's performance, heartfelt, honest, totally devoid of histrionics, is truly to be cherished! As is "The Sleepy Time Gal."


Christopher Munch has written and directed only three films, not one of which ever received commercial distribution. Obviously, if you want "commercial" easy watching, his movies are not for you. A viewer can have a tough time finding his movies, but maybe that's OK, because once seen, they can haunt you for years. He makes a different sort of film than the easy to find shoot-em-down-and-blow-em-up product that, once seen, can barely be recalled a week later. When I see a film by Christopher Munch, I think (as I also do after movies by Abel Ferrara or Claire Denis), "This is what celluloid is for." Look, I love a good car chase as much as the next guy, but some types of human experience require more than machinery to chase down. Munch is a cinematic poet of unfulfilled longing, but unfulfilled longing is not a subject that lends itself to tidy reconciliations and happy endings. "The Sleepy Time Gal" is all about the lives we might wish for, but will not have. If that sounds sad, it is. But surprisingly, it's not bleak the way you might expect, because Munch also shows us characters whose lives contain riches that they do not see themselves. Munch's main character, Frances (played with aching beauty and regret by Jacqueline Bisset) is a dying woman who, as she tells her doctor, has not finished her life. Too bad for her. She only sees what she has not achieved in her life. However, her lovers  and we the viewers in the audience  see that her beauty and her lust for life have enriched those around her in ways that she cannot recognize, perhaps because the experiences have not been comparably enriching for her. In a sense, she gives what she has not received. This sounds more sentimental than it is in the movie. There is no sentimentality in this movie. For one thing, the main character is not easy to like. She's a woman with rough edges and few illusions about the joys of parenting or the permanence of love. For another, the relationships among parents and children here are all complicated. There are no simple loves, no simple hatreds, and all the connections are difficult. For just these reasons, the relationships are completely believable. The movie has what might be the most realistic deathbed scene I've ever seen in a film. The film was shot by Rob Sweeney, who also shot Munch's previous film, "The Color of a Brisk and Leaping Day," one of the most beautifully photographed films I've seen in the last decade. This movie too contains frame after frame of richly textured compositions that never devolve into prettiness. Munch is not a linear storyteller. The complicated relationships in the movie unfold indirectly through scenes that seem initially unrelated. The varied visual textures in the cinematography help differentiate the different times and places in which we see the characters. I've only seen Nick Stahl in a few things, but the more I see of him, the more I'm impressed with his versatility. He's the manipulative Bully in Larry Clark's film of that title, and the naive, doomed every-boy of "In the Bedroom." Here he plays Bisset's son, and he's just as believable as a sensitive guy finding the strength to make his own way in the world without abandoning his assertive (and not entirely loving) mother. Altogether, this movie maps the rocky shoals of ambiguous family relationships as well as any I've seen. If you want "entertainment," skip this. If you want "easy" watching, skip this. If you want tidy emotional resolutions, skip this. But if you're up for a visually gorgeous, subtly acted reflection of the skips and stumbles that comprise most of our emotional lives, check this out.


I can't help thinking that this film thought it was a much better film than it actually was. I just couldn't connect with it. It came off as pretentious. I also couldn't help but notice a heavy stylistic influence from Woody Allen of all people here (editing and music style, but done clumsily) which didn't fit at all. Also, what was with the Spanish guitar music? This whole film just seemed incoherent. The acting didn't work - little really worked right in this film. Maybe I missed the point because I was too asleep to follow it. I found it even difficult to enjoy the San Francisco scenery. This movie was just work to watch.

=by the way, what's so beautiful about Jacqueline Bisset? Anyone else notice that every time she said the word "idea" it came out as "IDEAR"? - very annoying.

This director is going nowhere.


This movie is made up of random scenes with random characters. Very little linkage is made between the scenes or characters. So a lot of what is presented is absurd, meaningless or boring. I guess if one saw it over and over, and if one had an overactive imagination, one could create for oneself a story line. Of course, that would be your story line, not the writer's or director's, because they didn't have a story line or any conception of what this movie is or is supposed to say. No scene or character is developed enough so that one could care about them. Even the music is cut short. The best part of the movie was the credits at the end, where they did play the "Sleepy Time Gal" theme song to completion. The acting was bad and contrived. But, to the actors' credit, without a plot or story line or anything to go on, what could they do? To the movie's credit, some of the random scenes have beautiful photography. I notice a lot of movies these days have a lot of confusing, random scenes that jump around in time. I suppose someone asked "why should a movie be linear?", and now film makers are making non-linear films. But it takes more skill than this move maker has (or most (all?) of the rest) to pull it off. I guess a big ego director is saying? "This is my art, take it or leave it!" Well, I'll leave it.


I got lost in the last half of Sleepy Time Gal. It seemed to fall apart. Bisset is excellent but the script and the director do not give her the opportunity to bring the jumbled pieces of this film together at the end. All of the actors were good but seemed to be in different films. I don't know what the film is supposed to mean. It seemed a cheat not to be shown or told what the daughter played by Martha Plimpton thinks of not finding Bisset's character before she died. We are shown the daughter getting an address for Bisset, but we are not shown what she does from then on in her search. Did she stop? Did she track Bisset only to find that she had died shortly before? If Plimpton's character had not appeared again in the film, this lack of information about her would not be so irritating. But she does appear again in the film and we are never told how she progressed in her search. In the extras on the DVD, there's an alternate reading of Bisset's speech to the daughter she gave up. She very clearly states that she is writing a letter that will be forwarded to the daughter by the agency. Why was this bit left out of the finished film? Why just have Bisset talking to the camera as if she's thinking out loud or dreaming? The film is disjointed. Ultimately, it was an unsatisfying experience to watch it.


Saw Sleepy Time Gal last night at the Cleveland Film Festival.

In short, I found the film very powerful and surprisingly well done. Jacqueline Bisset is just wonderful.

Although a bit predictable in places, the plot has a few twists...definitely not a big studio release.

I cannot understand why this film isn't in wider distribution.

Although the movie has nothing in common with the Oscar-nominated "You Can Count On Me" other than the fact that both movies are small, intimate portraits of families, I have to say that Sleepy Time Gal is a much more nuanced, ambitious film with a lot more depth than YCCOM.

I'm very sorry more filmgoers won't get a chance to see Sleepy Time Gal.


I want my hour and a half back. Frankly, I think Frances had a pretty good life considering how little effort she put into it. Aging college dropout drifts between relationships while having kids she doesn't provide for. I got the feeling she's too dumb to make anything of herself and too proud to wait tables.

It's hard to tell, though, what with the jumbled up way the story was presented.

How about that "stop the car, kiss, and then start driving again" thing with Frances and Bob? What's with that? I expected it to go somewhere, but it just fizzled.

And what's with the completely gratuitous Jimmy Dupree hook? I couldn't figure out if it's "I did yo mama, and now I'm gonna do you, too" or "Look, we must be sophisticated cause we're showing interracial relationships".

I agree, this could have been a nice little film, but it looks like someone dropped the ball.


Just saw this film at the Vancouver International Film Festival. I was barely able to stay awake through the long tedious thing.

The shame of it all is that this film could have been great. The plot of a woman wanting to search for the daughter she gave away while the daughter is searching for her could have been very interesting. Instead, this is an "almost but not quite" film.

The acting was good but that's not enough. Some of the audience walked out. Nobody applauded when it was over. I didn't hear anyone talking about the film as they were leaving.

Sad. The Sleepy Time Gal could have been great.


Okay, the film gets a 3 even though it's duller than dust because back in 1898, ALL the films were duller than dust--having NOT AN OUNCE OF PLOT--consisting of people doing mundane stuff that thrilled audiences at the time but would hopelessly bore people today because films are so omnipresent.

This film, believe it or not, consists of some Scottish-looking guys in kilts jumping about--and it's bad dancing at that! THAT'S IT!!! Just guys in skirts dancing! From a historical standpoint, this is a very important film, but in every other respect, it's pretty pointless. How this could encourage ANYONE to buy their Scotch is beyond me!


Touted by many as the very first advertising film this is really nothing more than a shot of bemused actors dressed in kilts performing a very poor impression of a highland fling. How anybody thought that this would encourage people to drink Dewars whiskey is beyond me. Funny that the mental processes of advertising executives was as unfathomable then as it is now.


WILDCATS was a funny and entertaining comedy with Goldie Hawn at the top of her form as a high school track coach, who wants more than anything to coach football (her late father was a football coach). She finally gets the opportunity to coach a high school football team at a tough inner city high school where the majority of the students are Africa American or Latino. Of course, Goldie's Molly McGrath meets the obvious resentments from high school boys that you would expect finding out their new coach is a woman, but she does eventually win them over, even at the risk of losing custody of her two daughters to her uptight ex-husband (James Keach). Nothing new or inventive here but Goldie lights up the screen presenting a smart yet flawed character trying to live her dream. Nipsey Russell has one of the best roles of his career as the principal of the school that hires her and there are some very funny moments provided by the members of the team, especially Woody Harrelson, Nick Corri, and in a star-making turn, a very young Wesley Snipes. Bruce McGill scores as a sexist coach from the opposing school, Prescott and Jan Hooks has some cute moments as GOldie's ex-husband's new girlfriend. I love the scene where Goldie outruns the boys on the team and calls them "pussies" and the rap song over the closing credits is hysterically funny. A terrific feel-good comedy starring a great actress at the zenith of her personal charm.


The trailer for "Wildcats" showed 3 ghetto-riffic cheerleaders stomping around a pile of dirt and chanting, "U-G-L-Y, you ain't got no alibi, you UGLY! What-what! Yo' mama says you ugly!"

Okay, you got me. I'm there.

Ha-ha low-brow highlights include--

* Goldie Hawn's purple-headed teenage daughter gets sloshed at a team party. Wesley Snipes comes to the rescue: "We're taking you home. If your mother sees you like this she's gonna' turn your ass the same color as your hair" Funny, rite?

* Goldie's team kidnaps the rival school's mascot, a goat. When principal Nipsey Russell invades the locker room and asks, "You all wouldn't happen to know what happen to the Cougar's goat, would you?" The goat, hidden in a locker, starts to baaaaah, which prompts Goldie to simultaneously reply "Naaaaah!" See? Hysterical!

Fans of Jan Hooks (like me) will love her turn here as the uppitty stick-up-the-butt wife of Goldie's ex. Fans of Woody Harrelson should note that a brief cameo is made here by his bare butt. Fans of Swoosie Kurtz should contemplate bathing with downed powerlines. Just kiddin', she's good too.

TEN! 1 point for the fat guy, 1 point for flatulence, 1 point for LL Cool J's lamest rap ever. The rest of the points go to Goldie. Goldie rocks.

Love, your pussies


This film is an all time classic. Everyone's seen it, so I wont bother with the plot. (If you haven't, you lack the very basics!!!) It's light as a feather, yet professionally crafted. The cast is excellent: Woody Harelson and Wesley Snipes are always a winner duo, but the star of the movie is doubtlessly no other than Goldie Hawn. I don't know any other actresses, who could be this funny, lovely and sweet through a whole movie. And It's the young Goldie Hawn you'll watch during the playtime, so she has an additional amount of cuteness enforcing her personal sexual charisma. AND there is a scene where she's totally naked. It has nothing to do with the plot, it only meant for our pleasure. This move represents the happiest segment of the 80's:)


One of my 80's sport's comedy ever. Goldie Hawn is at her best as Molly McGrath, a woman who feels that she can coach a winning football team. But feels she is taken seriously because she is a woman. Molly has other problems, she is divorced with two daughters, and has a nagging ex husband. And her job has a track coach is wearing thin. But with luck she finally gets the chance to coach a football team. When she finally gets there, she soon realizes that many other people would not dare coach there, and the team is a bunch of goof balls who don't seem to respect her and care about winning any more. Can Molly earn their respect, and show them they can be winners? I've always been a football fan, but this movie was great with Goldie Hawn starring in it.


In the 1980's there wasn't a bigger female comedy star than Goldie Hawn. She excelled at playing the 'fish out of water' character in films like 'Private Benjamin,' 'Protocol,' and 'Overboard.' 'Wildcats' has the same formula those films had, only instead of the Army, Washington DC, or abject poverty, Goldie finds herself coaching football.

Here Goldie plays Molly, a divorced mother of two who has always dreamed of coaching a football team. But throughout her coaching career all she's been allowed to do was coach female track and field. When Molly gets the opportunity to take a head coaching job in an inner city school, she jumps at the chance. When she arrives at the school she is faced by a disorganized and disrespectful team of players. They don't want her as their coach, but she sticks to her guns, and she fights to gain their respect and obedience.

Of all the comedies that Goldie has starred in, this isn't one of her best. She's still great in this, but the film is overlong, bogged down by a buzz killing custody storyline with her schmuck ex-husband (Keach) and her two kids. There's also a lot of unfunny 'fart humor' on display, but thankfully not from Goldie's character.

But when the film is good, it's good. Besides the custody storyline, things move at a brisk, fun pace. It's fun to watch Goldie work to get the team to see eye to eye with her, or hunt down the truant quarterback in the ghetto and almost get herself caught up in a robbery, or hide a rival teams goat mascot in the locker room.

This isn't really heavy stuff here, but it is a fun 80's comedy with a great star doing what she does best. So if you're a fan of Goldie Hawn and 80's comedies, check this out.


Think Dangerous Minds and Any Given Sunday mixed with gags and humour and you've got Wildcats: an 80s comedy starring Mrs Kurt Russell herself, Goldie Hawn who plays a high school sports teacher turned American Football coach. At first, the guys take a disliking to her, but soon afterwards, her efforts pay off as they win match after match.

The film also launched the movie careers of ex-Cheers actor, Woody Harrelson, Wesley Snipes and rapper, LL Cool J. Okay, it may not win brownie points on originality alone, but Wildcats is an entertaining and amusing effort, with a somewhat impressive performance by Hawn herself. There are some silly moments, but hey this was the 80s after all! The hair, the fashion, the music, the movies ah the memories! In all, a feel good movie and for a sports flick, not that bad at all. And the rap is somewhat amusing and a tad cheesy too. Worth purchasing on DVD


THE PLOT: A divorced mother of two (Hawn), who coaches a high school girl's track team, decides she wants to live out her dreams by coaching football instead. Unfortunately the only football job she can find is with a losing boys team in a tough inner city high school.

THE NEGATIVE: This is a very uninspired, by the numbers 'feel good' sports movie. There actually seems to be more drama here than comedy and what little comedy you get really isn't very funny. Having a woman coach a boy's football team would be enough of a challenge, but forcing her to do it in a tough inner city school seems extreme and unnecessary. The player's are all one dimensional and uninteresting. Even Hawn's character is dull although Hawn herself is still fun to watch. The climactic game sequence is so predictable and full of clichés that it becomes almost excruciating. The film is also plagued by having that very annoying 80's music sound.

THE POSITIVE: It is fun to watch Wesley Snipes and Woody Harrelson in their film debuts. It is also fun to see Nipsey Russell although they don't give him enough to do. He looks like he was only 38 even though, at the time, he was actually 68! Incredibly large actor Thad Thacker is also fun and the only interesting player on the whole team. His acting is nothing exceptional, but his 'con-man' routine is still amusing. Actor James Keach, who plays the stereotypical 'jerky' ex-husband, ends up giving a surprisingly sturdy performance.

OVERALL: This film is extremely dull and predictable and is hardly good for even a few cheap laughs. Why some people think this is so funny is beyond me because everything that is done here has been done better somewhere else.

THE RATING: 3 out of 10.


Goldie Hawn, the petite, saucer-eyed actress was ideal casting in this movie. She is Molly McGrath, a divorced mother of two girls who is a girls track coach but longs to be a football coach. Nobody thinks she can pull that off and she is ridiculed by the sexist football coach (played by perennial slime ball Bruce McGill of Animal House fame) of that high school's football team. Therefore when she gets a chance to go to another school to coach football she grabs it, even though the players are less than refined and practically stink at the game.

If you ask if this is a formula, you are right. The underdog movie has been an American staple since the beginning of movie history. First the coach and the players must face humiliating defeat, then gradually get better and then of course win the big game. All of this happens in this movie but there is also a rather unnecessary subplot involving a custody battle. It seems that Molly's ex-husband (James Keach) thinks that she is neglecting the kids, mainly because he stumbled into a party given by Molly to the football players after a victory and to top it off the oldest daughter gets drunk. Then we get a court hearing where all of the players, who have found respect for their coach, show up to defend her and one of them makes a pass at the judge to grease the wheels even further.

All that happens in this movie is rather predictable. The only thing that is worth noticing is that Woody Harrelson, Wesley Snipes and Mykelti Williamson made one of their first appearances here, before Harrelson became famous as Woody Boyd and before he and Snipes were made a team in several films. Mykelti Williamson also became well known, first in Midnight Caller and then as the shrimp connoisseur Bubba in Forrest Gump. There is also a small role for SNL'er and 3rd Rock from the Sun star, Jan Hooks as the uptight new wife of Goldie's ex. This doesn't make Wildcats anything more than it is and Goldie's career has continued in this vein with one bright spot now and again ("Death becomes her" had its moments).

As for the director, Michael Ritchie, he was one of the greats. He made the original "Bad News Bears" and the hilarious "Fletch" but sadly he is no longer with us. This film ranks just below average mainly because he did so much better at other times.


"Wildcats" is a football movie that is pretty predictable, but nevertheless it's very entertaining. Goldie Hawn gives another one of her many funny film performances here as a girls high school track coach who's always dreaming about coaching football since she grew up on the sport. Well her dream comes true. Actually, not all true. She does get assigned to coach a football team, but its for a rough inner city high school in Chicago. Predictably, the players hate her at first, then they start to like her and at the same time the team starts off losing before they finish up winning. There's not much originality in "Wildcats" but since it's alot of fun so what. Hawn is fun and is surrounded by a good cast which includes Swoosie Kurtz as her best friend; James Keach as her ex-husband; Jan Hooks as Keach's current wife; Nipsey Russell as the principal of the rough high school Hawn's assigned to; and (before becoming famous) Woody Harrelson and Wesley Snipes as football players (these two actors would later team up for "White Men Can't Jump" and "Money Train"). "Wildcats" isn't a great football movie like the current "Remember the Titans"; it isn't as funny as the football themed comedies "The Waterboy" and "The Replacements"; but it has alot of laughs and is alot of fun.

*** (out of four)


This was a mildly entertaining film. Goldie Hawn is likeable as always, and it was good to see early roles of Wesley Snipes, Woody Harrelson and Mylketi Williamson. The football team is fittingly uncouth, as is to be expected, and Central High Principal Edwards is great. Watching it now, its probably not as good as I remembered it 13 years ago, but its still lots of fun as a time waster. The song during the final credits is probably one of the best parts though.


I liked this TV movie very much; it has touches of Mystery, Suspense and Drama all enveloped with Christmas and Family.

Neil Patrick Harris does an excellent job and shows that he has surpassed Doogie Howser's shadow.

Extremely heart-warming throughout, the interaction between characters is real, the writing and acting are all of top Quality.

The mystery aspect that is the backbone of the story is well thought out.

Possible Spoiler, sorry- fair warning!!!! Neil's character Will Martin, in his trying to discover the mysterious Lilly's identity by tracking down people listed in his Grandfathers journal's leads the viewer on an entertaining and heart-felt tour of small town middle America at it's best.

This TV movie will leave you feeling satisfied and contemplating friends and family.

I wish this title were available on DVD!


This movie is one of the very best Christmas movies around. It has a good mystery along with a good lesson to be learned regarding the important things in life. Also, the love between the grandparents and grandson is very moving. Highly recommend this movie.


I have seen this film twice and liked it even more the second time around. With so much commercialism of the Christmas holiday, this film promotes all that the season is supposed to be about, that people are more important than money, compassion for others in difficult situations, and finally, the ultimate and hardest lesson, that of true forgiveness. Many films have great scripts or excellent acting but this film was about the story and the lessons to be learned. I hope that it will become available for purchase in the near future.


This is the second time my wife and I have viewed this film and we think it's a perfect Christmas film. It's heart-warming and can be viewed by the whole family. I hope in the near future that it is released on video as I would love to purchase a copy for my very own (that's my Christmas Wish).


One Great movie, I've watched it several times. The music in the background is moving---it might not win any awards but if the spirit of Christmas is in your heart, you'll like this movie. I wish I could find the soundtrack.


I was pleasantly surprised by this movie. The story, although predictable, is interesting enough to keep one's attention. This is good wholesome entertainment, something you aren't afraid to let the kids watch. These types of movies tend to be few and far between. But we must remember that this is a made-for-TV movie, and therefore, it is unfair to compare it to classical holiday theatrical releases such as It's a Wonderful Life or Miracle on 34th Street. Nevertheless, it is a good Christmas story that bears repeat viewing.

Neil Patrick Harris is the main reason this is a good movie. He tackles the rather lackluster script, bringing life to the whole film. He also out acts his poor supporting cast. One notable exception is Beverly Archer as the loyal employee Mrs Cook, who doesn't like Harris's plans for his grandfather's business. Harris, however, has obviously matured - in more ways than one - since his days as Doogie Howser. He brings a depth to his character, that is lacking in so many TV movies. I can only hope he will take his talent to the big screen more often in the future. Harris proves that not all child stars have to pass by the wayside the minute they reached adulthood.

The combination of Harris' commanding performance and his urgency to find out the identity of the mysterious woman his grandfather visited every Christmas Eve, make the movie enjoyable. Perhaps it is a bit overly sentimental, but after all it is a Christmas story.


This is one of my favorite Christmas movies. It is slow, to be sure, but the whole feel of it and the ambiance created are beautiful. It is such a heartfelt story and the cast is excellent. Neil Patrick Harris still comes off very young, but his work as Will is multi faceted. Debbie Reynolds is, as always, a joy to watch, and her restrained performance helps anchor the story. I usually can figure out plot twists from the get-go, but the final revelation of who Lillian is was a complete surprise--heart wrenching and uplifting all at once. If you want an intimate, heartfelt holiday movie don't miss THE Christmas WISH.


chased this little gem down, had to buy it on DVD and closest place to purchase was America. lovely film.. saw it years ago on TV and always wanted to share the experience with friends that never got an opportunity to watch it themselves.never have i forgotten the story or the film's name , waited years to see would it appear on TV again. i honestly never considered buying it on DVD. have a packet of hankies ready as even a brute like me shed a tear at the twist in the story line. a real Christmas story, very true to life with a lesson for everyone. you would never catch the twist near the end. being placed in a similar situation to the characters in the movie it is easy to see how quick it would be to pre-judge somebody without knowing all the facts.this film first appeared in 1988 (ian Barry), be careful there are similarly named movies out there.....


This is a movie I switched onto by accident,and then really enjoyed it.OK so the storyline was predictable and provided an excuse for the viewers to feel sad and shed a few tears.It is one of those movies that has no violence or sex and can be enjoyed by the whole family.Maybe I am too sentimental but I gave it 9/10.


Having watched this movie for the umpteenth time, it still retains its freshness and charm. Neil Patrick Harris is perfect as the grandson intent on fulfilling his grandmother's Christmas wish...to discover who the woman Lillian was that her husband wrote about in his journals. Harris comes home to arrange for a long-distance management of his grandfather's real estate business, and discovers along the way that there is more to life than business. He discovers that loyalty, friendship, kindness, and compassion are still values worth embracing. Naomi Watts is perfect as Harris's love interest, and Debbie Reynolds lends charm and dignity to the role of Ruth. The movie could be maudlin, but avoids the syrupy sweet moments that often wreck Christmas movies. Since forgiveness is the true spirit of Christmas, The Christmas Wish delivers. This movie is worth the time invested in watching it. I never leave it feeling empty.


Although the stars of this movie are known for a lot of comedy, this is a very serious and heartwarming film.

Will Martin, (Neil Patrick Harris), is a young man rising up the corporate ladder in New York when he is called home to settle his recently deceased grandfather's estate. The grandfather owned a real estate business and now it belongs to Will. Will's parents were killed in an auto accident when he was a child and he was raised by his grandparents. Ruth, (Debbie Reynolds), is Will Martin's grandmother. Julia, (Alexandra Wilson), is a young divorcée with a son about 10 years old. Miss Enid Cook, (Beverly Archer of Mama's Family), is an accountant in the real estate company.

Ruth surprises Will with his grandfather's diary, which she only discovered after his death. It is mostly the mundane stuff of day to day life. The big surprise to Ruth and Will is the grandfather's frequent references to a mysterious female named Lillian. Will promises his grandmother that he will discover the truth about Lillian by Christmas Day. Both greatly loved the grandfather and give him the benefit of the doubt - up to a point. The nagging mystery is troubling. Will begins a search via old photos, old friends and employees of the real estate business. It leads Will to learn a lot about himself, as well as his grandfather.

The movie includes side plots of problems for the Alexandra Wilson and Beverly Archer characters.

No spoiler here. Trust that all mysteries are resolved to the satisfaction of all concerned, not least the viewer. The Christmas Wish has a pip ending. Some might consider it slightly schmaltzy. If so, it is very high quality schmaltz. I was engrossed from beginning to end. Get out your handkerchiefs.


I like Gary Daniels....I think he's a good martial artist with potential to do some really good things, and his acting is waaaaay better than a lot of direct-to-vid action stars. This movie had some "style" in the direction I thought, but all the slo-mo just got boring after a while, and the action sequences were the flattest in the movie. The plot was OK, the acting for the most part was pretty bad with lots of ridiculous dialogue. The big villain, who resembles a giant Rick Rubin was just funny, and the movie's moralizing toward the end was just plain sad. Not to mention the terrible explosion effect. The soundtrack was actually decent and I've seen a lot worse, but I really can't recommend it, except for Gary's two fight scenes. Don't bother....


I can't believe anyone spent money to make this movie. It was really boring. The fight scenes were incredibly long as well as most of the other scenes. Camera work was practically none existent. There was a fifteen minute scene where Gary Daniels and another actor chatted while sitting on bench. Most of the time the camera was on a single shot. I can't believe I finished the movie; I was really bored :-)


Black Friday is a film that's really hard to pin down. It's slow moving, has a lackluster budget, poor character development, repetitive dialogue and an uneven script. With all that said and done you'd think my work would be finished here. But not so...Here's what is really intriguing about this particular film. Enter Gary Daniels. A well known martial arts actor that plays the role of an attorney with a checkered past with the government. One evening, while on his way home, he finds his house surrounded by a chemical defense agency that claims his house is now in the hands of terrorists that plan to make the whole city ground zero. But enough about the plot. This film had me at somewhat of a loss, but I still liked it. Why, you may ask? First off, the opening of the film is intense. Great camera work, a perfect lighting scheme and a real nail biting situation with guns and ski masks. That's all I'll say. The music is original and quite unique. It makes each new situation in the film seem fresh and exciting no matter how much of a dead spot came before it. There are only 2 real fight scenes in the film, but the choreography is brilliant to say the least. Especially the last fight which clocks in at over five minutes. There are still areas of the film that will have you scratching your head, like, oh..The poor lighting in the indoor scenes, the distant camera shots that last over 3 minutes (The first one takes place less than 5 minutes into the film and lacks a close up of a certain female that didn't get enough screen time either.) the lack of any real character development and no real resolve once the film is over. However, Black Friday is still worth a peak, but only if you really like Gary Daniels, or if you like low budget action films that aren't afraid to experiment.


So many themes have been overworked as reminders to us all, that certain events should "never again" happen. While enough can never be said about these tragedies, some have been relatively ignored. The horrible Stalin era has been largely forgotten in our post- Cold War World. EAST WEST vividly illustrates the hell of this 20 plus year regime in a sweeping epic, in my opinion, among the best of all time. The film illustrates what was perhaps the greatest persecution and mass murder of all time: the Stalin purges. Not including the 20 million Soviet World War II dead (for which Stalin, as Hitler's ally the first few years, must take much responsiblity), another estimated 10 to 20 million "subversive" citizens were murdered or died after extreme torture and slave labor in camps. Many, as the returning Soviet emigres from France in EAST WEST, were misled like cattle to the slaughter house. More films about this era should be made, but for now, see this one. Much as he did in his Oscar-winning INDOCHINE, the director takes a simple love story and places it into a historical context that gives its soap opera roots grave urgency, and a grand, epic sweep. EAST WEST is as much a detailed look at life in Stalin's "workers state" of terror as it is a story about the great sacrifices people make for the sake of love. Ultimately, the film is a suspenseful and hugely engrossing drama that asks whether love can survive in the face of murderous political oppression and unbearable exile.


Although Catherine Deneuve is not the star of this film, anything with her in it is surely worth seeing. The main actors -- Sandrine Bonnaire, Oleg Menshikov, and Sergei Bodrov, Jr. -- acquit themselves quite well in this tale about a Soviet emigre (Menshikov) who commits

the terrible error of returning to the Soviet Union after World War II, bringing his French wife (Bonnaire) and their young son. The rest of the movie is largely about their difficult life and her all-consuming desire to return to France after they quickly discover that life in the Soviet Union is grim and that they are suspect. Deneuve appears as a fellow-traveling French actress who eventually makes it possible for Bonnaire to return home after she's spent six years in prison for helping a young man she befriended to escape the country. Bonnaire is startlingly good and Menshikov as the deluded doctor who brought his

family back to the Soviet Union is also excellent.


The aesthetic options this movie takes will make you immerse into the epoch. From the beginning, when they get down from the ship and the music and military marches don't sound as they should, but muffled and empty, you could see reality was going to take its toll on the couple's dreams.

While quite implausible (Sasha's crossing, Aleksei Golovin getting scots-free from all he did) the villains are not as dumb and cartoonish as in other films of, say, Nazy Germany.

Sandrine Bonnaire is fine. Unrecognizable from her half wit Sophie from La Cérémonie (1995) as well as the sleuth in Chabrol's Au coeur du mensonge, she's radiantly beautiful here. Only later, watching some scant pictures at IMDb, did I realize that her nose, for instance, isn't exactly "nice". Good for her, her smile erases our rationality :).

I found the film surprising, specially since the couple of main characters don't perform according to expectations. Aleksei, while the honest bright physician, falls in the clutches of a believable Olga (as Tatiana Doguileva) without much ado. And Marie is not immune to Russian charm either, forgetting her son at her charge to boot.

What I really didn't like is the heroic format of Catherine Deneuve's actress turned "freedom fighter" Gabrielle Develay. As if the director, writer etc. had to erase with one elbow what had been (well) written with the other one, this character comes out of the blue to be the only "hope of liberty at western capitalism". As one character says to her: "You hardly know this person you're risking your life for!". Besides the tricks for a Disney movie, the "last minute efforts", the stupidest guards on earth etc, I suspect the KGB didn't run the country or kill more than 20 million people and could have not realized that, for instance, once Marie first gave sure signs of "dissidence" and then did what she did (Sasha), she wasn't going to try more mischief. So Sasha's story, from his swimming talents (like a bad Hollywood movie), the state official realizing his family had all been traitors and him being let free to wander in the country, then his standing at the French Embassy like if somebody in his condition could really barter for anything (there were millions of people in the same condition).

The dismal housing problems are accurately depicted, as well as the troubles of "too many people living under a single roof". Of course, like in all big productions, visuals are fine (like Sasha's training at a beautiful cold river), as the epoch (the buildings, cars, clothing, the already mentioned crowded flat, even the "expensive Bulgarian hotel" looks, well... Sovietic and fadish!). The opulent interiors shot in drab color as jotix100 from New York writes at IMDb. Ah, the petty thiefs who "find chicken around the corner" and jewellry from a relative are sympa, they add some naive contrast to the dire Soviet conditions. Which were probably many times worse than what the film dares to show.

All in all, I liked the film. But I feel it lost gravitas and depth due to concession to the ticket office.


I was actually a bit surprised to see a French film that realistically depicted the Soviet Union--particularly in the later years of the Stalin regime. That is because Communism is pretty widely accepted in France. So, it was nice to see intellectual honesty by showing how repressive and brutal Russian-style communism was.

Sandrine Bonnaire gives an excellent performance as a French woman who agrees to emigrate to the USSR with her Russian husband following WWII. Stalin insisted all Russian expatriates would be warmly welcomed. However, once they arrived, most were either executed or sent to gulags to be worked to death. However, this woman and her family are allowed to stay--after she is savagely beaten by the secret police for being "an imperialist spy". Well, life is amazingly tough in the USSR and she desperately wants to escape back to the West. However, doing this WITH her son isn't easy. Plus it's made worse after she helps another Russian escape. After years in a re-education camp, she is released to her family. Fortunately, she has not given up hope. Will she escape? Will she be able to take her son and husband? Tune in and see for yourself.

The film is extremely interesting and important historically--well worth a look by parents or teens (it's a little too adult for younger audiences).


East West is a fantastic, beautiful film: part-love story, part-historical drama and part-Cold War thriller. It has elements of Frederick Forsyth, John le Carre and Boris Pasternak but surpasses them all by reaching the heightened realms of George Orwell. It really is that good.

Alexei (Oleg Menshikov) and the beautiful, sensational Marie (Sandrine Bonnaire) are a married couple in France who naively believe the Soviet Union to be a socialist/communist paradise. They promptly pack their backs and emigrate, arriving in Odessa with their son to settle down and start a new life. But they realise almost immediately, however, their dreadful mistake: they have entered not socialist heaven but an Orwellian nightmare of totalitarianism, brutality and deprivation from which there appears no escape.

At this point, the film really takes off, becoming an awesome, intoxicating blend of Dr Zhivago, Spy Who Came in From the Cold, 1984 and Day of the Jackal. Only, it surpasses them all.

Perhaps it is the Russian contribution that makes the difference, turning this film into a masterpiece: Sergei Bodrov and Rustam Ibragimbekov providing a simply brilliant script. The acting is superb and the plot is riveting, even depending on the outcome of a swimming trial and the chance to travel to the West and defect.

The location filming is sublime and the Odessa depicted on screen has all of the faded charm of classical buildings and dachas decayed by years of communist neglect and overcrowding. It is just so realistic.

Sandrine has a bit of fun along the way, going to communist dances and concerts, enjoying a love affair with Sergei Bodrov Jnr, the master-swimmer, but, ultimately, is betrayed and undergoes severe torture and brainwashing, like something out of Arthur Koestler. That is before the denouement, however, which has all of the drama and pace of a John le Carre novel.


One truly exceptional movie that colorfully depicts situation in Soviet Russia in 1950's. Not only this movie shows all the stupidity of communist ideology (and any ideology in particular), it also in vivid manner shows how far would mother do to protect its child. Numerous personal dramas, love affairs of the two main characters and general tension that could be felt in the air, make this movie so exciting. Remarkable acting skills of the main characters made this film one of the most impressive I've ever seen. For Catherine Deneuve, Oleg Menshikov and Sandrine Bonnaire this were probably one of the best roles of their lives. Try to get this movie and don't make pop-corns - you'll need handkerchiefs instead!


A captivating tale of a couple returning to The Soviet Union, and finding out the trip was not exactly as advertised or promised. Together, they face the reality of Stalinist Russia and the horrors of persecution that reside therein.

A very well made film that captures the hearts of its audience, with genuine empathy and intelligence, as opposed to emotional manipulation. Hollywood should take note on how such films like this address their subjects, and the subsequent dialogue.

A truly well acted and crafted film.

Highly recommended.


I totally believe every word in this movie. My own grandparents, who had been brought to the US by their parents, who escaped Russian revolution and Bolshevik rule in 1918, had later on become enamored of the communist propaganda and disillusioned due to the Great Depression, had them selves gone back to the Soviet Russia in 1930! Their fate was somewhat similar to the characters in this movie. Grandfather perished in 1941 in the Red Army, grandmother survived, but soon thereafter got her opened, and became a staunch dissident. She influenced me greatly in stilling a hatred of Russia and Communism. Eventually, out whole family came to the US as refugees from the USSR - in 1979 and 1985. I am so proud and happy that my 3 sons got to be born in the US.

Great lesson in this movie.


the best thing about this movie is the way it brought sad feeling to me without making me depressed. i enjoyed every minute of it. and i also love the ending, it's simply beautiful. somehow i still sense "hollywood things" in it, but i think it's understandable, considering we're living in a time when hollywood rules the film industry of the world.


Excellent movie about the Cold war. It exposes, little by little, step by step, the inhumanity and constant terror/murder tactics the communist regime in Russia used to maintain itself in power.

The same model was followed by the communist regimes in Eastern Europe and the Baltic states once these countries were occupied by the Soviet army after World War two.

To people living in Western democracies many of the facts the movie shows may seem unbelievable, but they are completely true.

Historians even today cannot agree on the total number of people who lost their lives in the Soviet Union in the '30s and '40s and '50s, but the minimum number everyone seems to accept is 10 million people. Not POW's, not foreigners, but Russians (both peasants and city dwellers) who happened to come to the attention of the KGB due to some comment made while talking to friends or, even better, due to some anonymous letter denouncing them as 'traitors to the communist state'. Their homes confiscated, most of them were sent to prisons or camps (Siberia) from where nobody ever returned.

The same extermination measures were used by Stalin and the KGB against American citizens who had emigrated in the U.R.S.S. at the height of the Depression in the 1930's in search of jobs. There is a very good documentary on the subject which airs once in a while on the Canadian History channel.

Given all these historical facts, it is grotesque to see today all the trouble the Russian state goes to in order to construct itself the image of an emerging democracy, when its population is just as terrorized and pauperized as it was 50 years ago.


At first, I thought that this is a comedy about those people coming from outside back to Russia, and experienced an entirely different cultural shock. It is actually a very serious movie, and it glued me to the screen for the entire two hours. It just feels so short when the movie ended.

 I have seen quite a few movies about the horror living in a socialist country. However, I think there should also be a few good movies that tell the other side of the story. This movie is very authentic describing the horror and fear that people live under constant surveillance. And they can not go back ever again. The sacrifice the husband made, you can have a good heart cry over this movie.

 If you have time, you should also listen to the directors' commentary. I think that the best part in this movie is about them going to the France Embassy of which the guard looked at their different shoes.

 The love, the tenacity, the emotions are just so real.


...as I watched it one night earlier this week on cable TV. Had only heard about it years ago, and was so struck by its ruthless depiction of cruelty and beauty as well as poignancy of old-fashioned love story of sacrifice a la Casablanca.

A must-see for anyone who thirsts for quality, taste and intelligence.


A compellingly told story of Russian emigres who return to the USSR at Stalin's invitation after WWII. As they sail to Odessa, the audience understands that they are making a very serious mistake.

The story that ensues is about one couple's struggle against the oppressive brutality of the Soviet state. The story is personal -- of love, infidelity, friendship and loyalty. But the grim reality of Stalin's USSR lurks in every niche of the movie.

How lucky we are that all that is gone.


If you want to have a clear picture of how the daily life under Stalin's USSR was, you must see this great movie. When you watch the Russian official destroying the French woman's passport, you have a hint of what is awaiting her, her Russian husband and their young boy. The escape scenes are also thrilling and so revealing.


It's hard to criticize a movie which is based on true facts and in which people suffer great injustice. But I wonder if it does justice to the real events and the actual persons. It is overly melodramatic and somehow I felt it insulted my intelligence. When I am supposed to be outraged about something I would like to have a solid reason.

Perhaps the biggest flaw is the complete absence of motive. Why does a Russian French couple with a small son move from France to the Soviet Union in 1946? Idealism, patriotism, homesickness, love of Communism? And what exactly did they expect? They must have known that at that time almost every town in the Western Soviet Union was practically razed to the ground by the Germans. Entire cities along the river Dnepr were rebuilt practically from zero. So, seeing the family move into a shared flat in a comfortable apartment bloc in an intact neighborhood in the center of Kiev makes them come through as comparatively privileged and well embedded into the system. What else, what better could have happened to them?

It did not help either that the main character, the French woman, comes through as a self centered, bitchy, constantly nagging chauvinist, played by Sandrine Bonnaire, France's answer to Jessica Lange. There is not much there to like in her, and her air of superiority is pretty hard to bear. At home we speak French", she on one occasion admonishes her son in an angry tone of voice, straining to make him understand their special situation, their being different, transferring her very private concerns to her son. It is not entirely surprising that her husband turns to another women after a while.

Probably the story closest to this one is not without my daughter", which I have not read or seen on the screen. So maybe this is more a movie about a clash of cultures and less about historical realities.


This unflinching look at the former Soviet Union just after WWII should be seen by all those who might still harbor some romantic feelings for the communist past. There is an almost Orwellian atmosphere to the film, which is supposedly a true story of a group of Russsian émigrés living in France who are invited to return to the USSR to help rebuild the war torn country. As soon as these ostensibly Russian patriots disembark on Soviet soil they are hurled into the madhouse world of Stalinist Russia. The similarity to the Nazis as families are separated, manhandled and killed is obvious and terrifying. The rest of the movie is concerned with the survivors' attempt at escape. The acting is first rate and the mise en scene on the button. This a truly harrowing and credible film, all the more so for being a French production. See it and tell some of your far leftist friends to see it as well.


I just finished watching season three on GSN. Overall, I enjoyed it, but I absolutely hated seeing Zach and Flo cross the finish line first. Every dime of that money should go to Zach for keeping his cool and not smothering Flo in her sleep. That girl has to be the whiniest, most annoying person that I've ever seen on TV. She threatened to quit nearly a dozen times! I was hoping that Zach would knock her upside the head with one of the paddles during the water challenge in the second to last episode. Maybe that would get her to shut the hell up.

Flo is a horrible person who I hope Zach seriously distanced himself from after the race. But knowing him, they're probably still best friends. That dude definitely has something in him that most people do not. In the dictionary, the new definition of the word patience should read "See Zach Behr."


'The Amazing Race 5' is the BEST of all six complete seasons to date. If you've never seen the show, I recommend this season over all others. Why? Season 5 had a combination of interesting and amiable teams as well as original locations, only 2 of which had already been visited in previous seasons. The 'Bowling Moms', Linda and Karen, added a lot of fun to the show - they were almost always lively and seeing them go so far on the race (to 4th place) was a highlight. Although I liked Colin and Christie, seeing Chip and Kim win was great - it was unexpected - and this is what added to this season's success. What I particularly liked about the locations visited was that producers for the most part avoided Europe (save for Russia, which was interesting) and visited other places, more interesting places, like South America and the Middle East. I'm just hoping that CBS releases the seasons on DVD - if they do, choose this one! 5 Star Entertainment - so much more refreshing than Seasons 6 and 7.


Though I find most of US reality TV-series quite boring I must admit that's the one I really love. Mainly because it's so global, mixture of different cultures and traditions. You can see difference between developing countries and developed countries and so on. It's fun to watch teams pushing themselves over the top with some rather weird quests and having an arguments over nothing. The tasks are usually tied with the country they're competing and that's very cool too.

The series budget is huge. They were racing in Estonia (Where I live :) in summer and my friend took part of it too and revealed how the show was being made. It's just amazing, local TV stations were paid for not to show or write anything about the series. Every smaller detail is checked and must complete the checklist of 5 pages of contract. The story also is usually confirmed on the very last minute after searching for optimal tasks and routes by the producers. And that is what makes the show special.

Only thing I don't like in the series is the fact that some conflicts are shown too prolixly. For example when one of those black sisters called Luke "bitch" in the last season.

But otherwise it's brilliant show and I think everybody find it exciting when one bothers to watch it.


The Amazing Race is one of if not the best Reality shows on TV. The premise is simple, 11 teams of 2 begin a race around the world for 1 million dollars the race is broken into legs in each episode and each team must compete various task through the leg before they can continue on to the pit stop, the team that finishes last in each leg is usually eliminated (although some legs are non-elimination.) When there are three teams left they race the final leg to win the cash prize. The show is fascinating to watch as the teams race from country to country and many run into obstacles during a leg such as a delay of a flight at the airports or a cab driver who gets lost. The tasks during the race varies if a team is unable to complete a task they will be assessed a penalty and can't check in until the time is up. The race is fun to watch as you learn about different cultures and sightseeing throughout the show. who will win? You have to tune in to find out. Have fun watching, the world is waiting for you.


I gotta say I hate reality TV. Sure "Survivor" had it's moments, but it got tiresome after awhile. The Amazing Race? Now HERE's a show with variety and personality to match the frantic, fast-paced action with such ingenious use of game set-pieces I couldn't help but dig this show. I watched this series for nine years and it still never fails to entertain me. That's something that can't be said for most reality TV programs; well at least for "American Idol". One of the most moving moments of the show was when they had one of the contestants was a female dwarf but despite her physical limits, she managed to get far near the end of the race. I can vividly recall the the emotions of the host who greeted them at the pit stop; however coming in last place eliminated them from the race. Sorry if that sounded a little poetic but I couldn't help but be touched by his reaction. Still, it's a great show, filled with a surprising amount of suspense. Yes, SUSPENSE. In a reality show; a rarity. Never in the history of TV has a series been this gripping, this entertaining, heartwarming and exciting, and above all, original as The Amazing Race.


This is the most brilliant idea for a reality show ever to come about. Basically, eleven or twelve teams of two people with a pre-existing relationship (married, dating, siblings, friends, etc.) participate in a race around the world for one million dollars. During each leg of the race, contestants must complete a certain number of tasks such as bungee jumping, sky diving, rock climbing, or hang-gliding. At the end of each leg of the race, teams have to check in to a pit stop, at which the last team to arrive is eliminated from the race.

I love this show because it creates a lot of drama when people can get eliminated and because it's cool to see all these different places they get to go to.


I think one of the reason we favor this show over shows like Survivor is that, for the most part, the contestants are in charge of their own fates. In a race around the world, if you avoid finishing last on each leg, you stay in the game ... no voting beyond the contestants' control exists to spoil their effort.

Outside of the drama of the contest, the show is an educational travel show in many ways. For example, the show often goes through India. After seeing what happens to contestants there, I'll never travel to India.

An entertaining and for the most part intelligent show, I highly recommend The Amazing Race to fans of TV reality contests.


I would rate this show a 9 if it wasn't for last season. The family edition three seasons ago and the one after that with the hippies were awesome. I loved every episode of those.

But last season I stopped watching after the 4th or 5th episode. I don't remember seeing a show in which I didn't like a single contestant. They either had no personality or were too bitchy. TAR's aim for diversity produced some of the most ridiculous array of contestants that I've seen. We had an equal helping of Muslims, handicapped, Indians, homos, and ho's. I hope they have better characters next season.


I believe that The Amazing Race is the greatest "reality" show. People get to race around the world and do things that they never thought they would do. Not only do the viewers get to see the beautiful and wonderful places that are visited, but we also get to learn about the cultures and customs of different countries. I feel as though I am actually visiting these places that I will probably never get to see in my life. Racers need to be both physically and mentally strong in order to complete the detours, road blocks, and other puzzles that need to be solved. Map skills are also an excellent thing to have on this show, as many of the teams get lost and need to stop and ask for directions. The racers never know where they are going to be next...there is no planning ahead of time and that's one of the things that makes this show absolutely exciting.


This show's format is the reason why I keep watching each season. Imagine travelling around the world and your final target is US$1 million, it's for those who dare to do it.

The recently concluded season is one great show. The ultimate winners were whom I wanted to win and it's a great ending to a show that has won the Emmys before.

Overall, if you are the one who has always wanted to see how the world really is and interested to see how the various teams outdo each other to the finish line, this show is for you. Also, prepare for culture-shock abound because as they say - 'When in Rome, do as the Romans do'.

Phil really does a good job of being the host and it's almost impossible to not linking the guy who hosts The Amazing Race.

The show is just...amazing!


The Amazing Race is a show where teams of two race about Earth to win a million dollars at the end (the first to win, of course gets said million dollars). On the way they stop at various locations and must complete tasks. The teams are generally all a type of human or a minority and rarely are normal people used in the series. The tasks involve doing things that happen or are to do with local things, like making pottery or laying bricks or carrying a local creation about. For the most part vehicles, usually cars or 4WDs are provided to help them get about and they are given money for some legs. Since this is reality TV it is always different with no contiguous consistent plot or continuuity apart from reality itself, and so its enjoyability depens greatly on certain variables at the time. However the general gist of the show is quite amusing. It is amazing how weird and unintelligent Americans are, as is clearly shown with many of the teams. Also social observations can be made, as some teams gang to form 'alliances' against others and teams often become aggressive to one another or in the team itself.


Am not from America, I usually watch this show on AXN channel, I don't know why this respected channel air such sucking program in prime time slot. Creation of Hollywood's Money Bank Jerry Bruckheimer, this time he is spending a big load of cash in the small screen. In each episode a bunch of peoples having two team members travels from on country to another for a great sum of money; where the camera crews shoot their travels. I don't know who the hell gave this stupid idea for the show. It has nothing to watch for, in all episodes we see people ran like beggars, some times shouting, crying, beeping, jerky camera works..huh it's harmful to both eyes and ears. The most disgusting part in the race is the viewers finally knows each of the team members can't enjoy their race/traveling experience. Even though, to add up the ratings the producers came up with the ideas of including Gays in one shows, sucking American reality show.

It's nothing to watch for, better switch to another channels.

The Amazing Race = The Disgusting Show.


I am a truly HUGE Brent Huff fan, and have been since seeing Perils of Gwendoline.

Mr. Huff looks great in this movie and though his part is short, he is seen enduring a bone-scraping torture through his bare chest that looks like evil acupuncture.

Brent was one of the most handsome and sexy actors in these actioners and he could act when given half a chance. I don't know why he did not have a larger career, but I am thankful for the one he had.

In some ways, he was the Mark Damon of the Eighties (though Mark got more notice for a little while during his heyday.) Mr. Damon has gone on to do very well as a producer. I hope the best for Brent as well.

The VHS version has nice picture quality. I have not seen the DVD version.

An 9/10 for shirtless torture sequence.

The rest of the movie is okay. The actor who plays Huff's interrogator is a good one who shows up in many similar roles.


I absolutely loved this film, It had every element in place for the perfect action film and a whole lot more. David Carradine plays one of three brothers involved in a scandal brought on by one of the brothers partners, putting the three right between the crosshairs of the fearful Tanaka clan. Carradine is exceelent in this film, just such a bad mother. Michael Berryman was good in his role as a standover man for the Tanaka clan, and finally a toast to Lee Van Cleef who plays the father of the three brothers, who is one of the last of the old fashioned tough guys. Definetely Fred Olen Ray's best film ever, with the best script he's ever worked with, as well as some of the best staged stunts I have ever seen with Ray's name attached as director to. I just can't believe I bought this film for one dollar. It just goes to show when someone says there not much you can buy with a dollar, I will give them an Armed Response.


Rugged ex-cop World War II veteran Burt Roth (a marvelously crusty Lee Van Cleef) and his equally tough Vietnam veteran bartender son Jim (a typically fine David Carradine) lock horns with ruthless Yakuza mobster Akira Tanaka (a deliciously wicked Mako) over who's got dibs on a priceless jade statue. Capably directed with real style and flair by the insanely prolific exploitation veteran Fred Olen Ray, with a brash, witty script by T.L. Lankford, a snappy pace, glossy cinematography by Paul Elliott, a gnarly rock soundtrack, an amusingly sarcastic sense of humor, a funky, syncopated score by Thomas Chase and Steve Rucker, a smidgen of gratuitous female nudity, a tight 86 minute running time, and several thrilling well-staged action scenes (a wild and destructive protracted car chase rates as the definite exciting highlight), this slick, lively and entertaining low-budget romp makes for very rewarding viewing. The first-rate cast of familiar trash flick faces helps matters a whole lot: Ross Hagen as shifty, double-crossing hoodlum Cory Thorton, Brent Huff as the likable, laid-back Tommy Roth, Lois Hamilton as Jim's sweet, concerned wife Sara, Michael Berryman as vicious assassin F.C., Dick Miller as sleazy small-time thief Steve, Laurene Landon as Steve's feisty partner Deborah Silverstein, Cary-Hiroyuki Tagawa as cruel torturer Toshi, Bobbie Bresee as helpful informant Anna, Dawn Wildsmith as a scrappy thug, and Michelle Bauer as a stripper. A neat little flick.


Armed Response is a movie that doesn't exceed one's expectations, never trying to be any more than a typical action film, but does what is expected of it in the best way possible. It's silly, not terribly original, but also entertaining through an trough, just as an action movie ought to be. The movie's terrific B-movie cast help to make this a thoroughly enjoyable experience for action fans.

The plot focuses on the Roth family, Burt (Lee Van Cleef) and his sons Jim, Clay, and Tommy (David Carradine, David Goss, and Brent Huff), who become targets of mob boss, Akira Tenaka (Mako) after coming into possession of a stolen jade statue. The plot isn't hard to follow,and it is able to hold one's interest despite not being terribly complex or original. The plot is also filled with action it the form of shoot-outs, fist fights, and one terrific car chase. The plot moves along quickly thanks to a fair amount of action and the presence of some great B-movie stars.

David Carradine makes a great leading man for this sort of movie; his performance is not technically "good" but he is nevertheless enormously appealing in his role. Mako is also good as the movie's villain, but the film's most stand-out cast member is without a doubt B-movie veteran Lee Van Cleef, who is a joy to watch as Carradine's tough, irritable dad who doesn't crap from anybody. His character is undeniably rather clichéd, but he plays the part better than anyone else could.

Armed Response delivers exactly what it offers, and provides a fun hour and a half for fans of its genre. It doesn't offer anything new or special for those who aren't already fans of the genre, but those who are should find it consistently entertaining.


This is the very first episode of South Park entitled "Cartman Gets An Anal Probe".It has the worst animation in the series because it was made using construction paper...but we never looked at the animation in this show anyway.Nowadays, South Park has plenty of its humor stemming from current events and politics.I like this, I like all episodes of South Park, but its pretty interesting to go back to a time when it was just funny fart jokes with a simplistic plot.In this episode, Cartman recalls a dream he had where he was dragged on a ship and got an anal probe from aliens.However it was not really a dream and the aliens have come to south park.Cartman just thinks the other boys are trying to scare him though.The visitors kidnap Kyle's brother Ike and now they must go find him.With the help of the school cafeteria chef(played by Issac Hayes R.I.P), they get out of school and try to get Kyle's brother back.Meanwhile, officer barbrady has been investigating why the cows are being mutilated.This episode was originally 26min long.You can find this extended version of the episode on the internet.It makes a few changes, such as Cartman having a father and a sister and an introduction to Nurse Gollum(without the fetus on her head).Overall, its the not the best episode but it is pretty funny and good.


The first thing you'll notice when you first see the Episode is the Animation I mean the Animation isn't what you call Bad but it wasn't the best. However this episode had many moments that made me laugh like in scenes where we see Cartman telling his friends over and over that there's nothing wrong with him when his friends obviously know that there is because there's a Big Ass Satellite coming out of his Ass, or the famous Kick the Baby scene where Kyle constantly kicks his little brother Ike like a Football. Also Isaac Hayes who was the first African American composer to win an Oscar for Best Original Song for the song Shaft appears in the Episode as the Voice of their singing School Chef, named Chef!


Here I begin my attempt to once and for all write my IMDb comment for each and every episode of probably my favourite TV show of all-time. I had already submitted some (Seasons 9, 10 and 11 are done) but from now on I will write in order (with the exception of course of the up-coming 7 episodes of Season 13 that thankfully begin airing next Wednesday). So here I am after seeing again after some years the very first South Park episode...

Right now we all know the extremely bizarre biography of one of the characters, of one of the residents of the town of South Park, Colorado, of Mr. Garrison. In this first episode, Cartman Gets an Anal Probe (the title itself certainly indicates that something in this animated show is just f****** wrong), Mr. Garrison is introduced and some of his words are the following: "I tell you, there's crazy stuff going on in this town". He is certainly correct and well there's no better place to start bringing on to this comment the crazy stuff that goes on in South Park than with Mr. Garrison himself. His very first scene has him teaching his students, Cartman, Stan, Kyle and Kenny included of course, together with Mr. Hat..."Mr. Hat, may I please be excused from class?" "Well Kyle, no! You go to hell and you die!", so if Garrison is that f****** bizarre what's going on that is for him really crazy? Well, maybe not the fact that one of his students is farting fire but sure the arrival of aliens is pretty damn crazy!

And is all certainly related: this show begins with Cartman after having a bad night, nightmares about visitors that abduct people and mutilate cows. The constant is Cartman keep saying that it was all just a nightmare while we all see the visitors abducting Kyle's brother Ike, mutilated cows (we also see cows wanting to ride a train!) and well also Cartman's anal probe (loved: "hey that kind of looks like Tom Selleck"). Not enough for you? Well, we also have romance (Wendy is also introduced, and boy is the kissing because everything went fine scene is simply ruined!), THE Chef (you gotta love "I'm gonna make love to you woman, gonna laid you down by the fire"), one of the most memorable deaths of Kenny... it's just the very first half-hour of the show but I tell you, there's crazy stuff going on in this town of South Park.

Something from the fireside chat with Matt and Trey: hilarious stuff, not much to add just that "this was the pilot episode, done before we had a series so Matt and I had to do the whole thing by ourselves. For several months we were locked into a cold, dark, little room, for long periods of time" and that Trey was actually abducted when he was a small child.


I took a shot at buying this DVD sight-unseen, something I rarely do and usually regret, but not in this case. I found it even more fascinating than I hoped, thanks to a totally-unknown actress. Two viewings within a year has not changed my opinion.

This movie is just different, a unique portrait of strange older hit-man and the people in his life. I am not surprised a number of viewers did not like this film, even fans of Robert Duvall. It's probably just too quirky for most tastes and too slow for most viewers. Despite being low- key, there are some moments of intense temper and violence on the part of Duvall which helps keep ones attention.

I didn't need that, however, to keep my attention. Just trying to figure out Duvall kept me intrigued. My attention, however, accelerated when newcomer Luciana Pedraza entered the picture.

Pedraza is one of the most interesting "new faces" I've seen on film: a woman who has intelligence written over her face as few modern actresses ever have. This woman has a lot to offer: looks, intelligence, a good figure, a great dancer, wonderful voice and despite being Argentine, speaks better English than many Americans. A pity that as of this review in October of 2005, this is still her only screen appearance.

Between her and Duvall - who are both complex characters to say the least - along with some wonderfully-colorful cinematography, great dance scenes and intrigue about how an assassination plot will turn out, I found this film very pleasing.

This is unknown film that isn't fully appreciated not only with the public but with the reviewers here.


Hello:

I do like the comment about the movie. It is very interesting to notice that a small mistake took place in it. It is not a general from Germany that was shot by Robert Duval. That is an old cliché that every military in my country was a German nazi. Imagine a nazi general amazingly old... He was a standard general of Argentina that might have done bad things between 1976 and 1983 in the times of the Military Dictatorship in my Argentina. I was born in Buenos Aires and the atmosphere of some neighborhoods of it was really fascinating and real. The performances of all the artists are very deep, natural and attractive. Cheers, Sergio.


While watching Assassination Tango -- Robert Duvall's follow-up to his directorial debut, The Apostle --, I was vaguely reminded of this year's similarly themed The Dancer Upstairs (which was also directed by a veteran actor-turned-director -- John Malkovich), in that they both deal with a man-on-a-mission who falls for a dancing instructor. Yet the two films handle the subject in such strikingly different manners that any similarity is completely coincidental. While The Dancer Upstairs was a dark romance, Assassination Tango is a surprisingly light drama devoid of the required love affair that's been established by its predecessors. There IS romance, but it never progresses beyond friendship, which is very refreshing to see in such a genre film -- and let there be no misunderstanding: this IS a genre film. The story follows a dancer-by-day, assassin-by-night (Duvall) who's been building a relationship with a woman (Kathy Baker) and her daughter (Katherine Micheaux Miller), both of them -- as the genre demands -- unaware of his profession. When he's assigned a job in Buenos Aires, he discovers (and falls in love with) the tango -- as well as the beautiful woman (Luciana Pedraza) who teaches it to him. The movie follows every rule in the book -- including the "he-really-wants-to-make-it-for-his-daughter's-birthday-but-something-comes-up" twist --, but the difference is that it actually WORKS here; Duvall injects just enough originality and sincerity into the film that you hardly notice how formulaic it all is. The other aspect of Assassination Tango that sets it apart from its kin is its classic feel: there are no high-tech action sequences or gratuitous sex scenes here -- just beautiful scenery and stellar dancing. In fact, the dancing is so intriguing and seductive that it completely overshadows the few action scenes. The performances are all interesting for different reasons: my first observation about Duvall was that his role would have been tailor-made for Robert DeNiro. But as I began to accept the film for what it was rather than what I expected it to be, I started to appreciate the honesty and vulnerability he brought to the part (and the same can be said of his direction and writing). Baker hardly gets any screen time, and when she does its often sans dialogue, but Pedraza steals each scene regardless: her acting is so seamless and authentic that any time she ISN'T on-screen we spend waiting for her to return. It would be easy to criticize the film for being border-line silly (Duvall's various costumes are Clouseau-worthy -- one of them complete with a fake bushy beard), but this would mean neglecting its old-fashioned charm. If there's one quibble I have with the film, its when Duvall tries (in retrospect) to make his relationship with Pedraza seem like more than it really was: they aren't together long enough to make the attempted love story believable, but this is entirely forgivable. By no means a great film, Assassination Tango is a worthy entry in the resume of a film-maker who clearly knows what he's doing.

Grade: B+


I love this film so much I bought it in DVD, and in the last three years have shown it to 1) my Argentine wife; 2) her adult children and their friends; 3)several of my Argentine friends, and 4) the cats (who have to watch it while I'm watching it). All except the last have -- to a person -- found it both completely believable and unremarkable in the sense of "yeah, so what's new?" in its verisimilitude. The film is just about as crazy as real life is in Argentina, and the police-overruling-police scene is just one example. The conversations in the tango joint about the tango and people and Argentina and life are all about as real as I've witnessed here myself.

The longer I'm here the more I realize how difficult it is to portray what Argentina is "really like," mainly because it isn't any one thing but a whole mishmash of cultural, historical, economic, and political things that career around in people's lives and their minds and their emotions continuously.

The only thing I can say for sure is that if you meet anyone -- even an Argentine -- who tells you Argentina and its life and culture are easy to explain, don't believe it.

Someone said living here is like living a Kafka novel, and sometimes it certainly can feel that way. Conspiracy theory as a way of life has been endemic here, as far as I can tell, since the country first got going. The rural-urban split is real -- the whole City of Buenos Aires votes completely differently from the rest of the country and it doesn't mean a whit of difference except that the federal government becomes even more reluctant to help the capital because its politics are so frequently played out on another planet. And I'm not sure I agree with other comments that Argentines have a big inferiority complex; I think it's more like a "confusion" complex, i.e., "Why don't these other people understand life the way I do?"

The film also reminds me a bit of Apochalypse Now in that you just sort of have to watch it -- many times, perhaps -- and realize at the end you're just about as confused as you were when you first saw it, so if you're like me, you accept that, live with it, and are happy to hear any new interpretations that might come along.

Finally, I believe that Argentina is not a comfortable place to live if you're not extremely familiarity with and experienced in living in paradox, confusion, and Isaiah Berlin's theory of "negative freedoms." Thank God, I love it. But I know many don't!


The film (seen at a preview) provides an insightful examination of the world of the Tango in Argentina. Unfortunately, the vehicle for this examination is a familiar "hitman goes native for a while, but gets to go home again" theme. The script is flawed and the movie ends with lots unresolved.

Robert Duvall stars, wrote, and directed this homage to the tango and Argentina. He is a consummate actor, a competent director, but a confusing writer. The photography in both Brooklyn and Argentina contains many scenes of breathtaking beauty. Duvall's scenes with Luciana Pedraza ( Manuela) are magical ,as are the sequences involving her teaching Mr. Duvall to tango. Géraldine Rojas as Pirucha delivers a beautiful speech on the relationship of tango to life.

The dancing! The Dancing!! The Dancing!!!


I loved this! There a dark element to it ,but also a very romantic side. I've read Robert Duvall loves to tango in real life, and his dancing in this is so graceful and talented. The dancing in this is exquisite and the women so lovely and natural. They have the most beautiful legs I've ever seen. I was entranced by the dancing and Robert Duvall's performance was, as usual, without fault. I highly recommend it for Robert Duvall fans. The film makes me want to visit Argentina and see in person their beautiful dancing. I read somewhere that Duvall said that as writer, producer and actor he had trouble getting financing from the major studios, so he did it himself. Most of the scenes were filmed in New York for that reason. In my opinion, the final result is stellar!


I'm drawn to any Duvall movie simply because of his past movies and his compelling screen persona. This film takes a little time to settle into because the assassination is more of a subplot in the movie. Once this point sinks in, I really enjoy the film because the Argentinian tango dance scene is enthralling. The tango scenes are filmed so subtly and beautifully.

You really feel as if you have been taken along for the journey as you're never quite sure of your surroundings or the people in it as you move beyond the sinister folk and the tango theme fully emerges. Ms. Pedraza's Manuela character is very interesting as she keeps to herself before finally opening up to reveal herself to Duvall. This is when you realize that it's a tango movie . . . something many would never watch on their own, but now that you're there, you're drawn into the story.

To me, the interesting thing about Duvall's character is that he is a hit-man who must disguise all of himself to others ( he even leads his benefactors to believe that he would carry out the hit at a specific time when in truth, he always has his own cautious agenda -- and he is correct not to trust anyone ). He hides himself from the tango people he mingles with, and yet it is speaking with Manuela and her parents that he is most honest and sincere about himself and his feelings about tango and relationships. But his next move is to be the ruthless hit-man.

Admittedly, you're a little confused initially, but looking back on the film, you feel pretty good about most of it.


As with Max Von Sidow's "Joubert" in "Three Days Of The Condor, Robert Duvall's John J. Anderson lives a life of opposites. He seeks meaning in a life where he takes other lives without meaning. He seeks passion where his work does not allow it. As Joubert is deeply committed to his grandchildren, Anderson is to his adopted families wherever he finds them and, if only temporarily, to the fabric of life that accompany them.

The movie leaves unresolved issues; what becomes of Manuela, her son, her friends and the fantasy-life of Tango they live in, all of whom Anderson has quickly come to love to the extent he can. What becomes of Miguel and Orlando who recruited him. It is part of the ambiguity of Anderson's life, stepping on and off the stage that he must continually leave these and similar accounts open, yet he adds meaning to the lives of others and they his as he passes through....and as he takes lives.

This is a movie in an older and more sophisticated style. What is left out is not omission but rather is left to the viewer to ponder. The movie is not satisfying and is not intended to be. It is, however, compelling and worth seeing.


I hadn't seen Robert Duvall in anything worthwhile for some time and needed to see him ply his trade. The fact that he wrote and directed this was a bonus for me remembering The Apostle as a solid performance for him under his own gaze and like a singer/songwriter, he knows how to say his own words. This, even if a somewhat gentler flow (the violence notwithstanding), was no different. Considering the amount of land fill being created as entertainment around the world if Robert Duvall made one of these a year, which isn't likely, I'd order the tickets in advance. If you like Robert in anything you'll love him in this.


John J. Anderson (Robert Duvall) is an old man, who loves to dance, and lives with his beloved girlfriend and her daughter in Brooklyn. However, he has a second life, being a hit-man. John is hired and travels to Buenos Aires to execute a former general from the Argentinian dictatorship, and he is concerned with his stepdaughter's sooner birthday. While in Buenos Aires, his stay lasts more than the expected due to an unforeseen problem, and John decides to have tango lessons. "Assassination Tango" is a great deception. The story is very boring and slow paced and Robert Duvall is completely miscast, being too old for the role of John J. Anderson. It is almost ridiculous to see the romantic scenes of the 71 years old Robert Duvall, with the beautiful and sexy 30 years old Luciana Pedraza, or acting like a dad of with his 10 years old stepdaughter. The direction is also not good, and there are at least three scenes that the actresses look to the camera. The songs and the dances are good, but it does not justify to give a good rating for this movie. "Assassination Tango" is completely overrated and I believe just for two reasons: the first one is because of the name of Robert Duvall, but he needs to look to Clint Eastwood and learn how to get old with dignity and glamour. The second is the attraction of the beautiful and quite exotic Tango for Europeans and North Americans. Most of the favorable reviews are indeed for the dance and music in the movie, not for the film itself. My vote is four.

Title (Brazil): "O Tango e o Assassino" ("The Tango and the Assassin")


in a movie that robert duvall wrote, directed, and starred in, he spends a lot of time chuckling with a smile on his face. however, the reason for duvall's giddiness seems to be more about a realization on the lack of interesting dialogue his character has than because of a good film.

with the exception of zach braff's "garden state," the big three combo is a kiss of death. there is no one in the film making process to check duvall's love for his own abilities. although the "apositle" worked for the most part, "tango" doesn't. the direction is pretentious--shots of a panther used for bad symbolism. the writing is basic and pointless. "what is tango? tango is life" everything is life. i could see the passion and beauty that was given off by a form of dance i am not familiar with and consequently could write some better things about the heat of tango.

i'll put it this way. i'm a guy that loves 99% of movies because i see them for what they are, not what they could be. however, it took me three days of on and off again viewing to finally complete this film, all the time with a grimace on my face. not to mention, it is one of those films where you just wish the protagonist is going to die and the end and are disappointed when he doesn't.


Diane and I watched this engrossing film last night after she had purchased it because of her recent trip to Buenos Aries and both of us loved what we saw. I guess, because of my general drift towards evaluating films visually, I was taken by Felix Monti's cinematography which was deep and almost malevolent in its intensity--a perfect match to the unfolding drama. The movie remains open ended at its conclusion with a number of parts at the end that, as usually happens, does not leave absolutes for viewer. This ambiguity must be a factor of my lame mind but it is an obvious tool used by the Duvall to leave threads of thought left untied.

As opposed to many that post their reviews of movies on this site, I use IMDb as a diary of personal impressions about films I have just seen: not necessarily thoughts about the script of a movie' just my immediate ideas that flow into my thoughts after a movie's conclusion. Hence I take movies at face value; I do not even evaluate movies that I do not like. This movie has been criticized for Duvall's appearance as an aged man; the movie's bad dancing; Dufall's arrogance in making a movie that is "his baby" alone and other attacks too numerous to mention. I cannot agree however; the movie was slow moving and as such it painted for me a delicious pastische of the life of a complicated man doing a surreal job under surreal circumstances. Of course there may be holes in the plot and holes in the execution of that plot but to my mind, a movie, as a whole, must take on a dynamic of its own and this movie certainly did for this viewer.

Diane said that the shots of the cafe's and the Tango clubs and the music and the dancing are what she saw in BA when she visited last year. Duvall's direction was excellent in that all the actors delivered their lines in documentary style with no sound stage or theater theatrics. I had the feeling that I wasn't looking at a movie, except for the subject matter, just a look into the life of a guy in a foreign city doing a job. The substance of that job comes as a shock when reality kicks in towards the end but in the totality of the movie it plays such a small part.

We both loved the film, no doubt for different reasons but the satisfaction was the same. Definitely check it out after reading other comments if only to see what you think.


This film follows the well trodden path of an ageing hit-man (John J) sent on what may well be his last job in Argentina which also sets the backdrop for a second stand of the story: John J's love of Tango. Between the dancing and the hit-man underworld we move from light to dark and subsequently John J's character becomes difficult to like and yet difficult to dislike. And this is what makes this film stand out for me. John J is a real person. Sometimes good. Sometimes bad. The interplay between characters has also got a fresh kind of realism to it ala Ken Loach. The touching café scene in particular between John J and Manuela feels like a docu-drama with its unscripted pauses and moments of awkwardness. If you are looking for action but are sick of the wooden black and white characters we get from Hollywood then this film is for you. I loved it.


When I first saw Robert Duvall's earlier "The Apostle" (1997), I was willing to give him the benefit of the doubt being that it was his first effort as both lead actor and director. Mistakes were made and I thought he would learn from them. Boy, was I wrong. In "Assassination Tango" he not only repeats all his earlier mistakes, but adds to and compounds them in the process. There are four main credits in a film (writer, producer, director, and lead actor) and a useful rule of thumb is that if any one individual has at least three of those, the film is almost guaranteed to be bad. With all four credits to his name, Duvall's effort shows just how true this can be.

The pacing is terrible; scenes go on for much too long. Notably, these scenes all involve Duvall's character, an aging hit man who may be ready to finally retire from the business. Duvall proves again, as he did in "The Apostle", that he is an actor in desperate need of direction. When he directs himself; i.e., when he's receiving no direction at all, he is just awful. In Duvall's portrayal, the character John J. is simply unbelievable.

He is supposed to be an experienced assassin who worked 10 years in Guatemala (from which I infer as a U.S. government black ops agent) and you would think such an individual would know how not to attract attention to himself. But not the way Duvall plays him. He flies off the handle at the least provocation: a colleague tells him he's looking tired and Duvall gets all up in his face over it; he's told that consideration was given to sending someone else on his latest assignment and he goes ballistic, spouting enough information about his past to get himself convicted in any courtroom; he learns he can't return home from his assignment in Argentina for another two weeks and he repeatedly stomps a pay phone in a public street. As played by Duvall, John J. is constantly running off at the mouth; he can't shut up for five minutes even when he's alone. This is a top of the line killer who knows how to stay under the radar? The female lead is played by newcomer Luciana Pedraza who, while certainly accomplished as a dancer (assuming she did her own dance numbers), is entirely lacking in screen charisma. A flatter, more two-dimensional portrayal would be hard to imagine. Overall, the acting in this film can best be summed up by noting that Ruben Blades gives the best performance of the cast. When was the last time that was ever said about him? The film's one redeeming grace are the artful dance sequences, but then you can just watch a song & dance film if that's what you're after. Rating: 4/10.


I have been a Robert Duvall fan for many years now so when this movie showed up on my DVR I naturally watched it. The beginning was pretty much what i expected but then the tango was introduced along with the beautiful dancing of Luciana Pedraza. It was then that the movie made a turn and the wonderful tango dancing became the high point of the film. Not only can this women dance like no other but she has a natural way of delivering her lines that was simply mesmerizing. The scene in the restaurant when Duvall asks if he was younger could he have a chance with her was priceless. I can only wonder why Luciana Padraza has not been seen since.

David Glatt