I was a senior in high school when Footloose was released. I tripped through the hallways with everyone else singing "Let's Hear It For The Boy" because it was on the radio eighty-four thousand times a day. I agree with almost every other reviewer here with the exception of those few who spoke harshly. Cheesy at times? Yes! Never liked Bonnie Tyler. Issues like those can make this film make you squirm a little.

However, no other film of my youth has affected me to this day as this one has. What did it? Compare... "You think I'm small town?" "I think Bomont's a small town." "I'm going' away...I'm gonna be gone... Wanna see somethin'?" Listen to the background music as this scene unfolds. The violin, piano and soulful rock guitar are wed beautifully. Miles Goodman adapted the score so I'm giving him credit for this still mega-emotion stirring theme music. Then, as Ren tells the town "This is our time to dance," well, it still brings a tear of joy and hope. And the background music gives Kevin Bacon's character a rock to stand upon as he gives his speech. Then, there are the snowcapped mountains and sweeping farm valleys that drew me in. The kids, the story, the religious oppression (I'm truly from the Bible Belt where there are no snowcapped mountains) and most of the music all make this film one that I will watch until I'm old and gray, and no longer have the strength to say "I'm gonna be gone." P.S. My beloved husband won't watch this with me because he can't quit cringing at the 80's music. He's from Seattle.:)


In comparing Flashdance and Footloose, I'd say that Flashdance is more entertaining and believable. Plus the dancing in Footloose is weak, and if dancing has been banned for so long, how can those kids know how to breakdance? 8/10 stars, only because it is a feel good movie.


This film has several flaws -- Lori Singer's rural accent comes and goes, mostly goes; the members of her high-school class, who've never attended so much as a lunch-hour sock hop, turn into some of the greatest dancers in middle America during the last 10 minutes -- but who cares? FOOTLOOSE is great fun, and is worth seeing. It even contains a redeeming social message about values and tolerance. Sit back and enjoy the sheer exuberance of Sarah Jessica Parker, the pre-corpulent Chris Penn, the lung-collapsing beauty of Lori Singer, and the energy and enthusiasm of Kevin Bacon. I would recommend this movie to anyone over the age of 10.


Along with Say Anything, I would say it is one of the best teen 80's dramas, and I wouldn't even describe as being of that genre. It starts by taking the teen angst storyline from Rebel Without A Cause and adds a twist of dogmatic puritan religious beliefs. And unlike Rebel, Footloose doesn't just focus on the angst and leave it unresolved; it demonstrates an opening of intergenerational diologue and tolerance. I would say that 2-4% of the script is cheesy, but overall very good and not very dated at all.


Andrew Denton is one of the most respected television interviewers on Australian TV. He allows the interviewees to disclosure their human side which you are less likely to see with other interviewers. He has interviewed people from all walks of life, from Bill Clinton to homeless people.

The quality of interviews on "Enough Rope" has been maintained over the years with Andrew Denton having a integral role in programs quality.

Enough rope is definitely worth a watch no matter who is being interviewed. The ABC broadcasts "Enough Rope" on Monday nights.

If you live outside Australia, Enough Rope is available on Video and DVD from the Australian Broadcasting Corporations "ABC Shop".


I saw this film for the very first time not too long ago on TV. I thought it was just the typical spaghetti-western, with a lot of gunfights,blood and dead people. Obviously I was wrong.

During the first ten minutes or so it seems a standard European western, but then appears a horse pulling a wagon full of onions where "Onion" (Franco Nero) is hidden. That´s when the fun begins. I´d like to remark from this film the surrealistic details it contains such as the nazi look of the villains, the capacity of our hero "Franco Nero" eating and even drinking! raw onions.

If you have the chance to watch it, just do it. I believe you won´t be disappointed.

It seems as the couple Franco Nero / Enzo G. Castellari always made good films... (Check some of them: "High Crime", "Keoma", and "The shark hunter"). enjoyable films...


I found this in a second-hand shop that had a VCR and TV to preview the used tapes. From the bizarre opening shot of the oil field and the director's credit, I knew this was one worth the dollar.

Franco Nero does his best Terrence Hill impression as the character Onion who arrives in town to start an onion farm on a parcel of land he's bought real cheap from a farmer. What he doesn't know is that evil oil magnate Petrus Lamb has bought/stolen all the property around the town due to the vast oil reserves under the town. Lamb has a strange mechanical hand that's serviced by Adolf Hitler! Thru a plot device out of Once Upon A Time in the West, Onion's property is still owned by the orphans of the original farmer who's been killed by Lamb's henchmen. The rest of the movie revolves around the increasingly silly attempts to steal the lease out of Onion's possession.

First of all, the film is very well directed by Enzo Castellari so that already lifts it out of the typical spaghetti western doldrums. The script is very silly with frequent forays into total surrealism. Onion fights with a gun and the many onions that he has hidden in his pants. During a duel he always asks, "Gun or Onion?" The first fight scene with Onion is right out of the first Trinity movie except it mostly done with onions. I suppose it's a parody of sorts, but how do you parody a parody? Martin Balsam is game as the evil Lamb and he seems to be having fun with the mechanical hand he's wearing. I enjoyed the movie for the most part although the overuse of sped-up footage towards the end is a let-down. The English dubbing crew had some fun with this film as they gave Onion a Jimmy Stewart voice and one orphan sounds like Bugs Bunny imitating a gangster. For some reason it works! I wonder what the Italian original sounds like.

Not the greatest but with enough bright spots that I enjoyed the film.


One of Franco Nero movies, known in my native country as Cry Onion. I saw this movie back the late 1970s or early 1980s. It is my kind of movie.It came out around the same time frame as the Terrance Hill & Bud Spencer movies They Call Me Trinity and Trinity is Still My Name. I love them. All these years I thought Cry Onion was a Terrance Hill and Bud Spencer movie. I found out different a few hrs ago while in my search to find this movie. Can anyone tell where I can get this movie to buy known in some parts of the world as Cry Onion or Cibollero, El or Cipollaro, Il or Locos del oro negro, Los (Spain). If you know this movie's title as something different please let me know that as well. Help! send me an email @ rmasterj44@hotmail.com. Thanks!


This is a small gem, apparently totally forgotten and ignored by the multitudes of clueless movie fans and critics, who are very much focused on showering praise only on crap that they dig out from the past. I was surprised to find myself enjoying an Italian movie. The humour is slightly odd, at times very funny. There are those who consider Steiger not to be at his best here, but I guess for some people only frantic over-acting, complete with manic hand-waving and mugging, counts as good acting. ("Show mee the moneeeyyyy!"). Steiger is subtle yet everything he does that is in any way connected to escaping his dumb captors is hilarious: the way he touches the soldier's rifle, the manner in which he dashes away with the cow bell attached to his neck... Priceless. TGATG is strange little film, almost inventing a new sub-genre: the "war road movie". The trio of main characters move in war-torn territory that comes off almost as another planet, where food is about as scarce as brain-cells are in Sean Penn's bloated head. The struggle for the egg is a good example. The guy playing the Italian soldier isn't that great, but Virna Lisi is quite sexy. The fairly interesting Morricone score helps, too.


The Girl and the General has a special place in my heart - I saw this late one night when I was about 10 years old when cable TV was brand new and they were desperate for programming. Lucky for me. This was my first real exposure to the wonderful explosion of realism in Italian cinema from the '60's.

The movie does a wonderful job of depicting war as something that happens during peoples' lives, not vice versa. Rather than the defining element of the time, its another element in of life, where people fear, and hope, and struggle.

Wonderfully acted, good cinematography (as long as you remember that this is realism), and decent editing. Full of humor and pathos.


This film will unfortunately not be remembered for Rod Steiger's performance. There are very few films that Steiger has not dominated--this is one of them. It will be remembered for the story and the direction, an interesting performance by Virna Lisi, and a somewhat creditable score by Ennio Morricone.

The director, Pasquale Festa Campanile, one should should recall has written scripts for and collaborated with great Italian directors such as Pasolini and Visconti. I do not know much more about Campanile but he must have been very good at writing screenplays for Visconti to work with him on 'The Leopard' which is not an easy novel by any consideration. According to the opening credits in the English version of the film "The Girl and the General," the director is one of the two authors of the original story--a fact missed out by the IMDb's current details on the webpage for the film.

This is not a war film. It is film that uses war as a backdrop to evaluate human values and what money means to the wretched and the poor. A bumbling soldier played convincingly by Umberto Orsini captures a General, not for heroics, not by design but by mere chance. The soldier is illiterate while the General is an understandably a well-read individual. Thus the Geneva convention and the city that Julius Caesar built is of little significance to the soldier. Yet, what is significant for him is the fact that few Generals die in the war front and what the soldiers were given to drink before they clashed with the enemy at the front and met their death.

Neorealistic Italian cinema used the post-War scenario to examine study the human condition. Hunger is a great leveller: the General and soldier are the same when they are hungry. The soldier grudgingly shares his food with the General; the General steals a frog caught by the soldier. The writer-director clearly states where his sympathies lie. The soldier as an honest individual may appear stupid, but earns the respect of the viewer with his tenacity to come up with great ideas of making a General look like a cow to gain a few hours of sleep. His use of the word "Sir" to address his prisoner over the length of the movie is a fine aspect of the character build-up by the writer.

The film moves into top gear with the arrival of the illiterate girl played by Virna Lisi. For her, too, taking the captured General back is simply for the the 1000 Lire split between two individuals that will allow for a good life. Her character is benign, honest and rustic. For a few potatoes she bares her breasts and the humiliation of the act is wonderfully portrayed without histrionics.

The sexual arousal of the soldier, the importance of sleep over the need for sex, the urinating General whose one arm is useless are vignettes of superb cinema. The simplicity of the film, as in most neo-realist Italian cinema, is disarming. The film even goes on to make a hero of a donkey, while conversation revolves around tasty donkey-meat.

The film reverses the traditional concept of heroism by presenting a woman being superior to a man (the General), a honest foot soldier superior to a General.

I am surprised the film has been glossed over by casual viewers. I will be looking out to catch up with Campanile's work. I am pleased to note that Virna Lisi has finally been accepted as a serious actress in the Nineties for her work in "La Reigne Margot".

Ennio Morricone's score in this film is very close to the music he provided for the spaghetti westerns of Sergio Leone. His score like the performance of Steiger is reigned in by the director to emphasize the role of the soldier and the girl. My only problem with the title of the movie is the lack of importance provided to the soldier, who is the central figure.

When I saw the film, the film brought back memories of de Sica's "Bicycle Thief". This film, which provides equal importance to hens and donkeys as it does to human characters, is as real as they come and yet so removed from the values of Hollywood's screenplays, then and now.


I caught this film on Turner Classic Movies and it kept my interest throughout the entire movie. It was my first viewing of an Italian postwar piece, and I was quite impressed. The only noted actor in the film was Steiger, and his performance certainly was not his best, but the movie was still very good. Overall, I thought that it reflected the futility of war through the struggles of these three characters very well, inserting comedy where appropriate. The Soldier and the Girl had several great, very funny scenes interacting with each other, and the comedy of the movie, though hard to place in a somewhat depressing war movie, actually worked very well. A hard-to-find but worthy film.


Don't want to be a spoiler but the movie goes like this at the beginning. This nice couple moves to a new town after the husband gets a job running game design and the company seems to be very involved in controlling the lives of it's employees. This companies games includes mind control software that most people would be against. Movie sounds pretty good so far but wait.

It seems that having sex is one of the primary roles of this software and the characters themselves including the main characters and after setting up the story everything starts falling apart and the storyline that could be good gets ground to a halt.

I don't know how Ian Ziering's agent could have ever approved of this career ending part. The star power at the time of Steve from 90210 is not enough to keep this movie going

The storyline is a good idea and could be done at least as good today and that was the one thing that had me up late watching this on TV but in the end a great idea poorly executed makes you more mad then a bad idea done well.

Dumb, dumb, dumb


Hospital horror Dark Place is the creation of awful writer Garth Marenghi (Matthew Holness), who wrote, directed and starred. He claims it is deep and inspirational, when in fact it is just shoddy and awful.

Darkplace isn't joke orientated, its the terrible production and acting that provides all the laughs, that mainly come from Garth's publisher, Dean Learner (Richard Ayocade) who plays the hospital boss Thornton Reed. His inability to do two things at once when it comes to acting (for example deliver a line and hang up a phone) is hilarious to watch.

Some of the highlights include a "dirt bike" chase through a forest (using tiny children's bicycles), a doctor being attacked by a steam iron and another being chased by a possessed stapler, a woman turning into broccoli and Dean Learner trying to justify how he punched a child actor. However, you have to see it to realize how funny it really is, my words can't do enough.

Darkplace won't appeal to everyone's tastes, but still it looks like it will probably be a cult hit. If its ever repeated, its worth a look just to see what you think. It provides a refreshing change from awful reality TV and soap operas.

I, for one, can't wait for the DVD and/or a second batch of episodes "from the Channel 4 vaults". I give it a solid 10/10.


"In the 1980's the horror writing genius and self confessed "sooth" Garth Marenghi penned a ground-breaking series of tele-plays. Of the 64 episodes written, only 50 managed to make it into production during the two-month filming. Marenghi's aim was simple: "To change the evolutionary course of mankind over a series of half-hour episodes". However, Merenghi claims that his series was too ground-breaking, and too shocking for the public, and for the past twenty years direct government intervention prevented the shows from ever seeing the light of day. That is, until now. Channel 4 (and E4) are now for the first time running six episodes from the series, and Garth Marenghi has said he is willing to be personally held accountable to God for the consequences."

Garth Marenghi's Dark Place is a spoof of all horror films, tv and action tv from the 80's. Its set up as if the series was made in the 80's and was banned and is now eventually being shown. Throughout the episodes we get to see the cast and crew's comments on the episode's scenes. This is the best comedy since the office.

9/10 (and I've only seen 3 episodes from the first series so far)

"the pube on the pipe idea came from a real life situation" Garth Marenghi


glad to see here that I'm not the only one already hooked after just 3 episodes.

I've tried to explain to people why they must watch it, but the only way they will understand is to watch it!

Its hilarious: terrible acting, atrocious script, wobbly sets, appalling dubbing, and some very alarming wigs.

And lots of slow motion (well, its hard to fill a half hour slot with story all the time)

I'm looking forward to saying 'I told you so' to lots of people when they 'discover' this show in 6 months!


This is a comedy spoofing the best and worst of TV from the 1980's. Garth Marenghi is a horror writer who created a show during the 1980's so deep and meaningful that the networks banished it to storage. Now in 2004 the vaults have been opened unleashing it for the world to enjoy. By taking inspiration from classic shows including "Twin Peaks" and "The A Team" a fantastic show has been created. It centers on a Hospital where the docs carry guns and fight supernatural beings. The scripts are deliberately cheesy, the editing is poor and the acting is very wooden. But that is what makes it so funny. There are even those alwful end tags popular with American shows were the main characters laugh at some rubbish joke. If you lived during the 1980's you must see this!


This is one of the best things on tv today, if you ever get half a chance to watch it then DO!!!! so cheep it's priceless! 9 out of 10


Imagine a place between tuseday and purple - between the eighties and chest wigs. Now think back to Saphire and Steel, Deathwatch and certain episodes of Dr Who. Welcome... to Darkplace

Dodgy effects (forgivable - and amusing) and dodgy scripts (unforgivable - and hysterical) ruled the roost shamelessly and here they are aped to the max. I've only seen the first episode (as well as the 'Official' Garth Marenghi website) and I screamed in a miasmous catatony - I gaped shudderously at the incomprehousity of the spectacle - I laughed till I stopped laughing. It's looking good - and I hope it's a short run, as these things can be flogged silly.

As it stands, it is refreshingly sarcastic about nerd orientated broadcasting - and amazingly would stand as a series from the period. Whiffs of Michael Mann, William Friedkin, HP Lovecraft, Starsky & Hutch and hospital based soaps should have folk wincing and laughing till doomsday.

Plot snippets so far: the guy went axe happy in a trout farm. Nuff said.


I watched this show with trepidation expecting it to be another hit and miss, or even plain miss, of a mini-series. I was more then pleasantly suprised when the show proved not only to be hilarious but a much needed break from the vapid 'reality' shows that have come to expunge any palatability from our viewing pleasure. The 'bad acting', or 'showing the truth' as Garth puts it, is amazingly funny. This is especially true in the character of Garth's boss and the chef (The Office's Stephan Merchant). Overall, it can tend to be a bit tedious by the end but at the moment it is hysterical and I can't wait to see where they go from here.


I wasn't fully sure what to expect and nearly didn't watch it at all, that would have been a mistake. Three episodes in and I'm hooked and I'm slowly working on all my friends too as it would be a shame if this slipped by without getting the audience it deserves. I was a bit concerned after the first episode that the jokes would quickly wear a bit thin but this hasn't proved to be the case. I don't think it will be everyone's cup of tea but well worth trying because if it is you're in for one of the funnier half hours of television you'll see all week.


It's somewhat ironic that Garth Marenghi's Darkplace, a comedy about a long lost horror series re-emerging during a creative drought was overlooked on its release. The show didn't exactly set the ratings afire when it was aired, but it is tailor made for DVD where all the intricacies can be appreciated. The writing abilities of creators Richard Ayaode and Matthew Holness are on top form throughout, the pair showing a talent for sly humour and witty invention. Like the equally strong but in no way similar Peep Show, Darkplace is a program that can be watched multiple times and still remain as fresh and hilarious as it did first time around, how many American sitcoms can boast that claim?

The series follows a show-within-another-show format. Holness plays Garth Marenghi, a leather clad purveyor of trash horror novels very much in the James Herbert mould. Back in the eighties, he wrote, directed and starred in 'Darkplace,' a hospital-set sci fi/horror series so disturbing, so terrifying, that the powers that be consigned it to the vaults where it sat gathering dust for nearly two decades, only to be returned to the screen in 2004. The episodes however are incomplete, with huge chunks of footage missing and so to make up the running time, Marenghi, his producer/co-star Dean Learner (Richard Ayaode) and fellow actor Todd Rivers (Matt Berry) have had interviews recorded, snippets of which make up the gaps.

The end result is a fantastic parody of eighties trash television. The sets are wobbly, the violence over the top, the acting stilted, the scripts hackneyed and the editing haphazard (Dean Learner has a blood stained spade magically appear in his hand in one particularly memorable incident). Consequently, the humour does not stem from jokes but instead from the terrible production and acting, as well as Marenghi's misguided belief that he has created a timeless masterpiece.

If the show has a highlight however, it is undoubtedly Richard Ayaode's dual role as Producer Dean Learner and Darkplace boss Thornton Reed. His inability to read his lines and interact with another cast member at the same time is hilarious and his behaviour becomes increasingly outlandish as the series goes on. His improv skills seem to have been allowed to run riot throughout and while the majority of his lines aren't necessarily funny, when they're delivered in Ayaode's distinctive voice, they become side splitting.

When it all comes down to it though, no amount of words can really describe what Darkplace is like, it's a show you have to experience first hand. Anyone raised on eighties television shows like Deathwatch or the original Doctor Who will find plenty to chew on and it's even worth watching with the commentaries switched on. Holness, Berry and Ayaode remain in character for every single one and the result is the funniest DVD commentary since Spinal Tap. Very highly recommended indeed.


This show is by far the funniest thing I have seen on TV in a very long time. The concept of the show is genius, and the acting and props are all so perfectly bad (in a good way). The way they spoof the various 80's hospital dramas,actions shows, and blend them with some b-movie horror w/ some low budget sci-fi thrown in, is just amazing and works so well. The over-dramatics, the intentionally bad acting, the low budget look, and the interludes with the actors speaking about their vision for the show, blends into this comedic over the top, ridiculousness. Every line in this is either a hilarious well placed cliché, a silly premise, or utter silliness, all perfectly coming together to make a spoof piece that lampoons a variety of eighties shows and kept me entertained laughing out loud. It is also one of the most quotable shows ever. It is like the Spinal Tap of 80's television. The show is done so well, with every subtle little thing imaginable thrown in. You can watch it over and over and find even more jokes. Everyone who has a dark sense of humor needs to watch DARKPLACE.


I'm basically recapping what other people have commented on, but I'm desperate to share my love for this truly hilarious and original comedy that I'm stuck on like a pube on a pipe. It's a take off of cheap 1980's horror/sci-fi shows such as Dr. Who with acting and sets that make crossroads seem like a big budget Hollywood production and with more cheese than an Emmenthal festival in Vienna. Matthew Holness has created a very dark macabre comedy , sometimes with disturbing scenes (the giant eyeball) but always excruciatingly funny ones (the giant eyeball). I find the originality of the show refreshing and the situations and spoofs are genuinely funny (Thornton Reed's lack of emotion and terribly timed cues are a prime example). It's hard to explain why I find Darkplace so funny.


As I post this we are only 2 episodes in, but this is the funniest spoof I have ever seen! A lot of bad dubbing, god awful acting, even worse special effects make this program what it is, a spoof on 70s/80s sci-fi/horror programs mixed in with dark comedy. I can see this getting a cult following, its sure as hell not for everyone.

You may recognise 'Garth Marenghi' from doing a cameo as that computer geek who corrected a comment on Bruce Lee on the classic Office. You can see the links between the programs, and co writer Stephen Merchant has a cool part on episode 2.

Overall, brilliant program that can only get better as it goes on! Roll on the DVD!


This has to be one of the best shows ever made! I've never laughed at a show as much as this. Dodgey sets, acting and scripts with some of the funniest one-liners that would make Bruce Campbell fell proud. And this is only after the fist 3 episodes


Three episodes in, and this show is so far hilarious... the interview segments are sweepingly satirical, whilst the actual "show" itself, Darkplace, is VERY funny. Bad acting, hilarious dialogue, great cuts, great dodgy special effects, it runs the full gamut of fun-poking. I can't wait for it to be released on DVD!


Anyone who has sat through the low budget adaptations of popular authors such as Dean Koontz, Stephen King or the cheap "near adaptation but not so close as to get sued" made for TV films will LOVE this. The series is set in a hospital which is built upon a gateway to hell, which Garth Marenghi's character opened once a short while ago with a friend with a dubious background. That's about it for the plot without spoiling it. It is such a good parody, so accurate that it has the author who has "written more books than he has read" appears as the main character, writing, producing, and also having his best producer friend appear as the hard nosed hospital director (with disastrous consequences). There is a parody of everything in this from Brian De Palma's "The Fury" (I haven't ever blown up but I think I have a good idea what it's like!!?) to Phantasm (Except the flying orb is replaced with a rabid stapler(I'm serious it works)). This will not appeal to the masses but will be a big hit with the people that make cult hits, hits. The creators ARE the target audience so they know exactly what you want. I haven't been this excited or entertaining since Evil Dead. I would give the filmmakers 10/10 for effort and 8/10 for the result. Well done Channel Four.


This show is the funniest thing I have seen in ages and I do not say that lightly (lol). Its got all these crappy low budget sci-fi shows down to a T. I've only seen the first two episodes and I'm already totally obsessed with it, this show is just sheer genius, it's hard to explain why it's so funny but you just have to watch it to understand the brilliance of this show. 10 / 10


Following in the vein of shows such as The Mighty Boosh, Garth Marenghi's Darkplace is a show that clubs to death the genre of hospital drama with the Dean Learner's wooden acting.

Each of the actors play two sets of characters. Matthew Holness plays horror novelist Garth Marenghi who penned a horror show called "Garth Marenghi's Darkplace" which was cancelled in the '80s but resurrected in the modern day. Marenghi plays the show's hero, the doctor with a tragic past, Rick Dagless. Richard Ayoade plays the show's producer Dean Learner, and the stereotypical "boss" Thornton Reed. Learner continuously claims he was effectively playing himself, which explains his shoddy acting. Matt Berry plays Rick's buddy, the womanizing Lucien Sanchez and Alice Woole as the dumb blonde with telekinetic powers, Liz Asher.

Although featuring various horror elements, such as a baby eye, an ape with mutating urine and a spontaneous detonating man, Garth Marenghi's Darkplace's real appeal is in it's homage to bad television. Everything from the acting, to the editing, to the writing, to the music, to the special effects, to the white maverick aggravating his uptight black boss is all done to show up the godawful '80s shows shown only at eleven o'clock on weekdays.

The show however is also a brilliant example of cult British sitcom. Unlike other shows such as The Mighty Boosh or The League of Gentlemen which spawned mass publicity, cult followings and travelling shows, Garth Marenghi only ran for one series and still survives due to its popularity among the fans. If you feel like something that transcends television genres with pitch perfection, find this show and watch it within the nest 24 hours . . .

. . . 23 hours 59 minutes. Don't make me sit here and count.


Matthew Holness plays Garth Marenghi (best-selling author, creator of this fictional TV show and . . . . dreamweaver) who plays Dr. Rick Dagless M.D. in the short-lived, cult show that was called, funnily enough, "Garth Marenghi's DarkPlace". 6 episodes of genuinely inspired barmy brilliance, interspersed with comments from those who were there (with the exception of Madeleine Wool, who played Liz Asher and then went missing and is presumed dead).

Absolutely brilliant and pant-wettingly funny, it's the little touches that make "Garth Marenghi's DarkPlace" such a joy to watch. Whether it's cats being thrown out of doors, clumsy cuts to a woman with mascara smeared all over her face to show the upset she has just endured or terribly inept timing in the acting department, this movie feels like a real, low-budget product of the late-70s/early-80s.

Matthew Holness deserves most of the praise for his writing and portrayal of the egomaniacal Garth himself but he wouldn't have a show without the superb support from Matt Berry (hilariously cool and cocky), Richard Ayoade (bravely portraying the worst actor of the bunch) and Alice Lowe (as the lovely Liz, a woman no less and "I hope that's not a problem").

The script is a platinum-plated gem and every other line will have you stifling another big laugh. In fact, this series probably has more laughs per minute than any other viewing experience outside of the classic ZuckerAbrahamsZucker movies. If, like me, you had not heard of this before coming across it somewhere online then do catch up with it now. You won't be disappointed.

See this if you like: "Dr. Terrible's House Of Horrible", "Sapphire & Steel", "Look Around You".


Ignore the people drinking the Hatorade, this show is so quotable it almost hurts. I can't believe I missed it the first time around.

Philby, you need to define your love of "British comedy". I mean, you end you end your critique with a bastardisation of a worn out catch phrase from an unfunny commercial by Telstra (the equivalent of British Telecom), and as such I advise readers to take such opinions with a grain of salt.

The comedy writing here is top notch. As for comparisons with The Office or the Boosh, the fact that Steve and Julian appear in episodes might lead one to think that they were fans of the show as well, yes?


this is one of my all time favourites, it's up there with coogan, and, vic and bob

the comedy is so good. some of it is complex, some of it is more obvious, but every single thing in this programme, was thought out, and is comedy gold.

a lot of people don't like it, but really you need to have the right sense of humour, and understanding.

the characters are funny, the horror spoofs are funny, even the way it looks makes me laugh. it's just great.

the fact that there are only 6 episodes is a very sad thing.

i would love to see more, but i think they will leave it as a series that will go down in history to all the people with a great sense of humour, as prolonging the programme may ruin something legendary. however, i still think they should continue in some way, perhaps a new theme. "garth marenghi's .....". still with the same type of humour, still made the same way with the same people, put with a different setting, and characters.

anyway this "garth marenghi's darkplace" is one of the greatest comedies ever, and i will never forget it.


"Garth Marenghi's Darkplace" is another original and hilarious comedy show that could only have been made in Britain. It shares a lot of its random humour and imaginative story lines with "The Mighty Boosh". Appropriately, Noel Fielding and Julian Barratt have guest appearances here, the latter of which steals every single scene he's in. The whole cast is amazing, though. From Matthew Holness as the ridiculously narcissistic title character, Matt Berry (who might be a bit of a one trick pony, but really gives the performances of his life on this show) and the ever so underrated Richard Ayoade, who also directed and co-wrote the whole thing (which kind of makes him the real life Garth Marenghi, come to think of it). You won't see such great bad acting anywhere else.

The show makes fun of Stephen King-like horror writers and cheaply made detective-, hospital- and horror-series all at the same time. What comes out is a weird mixture of doctor-cops who run around a cursed hospital with guns trying to deal with all sorts of spooky occurrences and creepy creatures (while having to deal with the burden of daily admin). Garth Marenghi himself calls it "flat out, balls to the wall-horror".

Every single line, every bad editing cut, every cheap costume is a big laugh. From the music to the hair to the stupid story lines, the show is dead on in its observations of a typical weekly TV series from the late 70's and early 80's.

Unfortunately, this kind of humour didn't seem to resonate too well with a mass audience, so another series is rather unlikely. That's too bad, because I'm sure they could have come up with another set of six fantastic episodes. As it is, the show is a hidden gem for those who get it and will become even more of a cult favourite over the next few years.


(HEY!) I seriously can't believe how badly this series has been treated by Channel 4. A simple repeat and an early DVD release would have turned this show in to a huge success. (If only it wasn't cancelled for a re-run of Who's The Boss) This show is one of the extremely few shows I can watch over and over again, and it still remains funny. Scrap that, it gets funnier. (It is funny. It is funny. Oh my goodness, ohhhhh yessss) And just the fact it's shot on old 16mm gives the whole show a surreal epic production value to the thing whilst still maintaining the fact it was supposed to be shot on no money in a garage.

It's not often you see a show where every line is a work of genius. You can skip to any part of any show and you'll instantly be at something hilarious. Me and my friends have had proper Darkplace tourrettes since we first saw this show, and it never gets old.

I'm hoping people will still buy the DVD (When it comes. IF it ever comes) despite the fact I can't find many people who haven't seen an illegal download of this show.

You WILL love this show. If you don't, you're a FREAK.

This review is littered with quotes. And I'm off to the quote section to read some more.


I first watched this show about 4-5 years ago, I had bought it on DVD because I had heard such great things about it. I was amused, but slightly disappointed. It didn't immediately appeal to me. However, about 1 year ago, my friend convinced me to give it another shot.

When trying to describe how this show is produced, it is impossible not to contradict oneself. The point of this show is to laugh at the shoddy production, writing and acting. However, the way this show is acted, written and produced is, for me the best, the most observant, yet ridiculous, that I have ever seen on British comedy television. My favourite example of the writing has to be in episode 3, 'Skipper the eye child', when Rick Dagless m.d. (Garth Marenghi) says:

You know what Sanch, you can dissect a heart, but you'll never know what makes it skip a beat

This programme, for me is pure genius, because Matt Holness, has really nailed the genre on its head. This programme not only makes me think of and laugh about shoddy horror shows, or appalling writing, it also makes me think of the times that I thought that I was a talented writer when I was younger, and wrote lines similar to the one above, feeling very proud of myself.

This show should not be missed, and if you were unsure about it the first time, give it another shot. You will not be disappointed. It comes second to Arrested Development for me, and that is the only show that I would ever rate 10/10.


I just want to comment on what a burst of comic genius came out of 2004. The Dean Leaner character (shows Director/writer/creator?) went on to have his own talk show called "Man to Man with Dean Leaner" , he plays Moss on the "IT Crowd",played "Dixon Bainbridge" in the Mighty Boosh (Pilot) instead plays now "Saboo".

All of these guys (Julian Barratt) as "Padre" who stars as Howard Moon in "Mighty Boosh" now. They all play on one another's projects now.

I really hope to find out was it "Darkplace" which all gave them a foot in the door with a network. There has to be some big movies due out from these guys. Because in America we have just given up on film. All my horror films now come from Korea or somewhere west of Hawaii. Thank god the U.K. are still putting out something original.

I have a DVD suggestion. If you are living outside of the states check out the DVD of a show called "Sea Lab 2010", "Aqua Teen Hunger Force" just check it out they are as strange and funny.

Good night my Rottweiler is being very passive aggressive with me so now I have to go. "Duke not the look, we agreed never the look" , and now he is pretending too ignore me. This is unbearable,if anyone of you has a 135lbs Rottweiler you know how powerful they can be emotionally."OK Iam turning off the computer, and yes I will get you a cookie" Big baby.

Over and out,

Cheers,

M.D. IV

PS I was not joking about the dog.


What I love about British comedies is that they're always looking for something new. They're never content with repeating the same ideas under the guise of new actors and story lines. Garth Marenghi's Darkplace is one of those crazy new ideas. Richard Ayoade and Matthew Holness return to the '80s, look for everything that was bad in that decade's TV shows, for what was in need of a send up, and created this show which spoofs anything from A Team to Night Rider to Miami Vice.

Garth Marenghi is a horror writer, a visionary, a dream weaver, or, as he puts it, an imaginer. He's really a mediocre novelist and a worse director and writer. But somehow he manages to get a TV show made with his publisher, Dean Learner, and actors Todd Rivers (the amazing Matt Berry) and Madeleine Wool (Alice Lowe). The show is awful, with corny plots, bad sfx, and a synth-heavy score typical of the time. Garth believes the show was so ahead of its time it could change the world. Unfortunately no channel bought it and Darkplace remained in his basement for nearly twenty years (except for a run in Peru).

Decades later a channel decides to air the show. For this Garth adds a few interviews with himself and the crew. Many times they interrupt the action to comment on it. Obviously, these are the finer bits, with the serious way they discuss the show they made, incapable of realizing how poor it is.

Alas, they only made six episodes. I can't understand why it didn't gain more popularity. The episodes are short and one will feel hungry for more. For this reason buying the DVD is a good idea. The crew created two extra interviews, each 30 minutes long, which are as amusing as any of the episodes and give a lot of insight into Garth, Dean, Todd and Madeleine's mysterious fate. This is the only DVD I've actually bothered to watch all the extras, they're all amazing and add a lot to the original show.

Up there with the modern shows of its kind - The League of Gentlemen and The Mighty Boosh - this mix of humor and horror, of TV and movie spoofs is one of the most original and unforgettable shows made.


Darkplace is absolutely fantastic!!! Some may not get it, but for the ones with a brilliant eye for comedy and attention to detail, this in my books has yet to be beat. I love the office (UK) but this just pips it at the post. So many subtle strokes of wit and genius are hidden under the mask of the pretend fake cheap sets etc.

Little nuances of dialogue, and facial expressions that could be easily missed by the casual viewer. Amazing quotes, and the setting is so authentic.

Some cool quotes...

Padre to Dagless " You're the most sensitive man i know. And I know god!" Sanchez. "Its egg in soup, serve that with a pork-pie/sausage roll." Thornton reed" And I've worked with Lulu! and 5 other people." I have just realised that merely writing down these quotes will do little to prove its comedy. Its all about the delivery of the lines and the comedic timing. Every single line of dialogue uttered by Sanchez and his actor alter-ego Todd Rivers, is pure gold. I'm glad he made it into the rather weak "IT crowd" in series 2, he truly made that series worth watching. The brilliant music video played in episode 6 "Red hot lover" is worthy of recognition alone. It even beats the "Rick rolled" video of Rick Astley on the web. Hilarious! I truly hope that Darkplace gets a much needed second series. Man to man with dean learner was good, but it suffered a lack of Sanchez.

I also read rumours that a movie of Darkplace was getting made. I really hope this comes true.

Come on channel-4, MORE DARKPLACE PLEASE!!!!!!!


This is an absolute gem of a series. Everything is spot-on with the acting, sets, stories. If you watch one comedy show this year then this is the one. I remember watching really bad horror series and films in the 80's and this recreates it perfectly.

The characters are perfect, Dr Lucien Sanchez has got to be the best character on the small comedy screen for a while.

Get the DVD as it's got all 6 episodes plus some really sketchy and random extra scenes.

All I can say is get this now if you like your comedy a little weirder than normal. You won't regret it traveller.


Kudos to Channel 4 for showing this amazing comedy but damn them to Hades for not releasing this sooner. This comedy really will divide opinion, those who don't get it REALLY don't get it but for those that do, you really are in for a treat. Hammy doesn't do justice to the acting! Horrendous would be the best thing you could say about the story, dialogue and pretty much everything else about this.

But before you run away, stay and watch just one episode and you'll see what a genius Matt Holness is and what a find this comedy is.

10-4 (You'll get it after!) PS Why does the DVD of this keep getting put back?


This show is brilliant and so clever. On first glance it looks like a cheap spoof but the more you watch it the more details you notice. The film used is authentic 80's quality, there's a million tiny deliberate errors and the whole show is a brilliant stab at horror writers that take themselves way too seriously. There's recognisable bits of many a horror writer in there.

The cast is fantastic and nearly every line is memorable and funny. What's really annoying though is that Ch4 did their usual balls up with the show. Because it won't sell overseas (see some of the comments from the colonies on this one) and because it's hard to categorise by dull marketing types the show got next to no advertising and was thrown on at something like 11pm on a Thursday evening. Viewing figures where therefore low and the dull marketing people could nod and feel they were right in not backing it in the first place.

Seriously, it deserved a second series on the strength of it's one song alone! In these sad days when tripe like Three Pints of Lager and a Packet of Desperation gets 7/10 on here it's good to see original and very funny comedy, even if it doesn't last long.


I stumbled across this gem a couple of years ago late night after a few drinks. Coming into it about halfway through and a bit drunk i was thrown and unsure whether it was supposed to be taken seriously.

Needless to say after a few minutes i soon realised that it was in fact comedy gold. I've just rediscovered it on 4OnDemand after someone reminded me about it in work and its just a good as i remember. Glaringly funny at points however it has fantastic intricacies you only catch the second time around (the old C4 logo needless detail but makes a massive difference).

The only further comment i can give is ....WATCH IT!!!


I love film. I am not a sucker for cheap, TV Disney movies. I was pleasantly surprised. I am a 14-year old boy, and I didn't like this movie. I loved it! The acting by young Lindsay Lohan as the emotionally disconnected tomboy dealing with loss was really good.

I also find most of these types of movies to be shallow, to only speak to a young audience and to patronize (all copies of Get a Clue should be destroyed.) This movie is more than that. The moment I saw the opening scene I realized that I could picture the dialogue being spoken in real life by real adults. It was more honest than most other movies, and it had humor and heart that most movies of this budget and genre don't. Some of the attempts at humor fell flat, but a lot of it was actually...funny.

When Eve (Tyra Banks) is turned from a doll to a human being, she thinks she's the best at everything. She is then reminded, however, that the goal is to try your best, not to be the best, and that you can still be a role model and not be perfect. Eve also brings a little wisdom with her when she shows the people around her that life is about happiness and sweetness and simplicity, and that when adults get caught up in petty disagreements and entangled in their "demanding" lives, they are only doing it to themselves. Life is too short not to be happy and not to sweat the small stuff and to savor the moment.

This is just what I took out of this movie. Everyone has their own interpretation depending on where they are in their lives, and I think this was the right time to see this movie.

Don't skip this one!

7/10


i only really watched this film because i was on holiday in boring Yorkshire with nothing to do what so ever. also it had Lindsay Lohan in, one of my top favourite actresses so i thought what the hell. i was pleasantly surprised though as i really enjoyed the film. at first i thought OK a doll comes to life how gay. in fact it was really cool and Lindsay played a totally lovable character. the actress that played the doll was really good too and her and Lindsay worked well together to produce an excellent film. i didn't really like the end though as i thought it would have been much better if she hadn't gone back to Sunnyvale but had stayed and married Casey's dad. that would have been much cuter. i'd recommend anyone to watch this film, i think the family would enjoy it- well maybe not the dads!


I love this movie. I watched it when I was a kid and it brings back great memories. Plus it teaches us so many life-changing lessons. Be yourself, live your life to the fullest, remember those things that are important, and love who you are. Tyra Banks is so funny and pretty in this movie, a true big-hearted Barbie, or Eve. This also reminds me of the days when Lindsay Lohan COULD act. She wasn't slutty and she showed real emotion in her characters. She really does have the potential, she just needs to watch this movie again and take advice from it. This movie has a good story line, it makes sense, it's very funny and quite a tearjerker. ='( Tyra Banks proves to be a very lovable character, and even though she seems clueless at the beginning, at the end she is the one who learns it all and finally understands to be yourself, to love yourself, to remember those things important, and to live life to the fullest!! And always remember the classic song : Shine bright, Shine far. Be a STAR! Where you live where you are...Be a STAR!


Young and alone without a mother, Casey (Lohan) is finding it hard to live after the death of her mother. She tries everything to bring her back. One day, when she sees a book for spells, her first cast will be bringing back her mother to life. So she tries, instead unexpectedly the spell brings to life a doll given to her by her fathers girlfriend on her birthday. The shock is true, gone completely wrong,therefore Casey goes and gets spell book number two to try and cast her spell back again into a doll and cast another spell to bring her mom back to life. It doesn't work, Eve is still a human and she has to live with how the spell as casted.

I love this film from beginning to end, see it!


I loved this movie. Since viewing her in "The Parent Trap" last year, Lindsay Lohan has become one of my favorite actresses. She has some of the most incredible talent at age 14. Tyra Banks also did a fine job at portraying the doll named Eve. Wonder if this movie will come out on either VHS or DVD? Like all movies that appeared on "Wonderful World of Disney", this probably will.


I liked this movie, it is a movie filled to the brim with cheesy dialog. I don't think that it should be a movie just for children to watch, I am 20, and I thought that it was pretty cool. I also loved the fact that Tyra Banks was a black doll, and the other cast members were white, you just don't see that very often, Had I not known that Tyra Banks was playing "Eve" the life-size doll, I would have figured that the person picked to play "Eve" would have been white, hey, that's just the way the world works. You should watch this movie.


As is almost always the case the star is left to carry the movie he or she is in. Life Size was no exception. As the only true actor/star in this made for TV movie it was left to the incomparable Lindsay Lohan to save the day. Unlike her 1998 blockbuster THE PARENT TRAP where Ms Lohan was supported by the likes of Dennis Quaid and Natasha Richardson, she was surrounded by a who's who of WHO? Her co-stars supermodel Tyra Banks and Jere Burns were mediocre at best and it was left to the timing and comedic talents of Lindsay to breathe life, no pun intended, into this otherwise stale movie. Ms Lohan showed heretofore unseen dramatic talents as well and it is obvious she is on her way to a huge acting career. Life Size is available on video beginning early May.


OK, I was bored and there was nothing on at 10pm, only thing was Life Size. I swear, it was the STUPIDEST movie ever-wait, i've seen worse- and Lindsay Lohan did a horrible job acting. Everyone did a horrible job acting, and the story did not make any sense at all. I don't realize how Casey tried to "resurect" her mother with a spell and accidentally gave her doll a human life. Huh? Tyra Banks was OK, but shouldn't have done it- someone else smaller in fame should have. And after seeing Parent Trap, I would have expected much, much more from Lindsay. Basically, never watch this movie because it wastes time. A LOT of time.


Walt Disney cartoonists toured the USA to promote the Disney cartoon feature HERCULES a few years back. They explained how a villain's face is drawn with many extreme sharp angles, while the faces of good characters are drawn with much more gentle curves.

This explains the downfall of LIFE-SIZE. Jere Burns' face is the living, breathing representation of a Disney bad guy. As Christopher Walken instantly radiates supernatural feakishness, Jere Burns instantly embodies the villainous antagonist. He can't help it. His smile always comes across as sneering and menacing. His look is always fierce.

This distraction is very unfortunate as LIFE-SIZE has so much going for it. Tyra Banks is the ultimate doll. Lindsay Lohan's common girl looks helps Tyra Banks' perfect super-model beauty shine. The story is engaging, and the pacing is good.

So, why not cast Brian Wimmer as the warm, charming single father? Wimmer's good-guy looks is the Disney artist's dream. LIFE-SIZE could then stand toe-to-toe with ONE FINE DAY as an exercise in adult charm and chemistry.

Oh well, perhaps next time.


Louis Lumiere's brother, Auguste, and his wife sit at a table, in their garden, feeding their child - who sits between them. Shrubbery in the background rustles indicating a slight breeze. Perhaps the public, in 1896, would see this and wish they could preserve family scenes such as this for their posterity. Now, 107 years later, we can - on film or video. We have come a long way, baby!


Two loving parents feed their happy baby on the perch of their country home. It is often said that these early Lumiere shorts are primitive because they have not yet mastered basic film grammar, such as camera movement, editing or the close-up, films like these being a simple, static set-u;, the camera pointing at the scene from a middle distance. But as filmmakers like Godard, Ozu and Kitano, for instance, realised, that very grammar can be a violation of the integrity of the image, forcing us to concentrate of the structure in which the image is only a unit, rather than the image itself.

There is nothing primitive or simple about this particular image; as critics have noted, this film offers two levels of movement, one human, recognisable, communal (the family); the other (the trees blowing) part of a different order altogether, of nature, cycles, immemoriality. So while the family represents a similar idea of continuity as the trees, of the species being reproduced, it sis also offered in stark contraast to them, as each member of the trio will eventually die, for all the nourishment and fertility, while nature lives on, indifferent.

This frisson of mortality undercuts the film's essential conservatism, and differentiates it from the sinister surveillance of the earlier 'Sortie d'Usine'. This recognition that the powers of the camera-wielding Lumieres are in fact limited, that they are not as omniscient as they once thought they were, is perhaps dramatised in the figure of the father, one of the brothers, one of the first great director-stars, paving the way for Chaplin, Keaton and Welles. His crossing the line from director to star, from passive to active, from subject to object, represents a breach between the observer and observed, a breaking of that invisible line, a destruction of that contract Hollywood will try so desperately to enforce, between reality and fiction. The watcher is now the watched, distinctions and hierarchies have been abolished.

Ironically, immortality has been conversely guarenteed - while the man behind the camera is lost, fading into a mere eye, a role taken over by every viewer, the actor brother is trapped forever in this rigid, simple domestic scenario, feeding the ever-hungry, unthinking baby, a harbinger of the medium he invented.


Terrific for those looking for a hidden Altman masterwork. It shares many traits with Altman's best (i.e. _Nashville_, _Short Cuts_, and Three Women_, etc.): strong ensemble acting, overlapping dialogue, quirky sense of humor, lots of serendipity. The political insider's perspective - which we must credit to Trudeau - only adds to the fun. _Tanner_ gains greater richness of character and narrative as it unfolds. Here's hoping Tanner runs again


Robert Altman and Gary Tredeau were a good match, and according to the DVD interview it makes a lot more sense than the simple notion of 'well, Doonsbury is a funny comic, Altman makes some funny movies.' As the two say and agree upon, it has to do with scenes, the behavior allotted not in a very rigid story structure but in what can be done just in one scene. Although the structure has to fit into half hour time slots, it's as epic in its own area as Altman's own Short Cuts, or even Band of Brothers in creating a world unto itself, as stark and true as possible to being there in person. As it ends up happening with Altman there are scenes that get cut into other scenes, perfectly, without a beat missed. Oh, sometimes a door closes and a door opens sort of cut might happen, which is fine, but as far as editing goes- which Altman says is when he starts to get much more in control as opposed to the loose approach to letting actors improvise (and with this, aside from the back-room scenes and really specific ones, there's a lot of it even for a production like Altman's)- it's much stronger than for a regular television show.

Which is interesting since it sometimes has that long feeling of an Altman shot here and there, or one that is held for longer than one might expect in a TV show; one crucial shot being when Jack Tanner (Michael Murphy) is shot unawares by a camera looking through a glass coffee table as he gives a passionate monologue to his campaign team after a bad day. Shots like these, or when two characters have a conversation for a stretch of time (i.e. Tanner and the governor Bruce Babbit talking along the Potomac) should be self-conscious, but they aren't. And other times the trademark Altmanesque approach to shooting is actually spot-on for a kind of soap opera quality to the proceedings that ends up lending itself to comedy more than the melodramatic moment of revelation. It's a great moment of comedy, for example, not merely in the look between Stringer (Daniel Kincaid) and Joanna Buckley (Wendy Crewson) as he knows it's Dukakis's campaign manager who's been sleeping around with Tanner, and likewise she knows he knows, but how the shot goes, a quick zoom in on each other's eyes, as if the audience didn't know- which of course we do- and the light touch of theme music in the background.

Tanner '88 is also great entertainment as far as being able to expect "For Real" reality, to quote an episode, as Tanner encounters real politicians, for the most part not knowing that it's a fictional show (Pat Robertson, for example). We know how this will all end, but the question of the how and when is what strikes up drama and madness in equal measure, as if even in the most predictable means it adds to the appeal (new campaign supervisors on how to speak more forcefully and with strict attention, then the scandal(s), awkward campaign stops, a not-quite assassination attempt as one of the funniest asides, dissension from reporters). And touches of irony help along the way, like how Veronica Cartwright's reporter, who at first is not getting much of the scoop, and how she soon acquires the fired former camerman on Tanner's inner circle (let go for an uproariously stupid montage video on drug legalization, taken mostly from Tanner's notebook) who shoots like many a pretentious reality-TV cameraman- and then also reports first on the affair scandal to boot! I also liked how Kitty Dukakis got figured into the actual storyline, as opposed to just another throwaway political figure.

And all the while Murphy is a total pro- robbed of an Emmy severely in fact- and there ends up being more for him to do as an actor, in playing a sympathetic but flawed character who as TJ describes about his running for president is like a "lifestyle choice." Pamela Reed, Cynthia Nixon and Ilana Levine make up the principle female characters, all with their own pragmatic, optimistic, and just frustrated views on the campaign trail, and they're great to have in the midst of an otherwise predominantly male cast. It's important that they too are right on the ball with Murphy at just saying the right things when diverting from Trudau's script. Suddenly it doesn't feel like we're simply seeing a fictional account of a debate between Tanner, Jesse and Dukakis, but it's more immediate than that. Even more-so than Primary Colors we're given a first-hand look at the process, the ugliness and dirty side, the idiots and mistakes made consistently, the cynicism and irony, and how the media and politics are inseparable and insufferable depending on the beat. And it has the immediacy of news while keeping a hold on the multi-dimensional framework that Altman mastered in his career.

Taken as a whole work it is very long, but worth every moment of extra characterization, and ever extra song performance of the theme (my favorite was the hair metal version at the fundraiser in Los Angeles), and it's one of the most insightful, amusing, and superlative works from a quintessential American director.


After a contentious decade for Robert Altman, during which he was pretty much shunned by the Hollywood system and made some of his worst films, it's only fitting that he should cap the decade off with an absolute triumph, this absorbing mini-series made for HBO.

I don't know why it took so long for someone to pair "Doonesbury" writer Garry Trudeau with Altman, because in retrospect, it seems like a match made in heaven. Both have the exact same sarcastic sense of humor and the talent for seeing the absurd in the mundane. They crafted a fascinating look into the world of political machinations, following the story of fictitious 1988 presidential candidate Jack Tanner but setting it against the real world of the democratic primaries. Therefore, actual members of the political scene at the time interact with star Michael Murphy as if he's a real presidential nominee, and the viewer is never sure what action is authentic and what is staged.

Murphy is superb as Tanner, and he's perfectly cast. Tanner is handsome and charismatic enough to make a fairly successful run for the nomination, but he's too bland and too nice to make it all the way. The series examines one of the major conundrums about American politics: to have a candidate with conviction and good ideas isn't enough. He must also be a personality and be able to navigate the tricky terrain of the American media, with the result that those who go farthest are those who know how to work the system, not those who are most honest. "Tanner '88" captured perfectly my own feelings about presidential elections. On the one hand, they're of supreme importance, because they determine who will be the leader of one of the most powerful nations in the world. But on the other hand, they seem like such pointless exercises, and it's hard to muster up the energy to care time after time.

But one of the strongest and most serious points made by this series comes in an episode in which Tanner visits the slums of Detroit in his home state of Michigan. He realizes that he is completely out of touch with the very people he promises to help, and has no clue about what their lives are really like. That's painfully true about our own leadership -- it was in 1988 and still is today. There's a vast and probably insurmountable gap between the privileged few who ever have the remotest hope of being president and the millions of average Americans over whom they govern.

All of the acting in "Tanner '88" is sensational, to the point where I forgot I wasn't just watching real people being filmed by a documentary filmmaker. Most notable are Pamela Reed, as Tanner's campaign manager, Cynthia Nixon, as his overbearing and very young daughter, and E.G. Marshall, who makes a few memorable appearances as Tanner's awful father.

This is a must see for Altman fans, or really anyone with an interest in American politics.

Grade: A+


A long-time Altman fan, I rented the video of Tanner 88 just in time for the final days of the 2000 election. In fact, on election night, I was flipping back and forth between Altman's clever take on presidential politics and the "real" thing, and I can tell you, Tanner 88 was much better television.

The mini-series of 10 half-hour episodes is available on three VHS tapes.

It was excellent, overall. Especially good was the way it punctured so many of the hot-air balloons and pretensions of American politics, but clearly sympathized with the people who want to believe in it. We see a liberal Democratic candidate, Jack Tanner, played skillfully by Michael Murphy, go through a campaign from the New Hampshire primary to the end of the convention. Typical of the series, Tanner is on the one hand shallow and full of empty rhetoric, while also sincere, idealistic and sometimes inspiring. Tanner's campaign manager, a woman, is also extremely smart, more than a little cynical, but capable of being inspired by her candidate whose weaknesses she knows very well. The first half of the series, which takes place in New Hampshire, is extremely funny, especially in showing how the citizens there have become inured to the hoopla of the candidates and the media. Also outstanding in this series is the way the working press is portrayed as part of the life of the campaign--these are real people, not just role players. The last two episodes, at the convention, lack the bite of the first five or or six, and could be skipped without losing much.


Where the whole world is holding its breath because of the upcoming 2004 election, it is refreshing to watch this TV series. Not only because of the superb acting of Pamela Reed & Michael Murphy and each and every one of the ensemble (something we almost take for granted with Altman pictures, which always give sublime acting) and the great writing, but also because it gives non-Americans some insight in Political USA.

Inspiring and clarifying, it makes one wonder first of all why it's always the wrong movie people that get elected in politics. Wouldn't we all be much more relaxed if USA politics had a bit of the Altman-touch to it...

Unfortunately, the inspiration of this Maverick doesn't seem to reach the oligarchy in power. Altman DOES show us that TV can be fascinating and uplifting, even though he got curtailed, which will keep us wondering how that 12th episode that was never shot would be like.

Does this TV-series, which is over before one knows it and doesn't seem to take the 12x 30 minutes it says on the DVD jewelbox, draw a true picture of political USA ? Being from Europe I sincerely hope not, but I'm afraid it is even worse than Tanner is showing us. 'Let's not tell too much and focus on the face'.

And even worse, after globalization and sugarfrosted horrors for breakfast, the 'old world' is quickly picking up on this terrible excrescence too...


Total & utter trash, this moronic low budget Sci-Fi flick about a genetically engineered army robot that reproduces itself by laying eggs (!) and naturally turns against its creators before it's even properly finished. In some desperate attempts to thicken the unoriginal plot, there's the lame sub plot about a nosy journalist and his ugly girlfriend going undercover in the company and the awkward story about the Corporate Executive (David Gale from "Re-Animator" fame) who injects the veins in his neck with the same liquids as the robots need in able to function. "Syngenor" is nearly unendurable nonsense, made on a shoestring budget and featuring no redeeming elements whatsoever, apart from the over-the-top performance of David Gale. The supposedly extraordinary killer robots, meant to replace human soldiers to fight wars in the Middle East, are actually very deficient machines! They can't deal with fire or water, and they're pretty easy to kill if you just aim well or hit them over the head hard enough. On top of that, they only last 24 hours before incubating their own successors. And these faulty metal things are supposed to be the future of the US Army? He's dead now, but I'm sure Saddam Houssein wouldn't have been impressed. The first half is still remotely amusing, since the inept dialogs and cheesy massacres supply the film with a handful of chuckles, but then the whole thing gets too stupid to even smile at. The climax battles are exaggeratedly retarded, with a very Terminator-esquire sequence in which the leftover pieces of one of the robots melt together with human tissue, resulting in an ultra-hideous robot-woman creature. What the hell was that? My rating of 3 out of 10 is extremely generous, mainly just because David Gale was a cool dude who never got the good roles he deserved, apart from once in "Re-Animator".


As a horror/sci-fi, this film is a peerless failure. It's yet another "Alien" rip-off created in the early 1990s when rubber monster suits became more affordable. The acting, direction, and screenplay are all awful - to say nothing of the aforementioned bargain basement creature effect. "Syngenor" does, however, deserve an 8/10 for pure entertainment value. Rarely have I laughed so hard at a film. If you want to watch a real movie, avoid "Syngenor" at all costs. If, on the other hand, you want an evening of hilarity, gather up some friends, buy the spirits of your choice, and enjoy "Syngenor" in all its absurd glory. Goofy dialogue, ridiculous plot devices, monsters who jig wildly when being shot... "Syngenor" truly is a giant among B-grade sci-fi schlock.


Rented the newly released DVD of this and I'm glad I didn't buy it.

Carter Brown (David Gale) is the head of a corporation who develops synthetic creatures that to be used to fight wars in the Middle East. It's a creature that's adverse to water, but no matter since the desert doesn't have very much water to begin with. It also looks very similar to the gill man in CREATURE FROM THE BLACK LAGOON, so there's not a whole lot of imagination here.

Anyway, these SYNGENORS escape from the lab and invade the building killing people, but it's not very scary or gory or anything. In fact, the whole film looks like one big bore with David Gale looking like he's sleepwalking through the whole thing. He made a better ham in the RE-ANIMATOR series and the injecting of the green fluid into his neck is a silly cue from those earlier films.

Never heard of any of the rest of the cast except for Melanie Shatner as the receptionist, and that's only because she's Bill's daughter.

The Elite DVD has a short clip of David Gale visiting Japan in order to help promote this film, which I understand, was a big hit over there. Why, I don't know. Maybe they thought the creature was 'cute' or something.

It might've worked better if Roger Corman had a hand in it, but as it stands, it only gets a charitable failure.

2 out of 10


This was one of my favortie movies as a kid. It used to scare the crap outta me when I was young, and even though its not that scary now I still love it. There is a somewhat good amount of gore and violence, and the creatures look great for a low-budget flick, even though they do sound a little bit like elephants when they scream. I heard that this is actually a sequel to amovie called "Scared to death", which I haven't seen... yet. Anyway, Syngenor is out of print, but if you find it, pick it up. You won't regret it.


I bought (yes! bought) this movie at my local store for the very low price of £3.99, so I wasn't expecting an oscar winner, but having seen this truly awful pile of crap, I think I deserve a refund. The acting was atrocious - among if not THE worst I have ever seen. I mean what was with the boss of the company who kept sticking green goo in his neck? he overacted something dreadfully the dialogue was apalling and the main actress Starr Andreeff (What a name!) was terrible, What action scenes there were - were lousy

I have wasted 90 minutes of my life on this awful movie - I suggest you DON'T do the same!

Rating 1/10


Good performances, especially from Adrien Brody as a psychotic sadistic killer with a Houdini obsession and Maura Tierney as a cop, make this film stand out. The story is good, but would have suffered in the hands of a less competent director and cast. This is a movie that depends a lot on performance to deliver, and it does. Some of the supporting cast could have been played by better actors, but they are serviceable and are mostly meant to occasionally prod the story along another notch. On the whole, the cast stays out of the way of Brody and Tierney, who are the whole show. It's definitely worth seeing, and another one of those films that seemingly came out of nowhere, as I never heard of it before. I like solid B movies, and this stands out as one of the best. Its obscurity helps to conceal its surprises, and it helps to be surprised with this movie. I gave it an 8 out of 10.


1st watched 3/31/2002 - 8 out of 10(Dir-Richard Shepard): Well-made thriller that is advertised by it's depiction of being buried alive and is actually much more than this. Tierney & Brody give wonderful performances in each of their roles and the direction is almost spotless. Very overlooked movie which deserves much more attention for how well it was done despite not working for a major movie company. I will be looking for more by Mr. Shepard whose direction really made this movie work as well as it did.


This made for TV psychological crime thriller exceeded my expectations. The story begins with the abduction of a rich wife for ransom. She is buried alive and her abductor sets about collecting the ransom for the location of her grave. However, this is really not the story but only the set up. The real story is about what happens after he is caught as the police and the FBI race against time to get him to reveal where she's buried.

Our sociopathic villain, known to us only as Harry (after his idol Harry Houdini) is well prepared for the psychological cat and mouse game that follows as he had planned what he would do if he were caught. The result is an effective (though often superficial) contest of psychological one upsmanship between Harry (Adrien Brody) and our heroine police detective, Madeline (Maura Tierney).

The story has some noticeable plot flaws for a film that is attempting to be a serious crime drama. Certain elements of Harry's escape attempts are implausible. Much of the dialogue between the police officers and FBI agents was inane drivel that made them look like idiots. There are other problems later in the story involving the buried wife that are also troubling. These are not enough, however, to mar an otherwise well crafted plot.

I was most impressed by the photography, not just the look of the film, but the way the images presented themselves. Director Richard Shepard used the camera very creatively, using objects in foreground and background to dramatize certain images. There was an excellent shot of Madeline's reflection seen in extreme close-up in Harry's eye. The handheld chase scenes made you feel like you were running behind the action. This is a level of directing that is not normally seen on TV. The whole film had a very raw, real look. Things were dirty and disorganized, just like in real life rather than being carefully and symmetrically placed.

The acting ranged from fair to excellent. The cops and the husband were generally pretty mediocre with moments of nausea. Maura Tierney was good but didn't have the range to play Madeline effectively. Madeline's character required a combination of tormented, pathetic self abuser and case hardened cop. Tierney was outstanding at the tormented side, but came across as tentative and flaccid as the cop (which was the greater part of the role).

The best performance comes from Adrian Brody as Harry. He was wry and unsophisticated while being just close enough to the edge to keep you guessing if he was cunning or just a psychopath. He played the part with sarcastic disdain, as if the character thought he was smarter than he really was, which indeed was the case.

Terry Kinney's character, Madeline's cop husband Tim, didn't give him much to work with. He was a wimpy whining loser. Kinney did an adequate job at this portrayal.

I rated this movie 7/10. For those who enjoy a psychological crime thriller, it won't disappoint.


Oxygen is one of those truly rare surprises. A thriller that offers great performances from a "lesser known" cast, chases, twists and turns, and an overall satisfying story.

Director Richard Shepard had offers of a larger budget but it would have meant having it done the way the higher-ups in suits would have wanted it done. By managing to get several producers on the project, he was allowed to do the film the way he wanted and actually pulled off a fun thriller on a little over a million dollars for the budget. A wealthy sociallite is kidnapped, buried alive, and a ransom is demanded to reveal her location--but she has less than 24 hours, that is, if the air in her makeshift coffin lasts that long. There's a lot of talking going on in the process of saving her, but hey, figure how it would happen in real life, and for those looking for some thinking material as well as thrills, this plot works just fine. Besides, to me the most terrifying thing I can imagine is suffocating or drowning, and the idea of being buried alive like in this film is genuinely creepy.

Maura Tierney plays the cop role with much seriousness, Adrien Brody is so off kilter you forget he's actually a decent guy in real life (as revealed on the DVD's audio commentary), but big points go to Laila Robins as the woman buried alive--her character is so convincing she makes you feel uneasy to the point of squirming in your seat. There's a stunning car chase as well to satisfy action enthusiasts, but it's within context and not just another cheap thrill to fill up time. And just when you think things are about to finish, a really big wrench is thrown in to twist the story even more and have you thinking, "Wait just a darn minute...."

I found viewing the DVD a much more satisfying experience, as you get the widescreen version and better quality picture. The audio commentary is quite informative and even informal, as the director points out a tiny judgment mishap in which a scene was shot early with the actors wearing jackets, but the rest of the film surrounding that scene everyone is made to look like they're sweating from the hot weather. Considering I was originally enthralled with the story, I really didn't notice that until listening to the commentary. The DVD also has an interesting storyboard sequence for the car chase scene, with commentary. For a lesser known film with a small budget, there was quite a bit of care put in this release.

Give yourself a treat and check this film out. Consider this: Sometimes it's more fun to try a film that's not a big market blockbuster instead of having to only go with a "top 10" title. Just because a film has big stars and is pushed as a "hot new release" in a video store doesn't mean anything (goodness, haven't you learned that by now, folks?). Oxygen is one of those great little surprises that will have you saying, "Gee, why didn't I give this one a try earlier?"


This movie rocks. The acting is superb,the plot is compelling; all in all its a great watch. I'd definately recommend it. If you can, you shoud get the DVD because It has director commentary along with the two lead actors, Maura Tierney (who is amazing) and Adrian Brody (also amazing). The director and writer, Richard Shepard, is way cool as well and does a great job, especially considering the film's small budget. Very suspenseful, compelling movie.


What a great film! i cant believe that it wasn't released in the cinema as the whole story is brought to life by the amazing acting of Maura Tierney and Adrien Brody. If it wasn't for the talent of these two actors the story would have fallen flat. Tierney is truly believable as a struggling cop, and Brody is just so smug as the kidnapper, that the whole film is unpredictable. I saw this film on TV and i couldn't take my eyes off it, completely riveting throughout and you really feel like you know the characters. Despite good performances by other members of the cast, its the two leads that make the movie. An excellent film i completely recommend.

10 out of 10!! Excellent!!!


That's the kind of movie you watch without too high expectations and then it totally blows you away, and you can't turn it off, and at the end you wish you could know what's going to happen now. The story is not really Award-worthy - young, brilliant criminal buries the wife of a rich man to get some money, and then he gets interrogated by a female cop. But the actors are just great - Adrien Brody shows his evil face and you got really scared of him, and Maura Tierney... We know that she can play, we saw it a thousand times at ER, but the role of the depressive, drinking cop seems to fit her absolutely perfect. You just have to watch her throwing her life away, getting pulled in that turmoil of herself deeper with every minute. You want to save her, but you know, even if you had the possibility to get to know her in real life, you couldn't, because in a sick way it fascinates you to just watch. And the chemistry between her and Brody is amazing - after the first meeting of both you are not able to turn this movie out. I loved it, it's my favorite movie, and whoever appreciates the talent of Maura Tierney, you will love it too...


This is a pretty fair "neo-noir" presentation, which I'd missed hearing about during the nine years since its release - but found in my paper's local-edition weekly t.v. listings. They only gave it 1-1/2*'s, but noticing that Adrien Brody and Maura Tierney were in the cast, I decided to take a look. One of the best aspects of this flick is the character each represents - two of the most weirdly fascinating, this side of Dennis Hopper and his companions "Blue Velvet," or the cult classic Rory Calhoun opus, "Motel Hell." Brody as the youthful, sort of nerdy-yet-wicked, braces-wearing, nefarious villain; and Tierney as the competent, dedicated, tough detective, with her strange compulsive, secretive nocturnal predilections, sort of a "masochistic savant."

Perhaps not great, and with some contrasting moments. Sometimes the cops here were more realistic and "low-key" than in most of this type of movie fare, and at others were the types of doophuses we see regularly, enforcing the law, in these flicks.

All-in-all, a good 7* presentation, and not a bad way to spend the two hours' viewing.

As a sort of imaginary "sub-plot" I couldn't help visualizing from early-on, I was hoping that Brody and Tierney might meet-up at some point - the confrontation between the quintessential sadist and masochist, respectively. I thought of dialog between them, replicating a joke I once heard: the masochist says to the sadist, "Hit me!" (or, alternatively, "Hurt me!"). The sadist replies, "NO!!" (When they finally met in the interrogation room, there were a couple of occasions when I thought this just might occur.)


I thought this movie was absolutely brilliant. OK, so there are a minor few details that can be touched upon, but the plot is riveting and keeps you on your toes. I thought Brody's performance was extraordinary. I have never seen a murderer portrayed in such a manner, it was very unique. The connection that developed between Brody and Madeline( forgot her real name) was intense, and if you can't see how their deepest desires are somewhat the same then you won't understand the movie. Basically, a good film with good actors, maybe if it was produced by someone else it could have been made into an Oscar winning film.


maura tierney is great in this thriller. i usually dont watch alot of "scary movies" but i really enjoy this one. the plot had a lot of twists and turns and just when you thought it was over it took another one. the mind games that were played and ending really stick in your head. wonderful film.


I only watched this movie because of Adrien Brody and Moira Tierney of ER fame. Adrien Brody literally stole this movie with his chilling and riveting portrayal of a kidnapper. I never expected this caliber of acting in what I consider a B-grade movie. I can now look forward to seeing him in THE PIANIST...he is awesome.


This movie is one of my all time favorites. im going to go buy the dvd of this. i wont give a summary of this movie, just to tell you to go out and see it. its worth it, and i dont know what that last person was on that commented, but their wrong. THIS MOVING IS AMAZING!


I wanted to see "Oxygen" for two reasons: 1) The premise seemed interesting, and 2) Maura Tierney is my favorite actress. I wasn't disappointed. Though the script was weak in places, it was an interesting idea and very suspenseful. Leads Tierney, who played Madeline Foster, and Adrien Brody, who played Harry, were phenomenal. Their ability to encompass their complex characters and become them, plus the chemistry between the two, helped carry the story. I can't picture any other actors in those roles, and I think if you took away even one of them, the movie would be weaker. In short, this was an excellent movie, mainly because of Tierney and Brody. I'd give the story overall an 8, but just the sheer talent of the leads caused me to boost my vote to a 9.


The acting performances were all-around excellent! Brody & Tierney's relationship is sexy, suspenseful, and compelling. These two actors communicated with their raw instinct, making this film interesting and worth watching.

The plot does have its typical Hollywood predictability at times but that is easily forgiven in light of the great performances.


I expected so little from this small movie with its no-name cast that I gave it my usual 20-minute test. (If a movie doesn't grab me in 20 minutes, can it.)

Was I surprised! Although a low-budget film, the acting was quite good & Richard Shepard (who wrote & directed) did an excellent job, grabbing interest quickly & sustaining it.

The bad guy, Harry, at first seemed a simple-minded villain. However, although he was distinctly good at being an obnoxious sociopath (the terms do not always go in tandem, the seemingly affable Ted Bundy is a one example), he DID become far more interesting than I imagined -- much smarter than one would have suspected. We're talking gut smart, instinct smart, perhaps even intuitively keen. His ability to 'read' Madeline, to ferret out her true persona, to observe him honing in on her psychological dysfunction was fascinating.

From the get-go, Madeline has your attention. Is she simply a cop driven to serve society & keep the ordinary citizen safe? Partially. Then we discover Madeline's secret side, a side her husband doesn't see but Harry latches onto almost immediately.

I do remember stories of people being buried alive, especially since I'm old enough to have seen the original Vincent Price movies when first released & am familiar with the Poe fears and stories. As the victim, Frances (played very well by Laila Robins) is sealed in a wooden coffin covered with dirt somewhere apparently so isolated nobody near can hear her dog's insistent barking. Her fear is palpable & comes across with brutal reality. You hope she will survive -- but the outcome is questionable as time ticks agonizingly slow for her but too quickly for those trying to ensure her rescue. It's Einstein's relativity theory embodied in this very tense situation.

On the debit side, more could have been done with her husband. His character was shunted aside too much for my taste: what kind of relationship did they have & why was he so unaware of her darker side? An alcoholic problem is addressed fleetingly, but as any member of a 12-step group would know, one has to reach a base understanding of motivation to move ahead. Maybe they hadn't attended enough meetings.

Summing up, 'Oxygen' was a surprising treat. It pulls you in quickly, deals quite well with complex situations. Although I shun violence, found myself wanted to applaud a violent act which I personally consider not to be an exception in real life.


Much better-than-average, very different suspense film. The few plot holes and the occasional trite dialogue don't detract from the overall work. It's such a great improvement on the usual hackneyed crap put out by Hollywood that it's hard not to like it a lot. The acting, largely by no one you ever heard of, is so much better than anything you EVER see in big-money films... it makes you realize what junk we usually have to pay seven bucks to see.


Although Richard Shepard's basic plot line isn't at all original, (although, what plot is?) the cinematography is extrordinary, and the acting is even better. Never before have I gotten so much into a character such as Madeline Foster, that I nearly forgot that Maura Tierney wasn't doing "bad girl" things behind Billy Morrissette's back...


If you are interested in being an independent filmmaker, this is a movie to see. The movie as a whole, from the unusual abduction to the plight of the sadistically minded heroine fighting the kidnapper and herself, brings a vision to the screen that holds both a humorous and twisted tone. Don't be surprised to feel awkward, frustrated, terrorized, and satisfied simultaneously when you catch this one.

Cheers!


Wow! A great movie. Well, at least sometimes.

A great start, nice playing and a (nearly) foreseeable ending.

But the story is good though, so give it a try. It is really difficult to comment on this movie. I just had all the time a feeling of foreseeing everything but it wasn´t boring.

You really have to see this one.

7 out of 10 points (alternatively: 3 out of 4).


... I enjoyed "oxygen" to an extent. Alright, it's not perfect. Fine. The script is underdeveloped. Okay. But, mind you, the performances by both Maura Tierney and Adrien Brody are worthwhile. Their unusual chemistry intensifies the scenes their in together. Other than the script, the scene with the agent should have been cut.


I ordered this movie from amazon.com and wasn't disappointed. It isn't wonderful, but it's thoroughly entertaining, pretty scary, and Adrian Brody's character was fascinating. He and Maura Tierney both did excellent jobs in this film, although Maura Tierney's character was slightly less developed. The plot is well crafted and the movie is engaging. I recommend this movie.


Oxygen starts one sunny afternoon in New York City as Frances Hannon (Laila Robins) is walking her pet dog around the block, a man (Adrien Brody) approaches her a begins to chat to her, at first he seems a pleasant & charming young man but he soon changes as he becomes aggressive, he threatens her & makes her get into a nearby car. He, & his accomplice (Michael Henderson), drive off to a wood where they bury Frances alive in a wooden coffin, she has about 24 hours worth of air left & the clock is ticking... Detective Madeline Foster (Maura Tierney) & her partner Jesse (Paul Calderon) are called onto the task force to find Frances & apprehend her kidnappers. They are both briefed, Frances rich husband Clarke (James Naughton) has received a videotape that demands he pay a $1,000,000 ransom or Frances will be left to suffocate & die an agonising & terrifying death. The money drop off goes OK until the kidnapper figures out the police are watching him, Foster has no choice but to arrest him without the knowledge of where Frances is & once in custody he refuses to say anything, will Frances be found in time before she runs out of air & why does her young kidnapper seem so clam, almost as if he is enjoying himself or maybe there are other less clear motives behind the events of the previous day...

Written, co-produced & directed by Richard Shepard I thought Oxygen was a nice tight, taut little thriller that isn't the sort of thing I usually like but it has a certain something about it. The script at it's most basic is pretty gripping & absorbing as time runs out for Frances while Harry the kidnapper toys with the police & FBI, although I have to say once Harry is arrested & stuck in that room the pace slackens considerably. I would say that what Oxygen deals with is what many would consider their worst nightmare, being buried alive & slowly running out of air & perhaps more could have been done with this concept as it concentrates a little too much on the games played by Harry with the authorities. One more thing, Harry's precise & exact plans rely far too much on luck & things he simply has no control over to make me convinced that he could have come up with such an elaborate & implausible scheme. I mean his whole plan is based on the fact that he would be placed in one room, in that they would handcuff him in a certain way & that he would definitely be able to pick the locks, that they would agree with his demands to the absolute letter & that there is a air conditioning vent in the room just big enough to crawl through & that he could actually reach it as well as being able to keep total control over a hostage so they don't raise the alarm. That's an awful lot of coincidences & a whole lot of luck as well. The character's are well developed & fleshed out, they have a little bit more depth than usual I loved the monologue about the lethal injection from the FBI agent who was meant to be intimidating.

Director Shepard does an OK job without being particularly outstanding, as a whole Oxygen is a little bland & forgettable but the solid story should paper over the lacklustre visuals. The film lacks any real tension or excitement but it does retain ones interest throughout, again thanks to the story. There isn't any violence to speak of except a gory gunshot wound at the end.

Technically Oxygen is OK, it's competently made, there are a few nice New York shots & a couple of minor car chases although there isn't much action as it's a dialogue & storyline driven film. The acting is good especially from the two leads, Tierney as the cop & the effective Brody as the cold, calculating villain.

Oxygen is a good thriller, it's short on action or violence but it has a good strong story to compensate. Personally I think it's well worth a watch.


I nearly gave this a miss because of its inane title, poor reviews, and unknown (to me anyway) actors and Director. Thank god I didn't.(Brody was Brilliant). This wasn't a "buried alive movie". The lack of Oxygen aspect was a sub plot to what was happening between Tierney and Brody, Tierney and Kinney, and Tierney and her... Friend??? Until reading other users comments I didn't realise it was a "small town production". In the hands of the Silence of the Lambs crew this would have been a big psycho thriller. More would have been made of the "Alone" interview, which could have been a precursor to a much more masochistic violent ending. This film was a few rewrites short of being a very good film. If it had been made in the fifties we would be calling it a classic.


Where to begin, I guess I'll start with saying that Adrien Brody was awesome! This is one on my favorite films! If you haven't seen it yet you need to because it is just wonderful. Anyways Adrien Brody plays a psychotic murder named Harry, who kidnaps a woman and buries her alive. He does this as an attempt to get ransom money from her husband. Harry gets a tape to the husband which explains that if he wants to know where his wife is buried he must not contact the police and pay him the amount of money he asks for, or Harry will never tell where she is. Well of course like in every movie the husband goes to the police. In a wicked awesome chase scene Harry is captured, but keeps to his word of never telling the woman's where abouts. Maura Tierney is the only person Harry says he will talk to. As soon as she sits down the police are taken on a wild goose chase by the brilliant young killer. As the police say,"He's the brains in the operation." or something like that. With wonderful acting on both Maura and Adriens parts Oxygen is a fast paced thriller that will keep you on the edge of your seat.


Warning this is an awful review so if you want to watch the movie skip to some one who wrote a good review or who liked the movie. Still reading? Here is how I would get through this piece of junk. What I did was get some work out and leave the pig rolling on in the background. I worried that the my work on my laptop might have suffered but I watched the pig and answered emails even with this diversion I still hated it. It was a study in futility. Bad Characters. Lifeless and unbelievable acting I mean truly awful. I feel bad for the folks who saw it in the theaters.

OK so it had some great stars I liked looking at the film faces so I blame the director on this pig--Cut together like a story that never made sense to the director and if the editor convinced him to run it backwards maybe they could have saved the pig. The story line is a wanna be "Seven" With Brad Pitt. this so called female cop is boring.

Again Don't blame the actors blame the director--He stunk this one up but good. In the end the stupid thing ends with the woman being saved and who cares. Watch it while your doing something else like waxing your car.


There are few things to say about this incredibly stupid movie, but the most important thing is: stay AWAY from it. It's so bad I was about to leave the theater after 15 minutes of it, but I stayed, hoping it would get better (by the way, how come I saw it in a movie theater if it was made for TV?). The acting is bad, dialog is stupid, the premise is dumb, and you actually begin to think that you would be grateful if the woman died. You never really care about the characters, actually.

It might be the worst movie I have seen in 2 or 3 years. It is that bad.


Nowhere near as horrific as it should've been. They deal here with a primal fear: being buried alive. But the film has no tension, no scares. Despite that, I could watch Adrien Brody all day. I'd love to see him, with his off-beat good looks, in a lead role. Maybe a buddy picture with Steve Buscemi.