Shahrukh Khan has to be a versatile actor. He played a young man married to a "widow" in Deewana, an understanding adopted son in Pardes, or a rich NRI kid who still knows his roots in DDLJ. He also played a man who has to choose between money and "the" girl in Yes Boss, two OPPOSITE identical people in Duplicate, a man in love with a terrorist in Dil Se..., a man seeking revenge for his father in Baazigar, or widow whose heart yearns for an engaged girl in KKHH. This role is nothing like those past roles. Now he plays a James Bond wannabe who gets stuck in a mission that affects the girl he loves. This role may not be anywhere near the roles I mentioned, but he highly impresses. The movie is complicated, but it is also interesting and it keeps your head up. The movie could have done without comedy, but knowing this is a Shahrukh Khan movie, there is always room for jello; I mean comedy. The movie has it's number of clichés, but in a way helps the movie (if you know what I mean). Though one thing I should mention, Twinkle Khanna may resemble Raveena Tandon, she is totally unfit for Shahrukh. But Twinkle Khanna definitely makes her present felt and I can't really see another actress for this role. Amrish Puri was not bad, but he looked to old when fighting with Shahrukh. Raakhee impresses in her first scene, but after-wards she looses her place in the movie. Deepak Tjori was good as he should have been the lead villain though Deepshika was completely out of place and deserves better roles. The songs were excellent. The title song was a sadly unnoticed song because it's awesomely presented. Woh Ladki Jo (That Girl Who) luckily got some recognition being the HIT song. Mohabbat Ho Gayee Hain (Love Has Happened) was nicely danced. Hum To Deewane Huye (We Have Become Crazy) was such a nice song that one couldn't care that Shahrukh-Twinkle aren't Jodi No. 1. Main To Hoon Pagal was okay though being a catchy song. Thankfully the song Oh Baby was only left to the soundtrack (Anu Malik should stop singing). Otherwise the movie was nice and fun to watch.


Okay, let's face it, we've all seen this before. Every single scene. But Shah Rukh Khan adds such a refreshing and believable twist to the story that you'll be seeing it again for the first time. I was roaring with laughter the whole movie. No one knows what anyone else is doing in this movie, everything is a case of mistaken identity. But the humor is it's strength. I absolutely recommend, it's not intended to be taken seriously, just enjoyed. Fun songs, cute dances. Wow, I liked it! Am I biased because I'm a Shah Rukhaholic? You bet! You will find yourself singing "Baadshah" in the supermarket the next day, remembering a scene and chuckling to yourself out loud.


The story focuses on private detective Raj (Shahrukh Khan) A.k.a Baadshah. He solves several "cases" then gets hired to find the daughter of a famous business man who has been kidnapped. While traveling to find her, with his group of hilarious sidekicks, he gets mistaken for a C.B.I agent whose code name is Baadshah who is on a mission to save Chief Minister Gayetri Bachchan (Rakhee Gulzar) but has already been murdered by a band of thugs working for Suraj Singh Thaper (Amrish Puri) who is financing the assassination attempt.

And then of course there is a love story tossed in the mix between Raj and Seema(Twinkle Khanna) a C.B.I agent involved in the case. Ultimately it all falls on Raj's shoulders can he save the business man's daughter, his friends, and the Chief Minister and get still the girl? Excellent movie SRK does a fabulous job of being serious when you are just busting out laughing!

The only thing I didn't like was that in the version I have, distributed by eros entertainment, there weren't any subtitles on the songs so I had to look them up online bollywhat.com has a list of lyrics.


Baadshah is a comedy about a young and enthusiastic, small time detective, trying to make it big. The comedy is good,and Shah Rukh has given an excellent performance. However the direction is not upto the mark, and that is bad for the movie.

Still it is a ShahRukh's movie and he has done ample justice to his role. His fans will definitely like him in the movie.


Abbas-Mustan after BAAZIGAR came back with SRK in BAAZIGAR which was planned after BAAZIGAR

The film is a remake of NICK OF TIME, RUSH HOUR

The movie does disappoint you compared to BAAZIGAR and is too cheesy and stupid in parts

The all detective agency office changing into a hospital.etc is too stupid The film has some funny moments but things are too lose at start

The twist in the tale where the confusion about BAADSHAH occurs it makes you interested The scenes in the plane and then the entire chain of events are well handled The film does have many convenient situations too But they are some funny moments too which make you laugh and also keeps you thrilled at times

Climax is too filmy and a complete copy of RUSH HOUR

Abbas-Mustan is good, but not at their best Music is good, title song rocks and also Mohabbat ho Gayi

Shahrukh Khan fits his role well though he overdoes it many times yet his comedy is well directed here and his pokerfaced comedy suits him most but he does make too childish and clownish expressions which irritate Twinkle Khanna is nothing great Amrish Puri is laughable for wrong reasons mostly especially wen he says OH BACHCHI Rakhee is okay Sachin Khedekar is alright in a small role Johny Lever makes you laugh like in most AM films and he is a laugh riot Deepak Tijori is okay Deepshika is average Sharat Saxena is funny Razzak Khan and Saurabh Shukla overact Prem Chopra is hardly there Neeraj Vohra is good


Well, right now I'm upset. I felt like watching a 90's Bollywood movie today, and could not find my one of my favorites: Baadshah. Maybe I am biased because my favorite actor is in this movie, but let's face it, this is a role that was practically custom-made for him to play, and the supporting cast (Twinkle Khanna and Johnny Lever) have great chemistry with him.

Baadshah is a wonderful mix of comedy and drama, and is good for lighthearted fun, although the plot becomes rather fast-paced nearing the end of the movie and some may find it hard to keep up (although I first saw this movie when I was about 10 and I had to read the subtitles, and I followed it fine, so.......) The songs are pretty good, one of my favorites being "Woh Ladki Jo Sab Se", the scene in which Raj- "Baadshah" (Shah Rukh Khan) first starts his job to con Seema (Twinkle Khanna). The movie also plastered with comedic slapstick-type scenes,strongly represented in the scenes where Baadshah upturns his house to convince Seema that he is blind. I feel these are not overdone (though they had the potential) because of the clever lines also sprinkled in between scenes.

I would recommend this movie to anyone who is looking for a fun, funny Bollywood movie with great songs, good comedy, and talented actors.

Now if only I could find that movie again............


In a run-down public toilet in London at 3.07 am, the middle-aged prostitute Kelly takes on the 11-year-old runaway Joanne. Together they take the train from London to Brighton to escape Kelly's hard-edged pimp. The film explores the mother-daughter-like bond that forms between the girls as they are left to fend for themselves in the gritty underworld of South London.

Paul Andrew Williams has done something remarkably cool here that he did not realise until his film started receiving praise and wider distribution (it even made its way to the Stockholm International Film Festival, where I saw it). Nevertheless, we can easily tell that this is a quality film with excellent performances by its two leads Lorraine Stanley and young Georgia Groome. Although the seedy underground and hierarchies of bad guys, johns and pimps channel Guy Ritchie and Matthew Vaughn, director Williamsm stresses that London to Brighton is "not a gangster movie", but an unflinching look at the two aforementioned characters and how they cope under pressure.

The plot is left best unspoiled because it is gradually unfolded through well-positioned flashbacks, arguably the goldmine of the film. The first half of the film has a few pacing problems as nothing truly jumps out and grabs you  but when the unspeakably effective background segments are interjected London to Brighton receives a well-deserved jumpstarting kick up the arse, continuing down a perfectly-paced path. One of the most poignant scenes sees Kelly's pimp ask 11-year-old Joanne if she is a virgin, and subsequently telling her to have sex with an older man. The amount of smoking, cursing, screaming and beating that goes on around her is heartbreaking.

This would not be the case with a lesser actress. The fact is that Georgia Groome inhabits Joanne so effortlessly and deeply that it is a sight to behold. Her crying performances wrenches your heart. Other than the perfectly-cast Groome, the director told us that he applied no seriousness to finding the 'perfect people' for the respective characters: the guy in the green jeep, for example, was cast because "he had a green jeep". In this way a gritty, unpleasant and plain cast presents itself  an ordinary pack of South London criminals. Better yet, they truly emote. When Kelly and Joanne down the sour rum & coke that the older man has given them, you can feel the bitter aftertaste of the drink.

'London to Brighton' has been likened to Mike Leigh's Naked, and perhaps this is an apt comparison. What remains clear, however, is that Williams has served up a deliciously gritty and unflinching drama in the midst of chaos, which he occasionally pauses with wonderful slow-motion captures and dreamy shots of the windy barren boardwalk of Brighton. It's bruised, realistic, harrowing and compelling  a very good watch.

8 out of 10


I can't recall the last time a film had such a visceral impact on me. Coming out of the cinema after watching "London to Brighton" I felt my senses reeling and the adrenalin pumping as if I had just stepped off a particularly fiendish theme park ride.

There's a grim nastiness running throughout this story, interwoven with a thin thread of maternal compassion. Life is hard and hopeless for these people. They have few choices open to them. Their environment is sordid and gloomy. Even the seaside resort of Brighton is cold, windy and desolate.

But what lifts the audience out of what might otherwise be a depressing experience is the storyline which builds excitement and fear to the point where my friend felt he had to get up and actually leave the auditorium! Without revealing the plot, I can say that had he stayed, the final scene  which in no way strays from the noir  would have rewarded his perseverance.

The cast turn in convincing performances and Georgia Groome is excellent as the young runaway.


The fact that the Edinburgh International Film Festival bestowed their New Director award on Paul Andrew Williams is a solid enough indicator of the strengths and unique qualities of London TO BRIGHTON. Admittedly made on a shoe-string budget, and cast with relative unknowns, the film never once looks cheap or out of its depth. I was amazed when I saw it at Edinburgh by just how tough and unflinching a portrayal of the criminal underworld it is. The leads put in tremendous performances that will surprise many, and William's writing is exceptional. The film really zips along through its 90min length, and pulls the viewer in to a lock-tight embrace. In my opinion this film is one of the highlights of the year so far and a real find for the British film industry. For a first-time director working on a tiny budget, getting five star reviews in the Guarduan and Scotsman, and great praise from the Times is a hell of an achievement. I hope other people who love British cinema see it when it is theatrically released.


I also saw London to Brighton at the Edinburgh film festival, the buzz after the film was all so positive and I think this film will do really well based on this word of mouth. Wining awards at both Edinburgh and rain dance can't be a bad sign. For a first time director Paul Andrew Williams pulls off a very confident film, it can be quite hard hitting, very well written with some really good performances. The two central characters particularly shine in the darker moments in the film, the combination of there acting and the directors ability to create such a tangible atmosphere creates some truly gripping scenes. In short Its the kind of film the British film industry should be making more of, challenging, entertaining and decidedly British and hopefully it will get a large release. Highly Recommend!!


Being hailed by some as 'the best British film of the century' (Big Issue) and 'British cinema at its best' (The Scotsman) and on the back of several prestigious film award from festivals around the world 'London to Brighton' has a lot to live up to. It doesn't disappoint, dark, violent, gritty and bleak this is what Mike Leigh would be like if he did 18 certificate films with Shane Meadows as his assistant. From the opening sequence of the two main characters bursting battered and bruised into a public toilet it grips like a hand round the throat and only lets up to become uncomfortable, it is certainly an assault on the senses and sensibilities of the cinema audience who take this brutal journey along with the characters on screen. Shot on a relatively low budget but managing to not seem so, the films main tricks are in the editing, jump cuts and flashbacks only adding to the suspense as you begin to piece together the whole sordid story. With some superb acting from the cast, especially Joanne who portrays her vulnerability like Toby Kebbell did in 'Dead Mans Shoes', and a suitably dirty soundtrack the whole thing feels very British. It has the grainy look of 'Get Carter' mixed with the grey of any Ken Loach, the backdrops of dirty streets and dirtier walls only make scenes like the two polystyrene cups blowing in the wind (reminiscent of the carrier bag in 'American Beauty') all the more beautiful. There are of course other nods like a shot that lingers on a doorway for ages instead of showing us what's happening inside which reminded me of a similar shot in Hitchcock's film 'Frenzy'. Although not an easy watch it manages to balance the bloody with the beautiful, the violence with the unlikely friendship between the two main female leads and triumphs just as everyone says as one of the best British thrillers of recent years. London to Brighton deserves to be a huge hit, its bold, its brilliant and its British and it proves once again that we have a thriving film industry packed full of talented people that can still give Hollywood a run for it's money.


From the opening scene I was utterly gripped by this movie, and the sense of menace never let up. I damn well cared what happened to the 2 female leads, and I came within an inch of turning away from the screen through sheer tension. The (under)acting was first-rate in my opinion and utterly believable, the direction assured, and the editing perhaps the ultimate triumph, with expert use of flashbacks to slowly reveal the horror and sleaze. Made on a shoestring budget and within a tight time-frame, these factors only seem to add to the rough and ready quality of this film. I staggered out feeling relieved it was over, but also strangely uplifted, and greatly rewarded for my £6.50 investment. Only 2 scenes seemed a little contrived in order to keep the continuity going, but the twist near the end was clever and resonant. On a par with 'My Name is Joe' and 'Trainspotting'. Oh yes, and my flat in Brighton (from a distance) is in one of the scenes :)


The plot of London to Brighton is simple, the budget minimal, the actors and writer/director unknown. But the result is an unexpectedly captivating movie.

London to Brighton follows a prostitute and a young run-away as they flee from their recent past: From London to Brighton, no less. Through a well-balanced series of flashbacks, we gradually learn how they came to be running. The movie's tension slowly builds as those who are chasing them draw closer. The premise isn't revolutionary, but the delivery is robust. Half the characters spend half the time not knowing what is happening around them. Like the best thrillers, there is still enough to keep the audience guessing right to the end.

The movie is underscored by a very British portrayal of urban mob violence - gritty and selectively brutal, with language to match. The characters are explored just enough to give the movie some depth.

The issues contained within the movie are morally challenging. While there is little explicit sexual content, the mere context will be enough to make some viewers uncomfortable. It would be easy to impose "middle-class" morality, but fortunately that doesn't happen. Instead the characters react only at the extremes: The prostitute with misgivings about sex involving very young children; not the prostitute with misgivings about prostitution.

London to Brighton is notable because it places a 13 year old actor in one of the leading roles. The performance is raw and the look of innocence genuine. Yet she portrays events and emotions that she can have no experience of with disturbing competence. To paraphrase the director, "she certainly won't be allowed to see the film when it released in the cinema".

The movie is rough round the edges. It drags in places. Sometimes the acting doesn't quite convey all the emotions it could do. It is easy to find fault in the detail. But overall London to Brighton is an impressive first feature by 'Paul Andrew Williams' and most of the cast.


In London, the pimp Derek (Johnny Harris) assigns the prostitute Kelly (Lorraine Stanley) that works for him to find a young girl on the streets to escort the powerful mobster Duncan Allen (Alexander Morton). Kelly finds the twelve year-old runaway Joanne (Georgia Groome) in the train station and Derek proposes one hundred pounds for the service and the girl accepts. Kelly befriends Joanne and takes her to Duncan's mansion. When Joanne cries in the bedroom where she is with Duncan, Kelly runs and defends the girl. At 3:07 AM, the bruised Kelly and the tearful Joanne lock themselves in a public toilet. Kelly asks Joanne to stay there because she will raise some money for them to travel to Brighton. Meanwhile, Duncan's son Stuart Allen (Sam Spruell) calls Derek and asks him to meet him in a night-club. When Derek arrives, Stuart tells that his father is dead and he wants the responsible; further, he cuts his knee sinew to prove that he is not kidding. Derek calls his associate Chum (Nathan Constance) and they begin to chase the girls.

The excellent "London to Brighton" has a magnificent screenplay that discloses a crude and dark tale of friendship and lost of innocence through flashbacks and a surprising conclusion. This low-budget gem has a stunning cast, with top-notch performances, and the debut of director (and writer) Paul Andrew Williams in a feature could not be better. In the DVD, there is an awesome and cruel alternative ending that should not be deleted, as well the sequence in Duncan's bedroom with the two girls. The comradeship of Kelly and Joanne and the final redemption of Kelly protecting the girl are touching and beautiful. My vote is eight.

Title (Brazil): "Londres Proibida" ("Forbidden London")


This film really took me by surprise. What I was expecting was some amateurish first film effort which I hoped would have enough good ideas to make it worth a full viewing; what I got instead was a minor masterpiece of cinema. I cannot remember the last time I saw a British film with such story-telling verve. It's amazing to think that this is a first feature from writer\director Paul Andrew Williams, made on a nothing budget. I can't wait to see what he produces in the years to come.

The unfolding of the story is masterfully done. The small details of character interaction are incredibly well observed. This is the future of British cinema, not endless rehashes of Jane Austen and insipid rom coms.


Gritty Dramas are not usually my thing, but I saw this by chance and was very impressed by it. It's nearly impossible to make a first feature film. It's nearly impossible to make it good on as tight a budget as this was obviously shot on. The fact that it was made in such a short time is also another factor to be considered. And my consideration, after taking all these factors in to account is, this is brilliant! It is a strong story with plenty of moral interest, it has strong performances and a nicely done twist. I wish Paul every success with whatever he does next! He is a directing and writing talent to watch out for!


Britain from time to time produces brilliantly realistic urban films, and here in Paul Andrew Wiliams' debut feature we have a truly great genre entry that is awash with realism.

Joanne is a 12 year old runaway befriended by young prostitute Kelly, a tragic event leads to them fleeing from London to Brighton on the train, in furious pursuit is a pimp and a gangsters son, and all of their lives are hurtling towards a night of reckoning.

This film contains prostitutes, paedophiles, drugs, and violence, yet to even think that this film panders to genre stereotypes would be doing it an injustice. This is a gritty realistic picture that thru its bleak story telling manages to make the viewer feel a part of the events unfolding, it's harsh and unrelenting in its portrayal of the dark parts of city life that do exist in our world. The screenplay is as lean as a prize featherweight boxer, no saggy tag ons, no sub plots to bog the story down, just a hard as nails story culminating in a wonderful final reel.

Lorraine Stanley, Georgia Groome, Johnny Harris, and Sam Pruell, your names, I hope, will get to be known outside of England, because you all excellently realised characters that reminded me of people I have encountered during my life. I do hope that you will not be consigned to the forgotten filing cabinet that contains the one film wonders.

Excellent and unforgettable picture 9/10


London to Brighton (2006)

A harrowing story, a real descent into a little sliver of the streetwalking underworld of London and the perils of little rich girls who run away from home. I don't mean to make light of any of it--the movie pulls no punches, and adds some that go beyond the usual violence, too--but this is one of those recent stories where a terrible situation is imagined, and then filmed with awful realism. The two tracks, the plot with its significance, and the raw, visceral reaction to seeing anything so horrible, are both played out to the max. And acting is really first rate. The bad guys are really sneeringly awful, and the two key females, a full grown but struggling prostitute and a young girl who gets swept up in it all, are so believable it's scary. And impressive.

And none of this is enough for a great movie. It makes for an intense experience, and there's no rule that says a movie has to be enjoyable (this is totally not enjoyable in the usual sense). But there is little here that reveals or probes, there is little of what you might call art, or nuance, or originality. It's not exactly a formula, yet, this kind of abuse in your living room, but I think it will be. There are several I've seen recently, the one that comes to mind is Julia. In both movies, young children are victims and it's difficult to really watch without detaching and looking around the living room and reminding yourself this is fiction, these are actors, don't worry.

Terrible things happen in the world, of course, and worse things. But I'm not sure we need to see them, or should want to. It's like becoming an emergency room doctor because you are fascinated with suffering and blood. Movies should be like doctors, then (to stretch the metaphor) and have some purpose to them beyond wallowing.

And beyond representation. Maybe it's a reminder of the truth out there, but if that's all, it's not enough, and it goes on a very long time. I think accurate representation is the simple motive behind the filming. The director (in this case with a short resume--I've never heard of him) makes it vivid, fast, and very real. In that sense he succeeded. But again, realism isn't really a great goal in itself. It can be a means to a greater effect, a higher (or if not higher, at least other, separate) intention, something that takes the viewer somewhere. Anywhere.


From time to time I find a film that really stands out from the run of the mill standards that are dished up by producers and directors who lack the courage to move away from the usual formulae. This film is exceptionally good; the first few minutes had me hooked with the gritty realism of the places, people and scenarios presented. I genuinely cared about the outcome for the two main characters and I felt ashamed of my fellow humans at the more uncomfortable scenes. There's no doubt that some people will find the film just a little too harsh - this is a side of life that most of us are happy to pretend doesn't exist - but those who watch the film will be rewarded with great acting and direction.

After seeing the film I was impressed enough to come to IMDb to learn more about it and I've been surprised to learn that it was made by newcomers on a tight budget. It has a very professional finish to it.

Definitely worth seeing.


Perhaps because no American director today could conceivably do anything so lean and mean as Paul Andrew Williams' 2006 feature, US critics have been quite insensitive to what in 2006 a Guardian critic called "the British film of the year." I guess we just don't get it. Most American reviews say this is technically skillful, "but." and then dismiss Williams' 'London to Brighton' as repugnant, morally questionable, its ending soft. "But at the end of the day, pic has a so-what feel -- fine technique in the service of something rather unsavory," writes 'Variety's' usually perceptive Derek Elley. Ugly material, yes; but "in the service" of ithow so? In fact, the gangster son of his pedophile father commits an act of kindness, in his way, in those final scenes, which are full of horror and terror. Even granted this general dismissal of the value of an admittedly accomplished debut, the US online website Metacritic's estimated rating of American reviews of London to Brighton, 56, is another erroneous Stateside assessment. English reviews were understandably glowing. American ones were niggardly, but not that much.

The film explodes into action from the first frame with Kelly (Lorraine Stanley) and Joanne (Georgia Groome) bursting into a ladies' room where Kelly hides Joanne in a toilet. They're a thirty-something whore with bruises and an inflamed black eye and a frightened runaway not yet twelve with melting makeup whom Kelly found at Waterloo Station for her spineless pimp Derek (Johnny Harris), to please a pedophile gangster named Duncan Allen (Alexander Morton). The man came to grief and his cold-eyed son Stuart (Sam Spruell) comes to exact revenge; but we find this out later. All we know is these hapless females are in danger and have to get out of London. Kelly leaves Joanne in the toilet while she scores tricks to raise money for train tickets to Brighton. On the trip the pair are pitifully delighted to be in the country ("a bit of color"), and Kelly runs down to the beach, plays a game to win stuffed toys at the sparsely populated luna park. But Kelly's friends in Brighton are as unsavory as Derek and his pals and don't look much different, and a stupid mistake with a mobile phone leads to their discovery.

As these simple intensely photographed events unfold flashbacks tell what led up to them. 'London to Brighton' is as well edited as it is acted, and the storytelling is seamless and clear. The nastiness is intense, but not rubbed in your face. Most of it is sensed but not seen. Stuart Allen cuts Derek's leg in a car with a straight razor when he sends him off to find the girls and Derek limps from then on, but we don't see the cutting. His father tied up Joanne and she screamed, but we don't see the tying. The writing is economical. Spruell has only a couple of scenes, and his father (Morton) is barely more than glimpsed, but their lines aren't easy to forget. Cigarettes are a theme. Everyone is begging them and smoking them, and in the climax Stuart tells Joanne how his father stopped him from smoking as a boy by making him eat a pack of cigarettes, even the foil wrapping and the filters, when he caught him with a lit one. The Coen brothers might envy the grim revenge scene, but it's less playful and faster than anything they might do. There's conventional music at certain points to heighten drama and suspense, but it's not intrusive and it works. An English rap song at the end credits is grimly articulate and revealing.

'London to Brighton' shows huge promise and revives the British gangster genre, lifting it out of its slough of cuteness and mannerism. Martin McDonagh might need to have a look.

In what seems likely to be very limited release, Williams' 'London to Brighton' was shown at Cinema Village in New York from February 8 2008. The way America has overlooked and undervalued this film is nothing short of embarrassing.


Films like this make me cheer, because it is rare that a film aims so high and hits all of its marks. I mean to compliment not only the writer/directory Paul Andrew Williams's sure-shot storytelling, but the outstanding performances all around.

This is a deeply unpleasant film, by which I mean it deals in dark subject matter. It is difficult to watch. But I cannot remember watching actors work harder to earn their paychecks, especially the two protagonists played by the incredible Lorraine Stanley and the young Georgia Groome, whose terrified sobbing just absolutely tore me apart.

Watching Lorraine Stanley carry both guilt and responsibility (especially her scene as she sits listening on the couch), I was struck by what exactly how difficult acting must be. I rewound to watch this scene twice, amazed with the overwhelming realism of her reaction to what was going on. Neither overblown nor self-consciously minimalist, I could simply not imagine this character reacting any other way; not even by a hair. Watching an actor hit their mark so precisely, it reminded me of everything I could never pull off myself in front of a camera, and why I never sought to be an actor: I know that even after years of study and practice, I would not be capable of this kind of precision. This actress walks around the whole film with a beat up face and her basic humanity just bores straight through the latex and makeup in a way that never leaves you guessing exactly what's going on in her mind. She's just fantastic.

And I don't want to leave out the bad guys. Sometimes they don't get the credit they deserve because we love to hate them, but without them, you can't pull as hard for the good guys as you would, and Johnny Harris in particular pulls off the sleazy, evil, slightly thick Derek with remarkable effectiveness, wearing the characters immorality on his shirtsleeve and fairly stinking up the joint in the best possible way. Ditto for the rest of the baddies, for whom you will have, I promise, no sympathy whatsoever.

After watching a terrible big-budget film with A-list Hollywood types early in the evening, I cannot help but focus on the contrast between punching a clock in a big budget film and putting sweat and blood into a labor of love that London to Brighton must have been.

There is a vast difference - and it is clear from some of the comments here that many cannot make the distinction - between making a depraved film, and making a film about a depraved subject. This film is certainly the latter. At no point in this film are we invited to sympathize with the degenerate villains, and our sympathies for Kelly and Joanne simply grow as we become more and more acquainted with the malevolence and motivations of the reprehensible and sometimes demented antagonists.

This will be worth your time, and I'd definitely rate it higher than the 7.1 it is currently at on IMDb. This is an outstanding film and, unpleasant and squicky subject matter aside, I recommend it unreservedly.

Deft, effective film-making. This is how it's done, folks.


London to Brighton is a grim crime film that rolls back the glamorisation of gangsters in Guy Ritchie film and prostitution in Secret Diaries of a Call Girl.

The focus of London to Brighton is on Joanna (Georgia Groome) an 12-year-old runaway and Kelly (Lorraine Stanley), a prostitute. Both are on the run after killing a gangster and his son Stuart (Sam Spruell) is out for revenge. Joanna and Kelly run off to Brighton and Stuart demands that their pimp Derek (Johnny Harris) find them and contact him as soon as he does. Whilst in Brighton Joanna gets a chance to be child again but Kelly has to raise money and does it the only way she can, selling herself. As well Joanna and Kelly becomes stronger as the film continues.

This film looks at dark themes such as prostitution and paedophilia. The film was well handled by the first time writer/director Paul Andrew Williams. He shows that he has talent and a bright future ahead of him. The acting was of a high standard especially from Georgia Groome who also has a promising career ahead of her. In the film there are characters that you actually care about and you want to know what happens to them. There was a subtle use of music and the direction was strong, using the techniques of social realism. The only criticism is that I think is that I more could been found out about Kelly's and Derek's pasts.

London to Brighton is a grim view, but a worthy film.


This film is a little gem. Take two characters, down on their luck and of different ages, throw them together via sheer coincidence then add a series of spices in the form of insecure, nasty villains with just a taste of a road trip. We watch this film hoping anyone close to us will never experience the day to day life of the characters we meet. We are but onlookers, knowing that all that unfolds in front of us will not be terribly savory. But as the story unfolds we grow to like both the key characters because they have been forced into their predicament, and while they will be helpless for much of their plight their spirit will hold and eventually ring true. It is nice to be taken for a ride with a script that tells no lies and leaves us with hope. This simple little British tale is a gem. There is a lot to like about this gritty little film.


Gulzar's most controversial film made. This film was released in 1975 during "The Emergency". Supposedly inspired from the life of India's late prime minister, Indira Gandhi. The film was stuck and also banned by political activists of Indira Gandhi's Party. Suchitra Sen gives a powerful performance as a housewife who marries a common hotel manager (Sanjeev Kumar)against her father's wish. She then joins Politics against her husbands wish. Sanjeev Kumar got the best actor award for this film. So did gulzar. The best scene in the movie and one of Indian Cinema's most touching scene is the scene picturised on the song " Tere Bina Zindagi se Koi..". This is a Classic movie. It is a must see. This movie was a hit when there

were 2 giant movies in competition.. "Deewar" and "Sholay".


They say Aandhi is based on the life of India's first woman Prime Minister, India's Iron Lady - Indira Gandhi. Maybe it is true, maybe it is not. If it is, then Indira Gandhi should have been happy about the way she has been presented.

Indira Priyadarshani Gandhi was daughter of India's first Prime Minister, Nehru. She fell in love with Feroze Gandhi (a young politician born as Feroze Sopariwala) and they had two children (the younger of which went on the become the third Prime minister from the family). Their married life was not very successful, was it because of Indira's father's political ambitions (that Feroze a respected and righteous politicians interfered with) or because of some personal reasons is hard to guess, though several speculations do exist (especially from pro RSS historians who use any means to tarnish the name of the politically influential Gandhi family), and Feroze & Indira started living separately. Before he died Feroze had a heart attack, and Indira and he were re-united till his death a short time later.

There are parallels with Indira Gandhi's life in Aandhi. But mostly the story is very different. It is hard to imagine how Gulzar came out with a movie like Aandhi when Indira Gandhi had imposed an emergency in India during that time. If my memory serves me right I even heard it was banned for sometime.

The female protagonist Aarti Devi (Suchitrra Sen) is daughter of a politician and she falls in love with a Hotel Manager (Sanjeev Kumar). She does have a strong personality. There marriage is broken but that is about it (with respect to similarities).

I love the movie because of the strong performances by Sanjeev Kumar and Suchitra Sen and the direction of Gulzar. Gulzar's recent movies have been very politically opinionated but Aandhi even though it is set in a political setting is not much about about politics itself. Primarily it is about re-discovery of love in a broken marriage.

We travel back and forth in time to find about the past and present of the couple, we even find that they still have feeling for each other but it is the dirty political games and the interventionist attitude of the public and the press that forces them to face and brings out the truth about there lives.


Aandhi is a story about Policiticans-one in particularMiss Aaarti Devi (Suchitra Sen), a very strong and appointed lady. It has been her dream to lead her country one day, and her father's strong motivation pushed her in the right direction. Everything is going well up until her opponents start feeling threatened. People love her and believe her words, and they have to destroy her public image!! She hits the front-page story. Pictures have exploited he ruin the arms of another man.-None other than with her very own HotelManager (Sanjeev Kumar). A scheme well accomplished-as people all over began talking. She can no longer be trusted!! Who is this man? And what relation do these two hold? Watch this movie as all truth unfoldsand overall, to find out if this determined Lady wins back the trust and vote of her people.


I knew next to nothing about Suchitra Sen. But I knew and loved her daughter, Raima. So that made me wonder about the recluse mother. I don't know how I found this movie, but somehow the name came to me and I rented it. What a find! Suchitra is irresistible as Aartidevi. Those luminous soulful eyes. That restrained but emotional performance. I was totally seduced. I don't often bond with old movies. I found Mughal-e-Azam beautiful because of Madhubala and the way she was presented. And I feel the same way about this movie. The startling thing is how close to the end of Suchitra's career this was. In one way, it makes sense, since she's bringing everything she's learned to this role. But on the other side, when do you get to see an Indian actress play this kind of role at that point in her life? All over the world, senior actresses are forced to retreat into the background while the juicy parts go to the younger women. But here Suchitra got an excellent part and did it full justice. I highly recommend this movie to anyone who is irked by the discrimination against the senior actress. Suchitra shows what we are missing because of that.


Tex Avery's 'Page Miss Glory' is one of the most beautiful cartoons ever made, a parody of the live action musical of the same name, incorporating art-deco experimentation into a lush, grandiose musical extravaganza. If ever testament were needed to Avery's directorial genius, 'Page Miss Glory' is ample answer alone. While a bellboy in Hicksville awaits the arrival of the much touted Miss Glory, he drifts off to sleep and fantasizes himself as bellboy in a huge luxury hotel in which all the male occupants are vying for the attention of the sultry Miss Glory. Stuffed to the gills with great gags and eye-popping visuals, 'Page Miss Glory' is a very early Warner Bros. masterpiece. Avery excels and, while his subsequent output would be crammed full of defining masterpieces, it's only a shame 'Page Miss Glory' seems to have got lost in the shuffle. It is, for want of a better word, truly a glorious creation.


There's something about the idealized look of early animation that appeals to me. This cartoon (though I haven't seen it in years) presents a peek into the imaginary high-living, cosmopolitan lifestyle of the well-to-do in the 1930's. The music is memorable, the drawing and shading are gorgeous. If you're anything like me this cartoon will have you longing for a life which only exists in our dreams.


The overblown musicals of the 1930s easily set themselves up to get parodied (in my opinion, it was outright inappropriate of Hollywood to make these sorts of movies given that the country was in the midst of the Great Depression). One spoof was Tex Avery's "Page Miss Glory", which has also been known simply as "Miss Glory" to avoid confusion with a movie by the same name. It portrays a bellhop in a hotel in Hicksville awaiting the arrival of a glamorous movie star. When she doesn't come, he dreams that he's a bellhop in an Art Deco hotel probably spoofing the average Fred Astaire flick. But boy does he have a surprise coming at the end! I've always liked how the Looney Tunes/Merrie Melodies cartoons poked fun at the popular culture of their eras. Granted, this is one of the rarer ones (I watched it on YouTube). Apparently, some of the characters are caricatures of the Warner Bros. animation staff (among them Chuck Jones). Either way, it's a pretty interesting relic of their early days.


I saw the cartoon 'Page Miss Glory' on TURNER CLASSIC MOVIES for the first time in about 10 or 15 years and it brought back for me good memories of when I was a kid and a rushed home because I knew that the 'good' cartoons were going to be on Channel 5 here in New York. This is back in the days when we only had seven channels, kids.

Channel 5 showed the Warner Brothers cartoons and 'Page Miss Glory' was always one of my favorites along with the owl who wanted to singa about da moona and da junea an da springa and the one with the elephant who sang the 'Hut-Sut Song'.

Thanks to TCM for showing this wonderful cartoon and reviving such wonderful memories from my youth.


I'd never seen the short 'toon PAGE MISS GLORY until this week (or if I did, it was so long ago that all I retain is a subliminal memory of the denouement), but the cartoon people reminded me of the ubiquitous long-nosed "Kilroy was here" WWII graffiti drawing and also of the cartoon work of Robert Crumb, who emerged in director Terry Zwigoff's 1994 documentary CRUMB as perhaps the most extreme American misogynist NOT behind bars. It's been 15 years since I viewed CRUMB, so I cannot remember if Robert lists PAGE MISS GLORY as an influence. Given what happens to the hapless bellboy Abner in the 1936 'toon, culminating in a comeuppance from the least of females, perhaps it's not stretching a point to speculate this cartoon may have permanently messed up Robert Crumb's psyche.


I loved sliders. How much? Put it this way, give me the first 2 or 3 seasons, and 3 words can answer that. 88 - HOUR - MARATHON. I have been hooked right from the start, and it really ticked me when they canceled it after the first year, and then moved it out of Vancouver.


This was truly one of the greatest shows ever to grace my television. As someone stated, some series are so engrossing you begin to dream about them. As is the popular story told about Sliders. The series was unbelievable until the Prof got killed off in, what was it 'a solar flare storm'. It was hard to take but I think most people watched on. Then as the episodes passed beyond Arturo's death you had this sinking feeling that none of them were going home. This should have been the definitive ending. Or something involving the original cast. I have watched all the series only because I stayed loyal to the show. The fact remains though it didn't end the way it should. Seeing Wade Wells' head in a jar was just not on. Yet up to the point of killing off Arturo and even a small part beyond that with the 2 Mallory's it was refreshing and sci-fi magic. Those are the memories I'll remember from the series. It is one of the greatest sci-fi tv programmes ever made. 10/10 for this piece of magic. Can't wait for the DVD to come out!


This is the greatest TV series ever! I hope it hits the shelves! A movie would be da bomb! The special f/x are so cool! Too bad the series died. Hope for a renewal! !


Sliders is a perfect example of network television and their short-sightedness......and an even more perfect example showing how the Nielson's are an absolute joke. This show still has a following in reruns.....the websites are a testament to that. Enterprise being cancelled and some jackleg website collecting THREE MILLION DOLLARS to keep it on show the Nielson's are not accurate. Do you ever look at the top shows and wonder, "who the hell is watching them?" Time for the Nielson's to go........Hey, Nielson's, keep your crisp dollar bill and find a way to do it right, or go to hell.

I suggest anyone who agrees, write an email or letter and let's get this thing changed.


This episode is my favourite because it best demonstrates the potential the show had to offer.

I remember watching the pilot and anxious for the following week when the following episode was on.

John Rhys-Davies was one of the original reasons for me watching the show because I saw him in "James Bond 007" "The Living Daylights" and "Indiana Jones".

I think it is one of the best pilots I have seen for a show.

The pilot gives reasonable insight into the characters of the show before they set off "sliding" into parallel worlds.


WOW, I think that this was so great. I've seen it about 30-40 times effects were really good for 1995 A great start to a great series.


I loved sliders from the very beginning. The mystery that surrounded the show was amazing. I would often find myself wishing that I was a part of the show's cast. One of my favorite things about It was the spoken "what If you could travel to parallel worlds" part. I had gotten to the point where I could mimic that line while It was being said. The first two seasons were wonderful. Then midway Into the third It started to go downhill from there. I cried when Arturo died ,It was so sad, that and the fact that I knew It would never be the same. The cast that loved each other suddenly turned to lots of bickering and arguing. Everyone's character seemed to become mechanical. I would have loved to see the show end with everyone back together and make It home.

I still loved the show until Maggie showed up with her bossy attitude. Then when the characters started dropping off like flies we should have know the end was near. I guess what finally did It for me Is that, They no longer hid somewhere to slide anymore or just slide from one unknown destination to the next, It all was planned. Everything became out In the open and then all of the witchcraft and gory stuff was too over the top for the way how the show started. When they replaced the original Quinn and added Maggie that killed the show for me from then on. I only started watching again when Collin showed up because he brought humor once again. I wish they would have kept the original characters and kept the show they way It was In the beginning. It would not have be canceled I don't think.I love sci-fI and time travel stuff. This show made you want to learn about things you never knew existed like the Einstein-Rosen bride.I became more Interested In learning about these things after I saw the show.As In star treks end" All Good Things: must come to an end" I always say If It's not broke don't fix It!


We're introduced to Quinn Mallory in this pilot for the TV series. He produces a way to slide between infinite alternate worlds, and invites his professor Arturo and co-worker Wade to slide with him on his test run. He makes the power a tad too high and ends up sucking Rembrendt Jones, a singer known as 'the crying man'. They all find themselves in a world where the Commies won the cold war (after a brief slide to a world where a second ice age took over and must find a way back. This was a good, if not excellent start to a good if not excellent series and it suffers from the same problem that would plaque the rest of the series: Being entertaining, but not particularly well researched.

My Grade: B-


I really liked the idea of traveling between dimensions, and I even liked the Wade/Quinn tension in early episodes. Some of the worlds they created gave the main characters extremely interesting backdrops for their stories. However, as the show went on there were more silly disputes among the friends and less of a true bond. There was less wonder and excitement when they were involved in other worlds and more condescension. And every world had one of the characters falling in love. The writing just got boring and everything was way too over the top. Too bad it would've been nice to have a closely knit band of friends (a la Star Wars) traveling to different dimensions on TV for several years, rather than a tired band of knit pickers.


In my opinion this is Stephen J. Cannell's greatest creation. The series was kind of a -What if Jim Rockford split in two? The shy, dream-laden private-eye want-to-be and the accomplished con artist team up to solve various mysteries. Goldblum and Vereen are cast perfectly. This was television fun at it's best with the homage to the pulp detectives and the MacGyver of disguises. The villains were typical Cannell with mobsters to motorcycle gangs, but these two heroes made the endings, for me, much more satisfying because of the clever characters. Saddest is how this series was miss-scheduled by ABC and destroyed in the ratings by CBS.


This series was one of the BEST of its time. I was SHOCKED when it did not continue to run in 1981. It was witty. Jeff Goldblum was the 'perfect' actor for the character of a nerdy stock-broker-turned-Mickey-Spillane-wannabe detective, paired up with Ben Vereen who portrayed the role of con-man-extraordinaire that mimicked the roles of a vast array of characters... in order to close their cases. I especially enjoyed listening to Jeff Goldblum's voice (In the background) as he would sit and read the Mickey Spillane book as he sat at his desk. It was 'pure genius' for the producers to include the book-reading episodes into the script. The plots and 'action' were believable and fun-oriented. In other words, it was a CRIME for this series to end so quickly. Now that DVD's of old movies and TV series are available, I have waited... and waited... and WAITED for Ten Speed and Brown Shoe to be released on DVD. I'M STILL WAITING!

John Mangum JuSen4Me@EC.RR.Com


A too short series that was pure Stephen J. Cannell at the height of his television career.

The hardboiled private eye excerpts from a series of mysteries that had Cannell's photograph on the back; the peculiar and wonderful relationship between the main characters; the longing for a different life; it all added up to a wonderful series that should have lasted for much longer.

Jeff Goldblum was wonderfully befuddled, yet earnest in a most endearing way. Ben Vereen was tolerant and amused, drawn to this most unlikely private investigator.

The humor was unusual and the scripts did not pander to the lower level. It was a most wonderful year that ended way too soon.

An email from SJC himself states that he hopes to release it on DVD...someday. I think someday has arrived, boss. If you can release Renegade, you can release this one. Please?


You'd think that a series with two accomplished actors would be available on DVD based upon the current offerings of 70's and 80's material. Conceptually, I think this could work as a current movie vehicle. I think the comedic chemistry between Goldblum and Vereen was great. I never knew of the Simon and Simon or the Moonlighting link. Upon hearing that knowledge, I can reflect that I liked those shows as well. Once again, writing in the category of "things which will never happen", those are two other shows which I'd like to see published on DVD. I suppose Moonlighting perhaps has enough of an appeal and following where it may be available.


Man, I loved Tenspeed and Brownshoe so much when it came out. Jeff Goldblum was awesome and cute in portraying his character's naiveté while Vereen showed his comic side very well with the witty dialog all the actors were blessed to perform . I really enjoyed the counter-play between Vereen's character and his parole officer. Lots of comedic tension there.

My favorite episode was a spoof on Treasure of the Sierra Madre and there were plenty of winks in the direction of Looney Tunes with the tossing around of the lit dynamite. That was one of the funniest moments of that show.

There seriously needs to be a DVD release of this sadly underrated show. I think the time is right for it to find a new audience.


I too remember this show from a very young age. I wasn't even five years old when it premiered on ABC, yet I can vividly recall the theme song. They actually showed reruns of it back when I was in grammar school, and I never forgot it. Well,according to Amazon.com, "Tenspeed and Brownshoe: The Complete Series" will be released on DVD in March of this year! I'm ordering my copy ahead of the release date so I suggest you guys check it out. At the price they're offering I doubt there'll be any extras but that's fine with me. It's true that the chemistry between Jeff Goldblum and Ben Vereen was easy and natural. Because the actors liked each other, their character's friendship seemed genuine. They were so mismatched and from totally different backgrounds, and yet they worked so well together. I was such a sucker for private eye novels and TV shows, and I loved how Stephen J. Cannell played with that genre's conventions on this show in particular. Neither of them had law- enforcement backgrounds; one of them had been on the wrong side of the law most of his life and the other one was as straight-laced as could be. Yet they were legitimate private eyes, combining their unique talents to solve the mystery while making us smile along the way. I loved how they went back and forth with each other; nowadays, this type of banter is par for the course, but in 1980 it was so ahead of it's time. Anyway, just wanted to let my fellow fans know the news.Thanks!


I was in my twenties when this show was on and I loved it, too. It was quirky and different and I just wish it had been given time to grab an audience. Unfortunately, it came out before the viewing public started wanting something different from the usual detective TV show fare...that was so dull and predictable that you not only recognized the plot but could usually anticipate the dialogue. I always liked different though and remember how refreshing I found this show and its stars. It was delightful and introduced me to it's two stars Ben Vereen and Jeff Goldblum. It's sense of humor, for those that never had the opportunity to see it, reminded me of a show that came out several years later and was quite successful, Moonlighting. It was fresh and totally different and perhaps, in retrospect, that uniqueness is exactly what sent this wonderful show to an early grave. I hope that eventually some kind (and highly intelligent) soul does see the need to release it on DVD; I will certainly buy it. And I'd love to see it show up as a rerun...if some bright exec from TVland or Sleuth channels happens to be reading this. I think this show would weather the years well and that audiences today would love it. Sadly, it was just a show that debuted before its time.


Gerald Potterton's "Heavy Metal" is definitely one of the best animation movies ever made.It has everything:violence,sex,nudity,humor and intelligent story.Great soundtrack by such hard rock/heavy metal groups like Black Sabbath,Nazareth,Devo,Blue Oyster Cult,Journey,Sammy Hagar,Trust,Grand Funk Railroad etc.My favourite segment from "Heavy Metal" is "B-17"-this one is dark,bloody and creepy!My highest recommendation.


I have to admit, I loved this movie from when I first saw it. A true cult classic, and second in Midnight Movie viewing only to Rocky Horror.

I think one reason that this movie was looked forward to for so long is that it was unavailable for so long. I remember around 1984 when a release was planned, and a dispute with the multiple musicians caused it to be pulled. But thankfully this was finally resolved, so we can own it again.

I bought a pirate copy when i was in Japan in 1988 (On Beta no less), and almost played it to death. And having been a fan of the comic when I could find it, I think it told the stories very well. I admit that the "green sphere" link was silly and did not work, and that the original "carousel" concept would have been much better (watch the DVD release for details on this). The simple fact that I have bought 3 copies of this time and still own all 3 of them says something about the movie.

Harry Canyon, Den, and Taarna are the be the most remembered pieces of this movie. Each in itself could even be fleshed out to hour long length, and still be enjoyable. So Beautiful, So Dangerous is enjoyable, and Harold Ramis and John Candy steal the show with their voices ("Hey man, you got any of that plutonium niborg left?"). And I admit, the film version of the story was MUCH more enjoyable then the original one from the comic.

PS: Watch for the cameo of a destroyed USS Enterprise. I love pointing that out to people that miss it.


Made right before the buzz-crushing ultra-conservative religious right backlash against the gloriously loose'n'libertine permissiveness of the 70's took hold, this wonderfully wild'n'raucous animated sci-fi/horror/fantasy anthology film gleefully wallows in excessive graphic violence, crass leering objectification of the amply proportioned female form (buxom ladies only, please), and a wickedly funny line in cheery low-brow humor. This movie sure ain't politically correct -- and that's exactly why it's such a hugely enjoyable blast from the funky early 80's past.

An evil glowing orb called the Loknar (the supremely sinister and velvet smooth voice of Percy Rodriguez) spreads its malign influence throughout the decades and galaxies. First tale, "Harry Canyon" - Cynical cabbie Harry (marvelously voiced to weary perfection by veteran character actor Richard Romanus of "Mean Streets") gets involved with a sexy young lass in a bleak and rundown futuristic New York. Second yarn, "Den" - A nerdy teenager (affably voiced by the late, great John Candy) winds up on another planet where he's transformed into a bald and brawny behemoth. Third romp, "Captain Sternn" - Sleazy scoundrel Captain Sternn stands on trail for his many heinous indiscretions. John Vernon scores strongly as the angry voice of the prosecuting attorney. Fourth opus, "B-17" - A very creepy and gruesome World War II zombie outing. Fifth vignette, "So Beautiful and So Dangerous" - A couple of wacky aliens and their goofy robot buddy abduct a sassy hot Jewish chick. Harold Ramis and Eugene Levy are hilarious as the Cheech and Chong-style stoner pilots of a giant smiley face spaceship. Candy once again is a delight as the voice of the charming and amorous robot. Sixth outing, "Taarna" - A lethal and lovely mute warrior woman mixes it up with a vicious horde of nasty marauders.

Boy, does this picture rate highly as the ideal guy flick: we've got a fantastic roaring rock soundtrack (Cheap Trick, Black Sabbath, Devo, Grand Funk Railroad, Nazareth, Blue Oyster Cult, Journey, Stevie Nicks and much more), plenty of sidesplitting sophomoric humor, stunningly voluptuous and often naked women, a handy helping of gore, a nice smattering of soft-core sex, a blithely breezy'n'carefree tone, and no pretense whatsoever to get in the way of the infectiously trashy fun. The strikingly stylized and varied animation is suitably vivid and garish throughout. Elmer Bernstein's lush majestic orchestral score likewise hits the spot. A real cool treat that's wholly deserving of its cult status.


Series of sci-fi animated tales revolving around a powerful evil green orb named Loc-Nar(who serves as narrator to a young female earthling it plans to possess). Set to a rock soundtrack with many(if not most)of the tales loaded with profanity, sex & graphic violence. Lots of animated boobage. There's even alien drug use(a cocaine type drug called Nyborg, we actually witness the hallucinations the aliens have while driving their ship to a space station)! Perfect entertainment for the Midnite Movie crowd, but could be offensive to women and of a moral authority. Quite lurid and grotesque at times..this is not for all tastes.

Tales include a New York City cabbie of the future, with a disintegrating beam loaded in his car for anyone who tries an attempt to harm or rob him, who gets mixed up with a mysterious dame holding the orb and gangsters desiring to possess it, a young boy transformed into a muscular warrior who must defend a blond dame against a seemingly unkillable king and evil witch both vying for the orb, a navy crew being turned into creepy skeleton monsters by the orb during WWII while the fighter captain must abort for a spot on Earth where other ships have wrecked not knowing what lies in wait for him, a crew of aliens responsible for human mutations thanks to the orb in their possession with a robotic captain who kidnaps a Jewish hottie hoping to marry her, and a battle between orb infected human monsters and a female warrior from an ancient race.

Some really great animation, especially in the final tale.


Trying to con Harry Canyon in futuristic New York City ("big deal"), striking a deal with Den, having sex with a robot (or, as he puts it, using "mechanical assistance"), bribing Hanover Fiste to testify on your behalf in court, praying for Taarna to save you. None of these things have anything in common except for the Loch-nar, a green ball supposedly containing the essence and entirety of evil.

It doesn't matter if none of this makes complete sense or if it's even that good in terms of plot construction. This is Heavy Metal!

The concept of this 1981 animated experiment is two-fold: show good and evil in a constant state of flux, and bring to life the richness and erotic energy of the popular animated magazine. Add to that some science fiction, a slight reverence for history (in the beautiful ghoul scene in the WWII B-17) and a juvenile insight into drugs and sex, and you have the definition of my '80s youth culture.

I was one of those kids who'd sneak an issue of Heavy Metal, found on the magazine stands in the local drug store next to the grocery store where my father did his weekly shopping, inside another magazine and stare at the drawings, looking for some violence and humor ... and naked women with bi g breasts. I did the same thing whenever I got my hands on a National Lampoon and, if I was lucky, Hustler.

It's pre-pubescence at its hormonal best! And seeing it again as an adult brings all that excitement back to me. Every story, every piece of music ... God, every shot for that matter -- they all bring me back to being 10 years old and wrestling with my older cousin as she tried to block my eyes when the chick Harry Canyon picks up off the street strips and slides into bed with him to the tune of Journey's "Open Arms."

This movie wasn't meant to be cinematic greatness. It was meant to be a boy's fantasy and his coming of age. Sometimes we take these things too seriously. A good movie is a good movie, and a good memory is a good memory. Let's leave it at that ... and let me get a whiff of that stuff the spaceship pilots have lined along the floor...


An astronaut brings home to her daughter a gift, it's a green jewel from a distant planet. After it murders her father, it turns out to be the "Loc-Nar", a powerful and very dangerous meteorite that is the sum of all evil that can bring corruption, death and destruction to anyone who possesses it as it tells the girl and the viewer five tales of futuristic cab drivers, eroticism, aliens, outer space, zombies, warriors, babes, monsters, other worlds and good vs. evil.

Inspired by the popular French adult comic book, this is a visually stunning and very adult Canadian/American animated Sci-fi horror fantasy anthology. The artwork and animation are just terrific, there's also plenty of other things that will please the adult animation fan such as animated hotties like Taarna the platinum blonde warrior babe, sex, animated nudity, gore, violence and action. There is voices by Harold Ramis, John Candy, Roger "Squidward" Bumpass, Don Francks and Eugene Levy and an awesome soundtrack by Elmer Bernstein with Devo, Black Sabbeth, Don Felder, and more.

A must see movie for fans of animation, Sci-fi and fantasy and one of my all time favorites! big naughty animated fun.

Also recommended: "Creepshow", "Blade Runner", "Akira", "Grindhouse", "Starchaser: Legend Of Orin", "The Fifth Element", "Total Recall", "Fire and Ice", "The Dark Crystal", "Excalibur", "Conan The Barbarbian", "Clash of the Titans", "Pink Floyd The Wall", "American Pop", "A Clockwork Orange", "Willow", "Star Wars Saga", "Serenity", "Army of Darkness", "Krull", "Superman", "V For Vendetta", "Wizards", "Rock and Rule", "Princess Mononoke", "Fist of the North Star (1986 animated)", "Starship Troopers", "300", "The Flight of Dragons", "Alien Saga", "Predator 1 & 2", "AVP: Alien Vs. Predator 1 & 2", "The Running Man", "Max Mad Trilogy", "Escape from New York", "Phantasm", "2001: A Space Odyssey", "Ghost in The Shell 1 & 2", "Fantasia", "Death Race 2000", "Riki-Oh: The Story of Ricky", "Sin City", "Vampire Hunter D", "Vampire Hunter D: Bloodlust", "Wicked City", "Fritz The Cat", "Flash Gordon", "Beowulf (2007)", "Tron", "Hellboy", "Transformers (1986 and 2007)", "The Neverending Story", "Titan A.E.", "Barberella", "Fantasic Planet", "The Hobbit", "Lord of the Rings (1978)", "Lord of the Rings Trilogy", "Return of the King (1980)", "The Secret of NIMH", "The Last Unicorn", "The Princess Bride", "Metropolis (2001)", "Final Fantasy: The Spirits Within", "Final Fantasy IVV: Advant Children", "The BeastMaster", "The Thing (1982)", "Lifeforce", "Dune (1984 and 2000)", "Robocop" and "Terminator 1 & 2".


This film is extremely odd. It combines different genres (adventure, crime, drama, sci-fi, comedy and horror) with R-Rated elements (sex, nudity, gore, extreme violence and profanity) all done in cel animation. I personally think this film is a huge mess but certain parts are very well done. The film opens in space with Elmer Bernsteins haunting score playing. As the credits role we watch a model animated astronaught return to Earth on a space-vehicle. This credits sequence is awesome, combining the stop-animated and sometimes hand painted animated astronaut. Then we meet a green globe which represents pure evil. It tells storys of how it has been around for ever all around the galaxy and what it has done to it. The first story is, OK. It's predicible and ends kind of lamely but it's OK. The second story is pretty much a big mess. It's called Den about a nerd who gets transported to a place where he is the hero and sleeps with every woman who wants him and saves the world and the alien civilization. It's really nothing more that a 12 year old perverts fantasy and it's a waste of time. The third story is better than the firts few called "Captain Stern" and it reminds me of the old Nelvana animated cartoon shows except for the language that is. The fourth story is a masterpiece. It's called B-17. It opens up as WWII fighters and planes are battling each other. The only surviving plane, being of course a B-17, flys off after all of the others have also gone or have been destroyed. The only surrviving people on the plane are the pilots and one of them goes back to see what's going on. He sees that everyone else has died of bullet wounds. Then a circular green meteor-like object lands on the plane for a short moment and then leaves. When the meteor leaves, the dead bodies of the men come back alive, as skeletons who's organs are falling out. Now the 2 pilots must face ultimate evil while trying to escape the B-17. This story reminds me of old EC comic books such as "Tales from the Crypt" and "Vault of Horror." This was extremely well done, accompanied by an awesome and haunting score by Elmer Bernstein, the animation was done so that it looks like you're watching a living horror comic book on your TV. The 5th story is another excuse to show sex and pathetic antics. This time with a sex-crazed robot and 2 drug addicted aliens. The last story is so boring, I don't even feel like talking about it; it's so poorly written and looong, it's the longest segment in the film and not even Bernstein's score can save it and it was worse to find out that the end that the whole bookended storyline (with the meteor and the girl) ties in with the last one. I'd say that this movie has one excellent segment which should be scene by horror comic book fans, but the rest is terrible.


This movie is bad in every way conceivable. It's a adult-oriented yet approached in a very immature manner. The animation is anywhere from sketchy to stiff and dead. The plots in each of the stories only serve the singular purpose of indulging in whatever immoral and ridiculous themes that the writers thought of. The film as a whole is just shallow and mindless, like living out some immature adolescent comic book geek's dream. You don't sit through this film, you trudge painfully through it. For a film that requires no thought whatsoever, this movie causes your head to hurt too much. Why waste your time with it? There are better adult-oriented animated films from the era, see those.


I'm sorry but saying this movie sucks is an understatement, the beginning and the ends were good, stay awake for the ending, despite the boring inbetween stuff, but don't miss the odd stuff inbetween it was either humorus, or gothic in a way. I can stay awake through anything, even HobGoblins, this is a great movie for animation lovers, definitely not for kids, but still this was a good animation.


This is a film that may have been groundbreaking in its time, but as the years go by, it's increasingly dated. The animation ranges from fairly sleek to scribbly; the stories range from gritty to juvenile. Although the use of sex, drugs and violence in animation was something new and controversial in '81, the thrill is gone. The viewer is left with the film's faults and what can serve best as a time capsule of violent Amazon spank-art.


HEAVY METAL (1 outta 5 stars)

I was very much into the "Heavy Metal/Metal Hurlant" magazines back in my late teens... and I think it was this movie that got me disinterested in the books for good. Yes, there was some good material in the early issues but there was a lot of crap, too. Too bad the crappy elements of HM are all that seemed to make it into this movie... a series of short sci-fi/fantasy cartoons linked by the lame device of some evil, sentient green jewel that sets out to kill the one person that can destroy it... but first, it's going to tell its victim several irrelevant stories. Most of the stories are based on some of the best cartoons from the early years of HM... but the transition to animation doesn't do them any justice. The best cartoon of the bunch, "Captain Stern" is but a pale, pale echo of Bernie Wrightson's original 7 page strip. Every other sequence is just an endless parade of juvenile sex/drug jokes and senseless bloody violence. I guess you could argue that that's all the magazine ever was anyway... but at least there was an artistic vision behind it all. There is no art in this movie whatsoever... just clumsy animation, bad writing, crummy voice work and lousy inappropriate heavy metal music (hey, the movie is called "Heavy Metal"... better cram some heavy metal music in it!) I just recently saw the movie again to see if it was as bad as I remembered. Guess what? It is!


This movie is pretty sad, the animation is terrible, especially when compared with a lot of stuff that was coming out of Japan at the same time(Vampire Hunter D). For some reason all the vignettes seem to have a really weak plot that involves either gratuitous violence or naked cartoon women with lots of t&a. Not to mention that the device used to interlink the stories is a glowing green orb that is the source of all evil in the universe, again not that impressive. Granted that many anime films seem to find a way to show quite a bit of naked people and violence, at least they do so with an engaging and intersting plot that contains the viewers interest rather than being something that looks like it was written by some blocked eighth grader looking to show naked women and lots of blood.


best cartoon i ever saw, James rang me at 3am - 'some crazy film on, u really better come over and watch this,' so i did. what we witnessed could not be remembered, due to all the joints we had, but will not be forgotten. For 3 years we searched the net and asked in all the shops for the crazy cartoon with robots riding Jewish women, stoned aliens and nymphomaniac queens, but last week checking out the world cinema in chart busters...the name Heavy Metal caught my eye. i nearly wept with joy. Just watched it again with James, and off i go to ebay to buy it. (have since given up dope, but u don't need to be a stoner to watch this) so get it post haste. (although it is better wasted!)

The most fun film yet... relax charlie...i got an angle


I decided to watch this film recently after seeing "South Park" make fun of HEAVY METAL in the so-called "Cheesing" episode. Kenny and Stan's dad get high and enter the very sexually charged world of HEAVY METAL.

I give this movie 3 stars for one reason alone--the music was exceptional, though why they included Journey's "Open Arms" along with all the harder rock, I'll never know. The tunes, if you love late 70s-early 80s hard rock, are really good. As for the rest of this film, it plays like a teenager's wet dream as animated and directed by a group of not particularly talented teens.

The first thing that many viewers will notice will be that the animation makes the worst Hanna-Barbera cartoons of the 1970s look pretty good in some ways. That's because the frame-rate of HEAVY METAL is very, very low--resulting in an even jerkier and less animated style of animation. People who have given the film scores of 10 must either be blind or just could care less about super-cheap animation. Now that doesn't mean the animation is all bad--some of the backgrounds and a few of the scenes are definitely better than Hanna-Barbera--but even the best this film has to offer is light-years worse than anime, such as AKIRA. Although I saw reviews that compared the two, AKIRA is simply a much better product animation-wise or traditional full-length cartoons. Apparently the different segments were the work of different animation teams, though none were particularly good.

Another thing you may soon notice is that although this film managed to get an R-rating, it is incredibly explicit--yet somehow this got the R and FRITZ THE CAT got an X. While the language wasn't that of FRITZ, there were tons of naked people featuring not just breasts but crotch shots and sex--lots of sex. Now I could see how a teen might like this, but for anyone wanting porn, they could also do a lot better! Seeing exceptionally explicit cartoons just seems sleazy and kinda gross.

So what you have is a long series of short smutty stories that are horribly animated that are set to great tunes. My suggestion is that you watch the "Cheesing" episode of SOUTH PARK and see their dead-on parody of HEAVY METAL instead--it's actually funny and worth seeing--unlike this rather stupid film. I can't believe I actually watched this dumb movie.


what are a cartoon! but why in the 80's? And why the name heavy metal? Naked women in a cartoon and action and humor, amazing, I bet the heavy metal 2 sucked since it wasn't like the first one. Can you believe in one scene, they showed that kid's penis. Ew. The boobs. oh yeah but the penis, ew. It was kind of cool how they mixed it with a suspense, drama, musical (by music they must mean by the heavy metal bands in the 80's) horror, fantasy and sci-fi. the woman in the beginning who had sex with that man, why did she have to die?!! For a cartoon character, she's thick. Also the part when she fell asleep in the cab, you could see that blue thong and the sex scene, INTENSE!!! big ass titties, a lot of hair on her penisless area. Big nipples to don't forget. nice black lip stick. If I were a girl, would a still enjoy the movie? (Because there was nothing but girl nudity and one scene male nudity) The ass and the penis. For the women, the boobs an vagina. for god sakes please make another. Anyway, I wonder if it was previously rated x in the very late 70's because the thing came out in 81. Maybe R? come on. NC-17 could be good. Is X only a flick rating or also a movie rating. I was wrong. It's a movie rating also. Scarface (in the 80's) was previously rated x go to mpaa.org and see for yourself. I'm the first kid (in 2006) to probably see heavy metal. Sex with robot, sex with woman in control, sex with double crosser, a criminal with something thousand rapes. remember that part? good times. They only played it on Direct TV once and then it doesn't come on anymore. Why? They play flicks like at 10:00 or 11:00 (Which I don't watch. I only know the name because when I change the channel to the channel it's on, it'll show the name) I'm gonna call them and ask them to put it back on direct TV.


I saw it 20 years ago and liked it. I was 15. It was fun because it was a cartoon with violence, gore, aliens getting high and naked chicks with big boobs. I saw it again this year and I thought it sucked. First of all, there has been a lot of adult cartoons in the past 20 years so the shock effect just wasn't there. It is also very uneven. It is basically a collection of 10 minutes not-really-related sketches put together by different persons, and it shows. The animation quality of many of the sketches is below the average Saturday morning cartoon. Pretty bad. 3/10.


Animated short stories in a goth/science-fiction vein, supplemented by a rock soundtrack featuring such non-metal artists as Journey, Cheap Trick and Stevie Nicks. International product financed through the Canadian Film Development Corporation (which would explain the mostly Canadian-born voice-over talent, including John Candy, Harold Ramis, and Joe Flaherty) and distributed stateside by Columbia. The screenplay by Daniel Goldberg and Len Blum (utilizing original stories from several talented writers, including Dan O'Bannon) may intrigue youthful audiences, yet these plots fail to pop and the thing seems to last a lifetime. Worse, the look of the film is gloppy, with ugly color-schemes and foregrounds which are hardly intriguing. It made a decent (if erratic) record album, but as a movie it fails. * from ****


This movie looks like a bunch of comic book artists decided to make an animated feature, but without bothering to learn how to animate first. It's just a series of junkily animated shorts (adapted from good comic books) held together by a nonsense frame story. Each short is either poorly animated, completely boring, or both. By the end, you won't understand the plot and you probably won't care to.

If you're really desperate, you could probably squeeze a little entertainment out of this movie, but you're likely to have more fun taking a nap.


Very disappointing, it might have been good in 1981, and it might have inspired 5th Element, but that doesn't make up for the (disastrous) rest. The first part with the taxi driver is almost ok! The rest is very meaningless. I rented this because it was refereed to as one of the first adult-orientated cartoons. Í cannot speak for the others, but for myself I believe that "adult" is more than (boring) sex and (boring) violence and gore. The worst thing about this movie is the total lack of story. Good against evil has never been portrayed so.. shallow and uninteresting.

Normally I love cartoons, both anime and western, and therefore gave this one a long line before it broke...

PDD


A series of silly stories about fantastic creatures, the outer space, or the future are the pretext to show a little bit of violence and blood, and big breasted naked women.

Why did they called it "Heavy Metal"? Well, I guess it was just marketing. Heavy metal was the most popular music in those days, so they filled the soundtrack with bands such as Nazareth, Blue Oyster Cult or Black Sabbath (let it be said in passing that those weren't 100% heavy metal bands, they were more like hard rock bands). Maybe they thought that way thousands of long-haired rockers would fill the theatres to overflowing.

*My rate: 3/10


This movie is barely worth criticizing. Ironically, it could have been an interesting movie. I liked Sci-fi more as a kid but still think it has its place, and the premise of linked tales in the future is not a bad one. Even the mix of the exotic and mundane in the future had some potential. However, this movie took the easy way out and went for stories that almost all hit below the belt. Even the animation was a disappointment because it was so sub-par--more like a bad version of those forgettable Saturday morning Transformers cartoons that started running in the 80s--Warner Bros. and Disney did it much better decades ago. Shame on anyone involved in this piece of trash. Since when does the future have to be overrun almost exclusively by trashy people? The creators tried unsuccessfully to mask poorly written stories and cheaply drawn animation with hard core violence, meaningless adolescent fantasy sex, and illicit drug use. Wow. What creativity. If their aim was to appeal to socially misfit adolescent males brimming with violent urges and unfulfilled lust, then they hit their mark..

Not recommended for anyone with a modicum of taste or decency but perfect for wannabe serial killers and misfit males mentally stuck in their teens. . 2/10


I picked this movie up in a hurry, mistaking it for an anime, and I was astounded by it. Astounded by how POOR it was! It had dreadful animation, the violence was really fake (so was the sex), and the stories weren't even that good! Just goes to show how much American cartoons suck.


This is one of the most boring films I've ever watched. I really like anime, and thought I was gonna have real fun with this one. It seemed to be a myth to many people.

The first story is quite great, with that cynic taxi driver, and the voluptuous girl. Also good animation, different to anything I've seen before, and really refreshing. But that's all, only 10 minutes of joy. The 2 I give to this film is due to this first story, without it, it would be a 0.

The next chapters are just a collection of naked girls and nonsense action. Action is not even spectacular, just nonsense and boredom. The animation becomes ordinary, just medium quality, similar to Heeman series and things like that. There's even some chapter without naked girls at all, what just turns them into below 0 crap xD.

There's only another story that's not so bad as the rest of the film. It's that one of the zombies in the plane. Great animation and a quite disturbing atmosphere. Unfortunately, at that time I was so bored that I couldn't enjoy it properly.

There's one chapter particularly stupid, 7 or 8 minutes just to make a joke about cocaine. And besides, the joke is not funny, just silly. It seems it pretends to be politically incorrect or corrosive, it's just childish and stupid.

The ending, that fight between the girls, is so predictable and typical like a telefilm. And the real ending, with the green sphere, wants to be mysterious and even transcendental. I thought it was pathetic. Like if somebody was going to spend a second thinking about this movie.

So if you have to choose between this and any other animation movie, choose any other animation movie, you'll have chosen right. And if you wanna see a really good anime, with loads of action, just take Blood: The Last Vampire.

Marcuse.


This has to easily be the worst movie I've ever seen.

Admittadly, I saw this movie AFTER I saw Heavy Metal 2000, so I might be biased in my thoughts/opinions.

While there are some O.K. Parts to this movie, 95% of it is worthless drible.

The Animation is AWFUL by today's standards. Even in 1980 (4 years before I was born) it probably looked like garbage. It looks like a bad Sci Fi Beavis and Butthead.

The story makes little sense. Of course, you don't watch these types of movies for plot, but they could have at least tried (like HVM 2000 -the plot wasn't much but at least it was there).

The music is a bunch of 80's style Hard Rock. While middle-aged viewers might enjoy this 'music', I cant see anyone else enjoying it.

The violence and nudity are all that anyone could possibly like about this movie. And if you really want that, then you could watch HVM 2000.

Overall, 1/10. Only older people and geeks should watch this movie.

James "Black Wolf" Johnston blackwolf14016@hotmail.com


This movie came out when I was 17 and I remember going to the Midnight Movie on Ridge Road in Griffith, IN. Everyone in the theater was also in high school or just out. It is what it is, a silly movie with great music. I was the designated driver and therefore was not drunk or high as my friends were. My other friend was also a DD and even though we didn't get the same "feeling" from it as our drunken friends, we did really enjoy the music and watching some people get sick and in a few cases pee on themselves. If you are looking for some intellectual Dumbo jumbo, move along. However, if you're looking for a cartoon with great music than go ahead and watch this. At 44, I don't consider myself part of the "older generation" but I guess at 17 I probably thought it was. I'm not old, your music today really does suck!


I love this film.

When the world awoke form it's boring funk, disco, brown-yellow-orange-colored slumber after Star Wars shook it awake and revived sci-fi, heavy metal appeared during the aftershocks and created albeit for a small public a visual feast.

Heavy metal is usually described as a void fest for stoners and granted with the proper intoxication the movie's charm is increased greatly. What makes heavy metal so appealing is what many people call it's principal flaws, the pubescent jokes, violence, plethora of nudity, the crude animation and often its bright explosive colors. But these are not flaws, in fact to anyone with a fun-loving nature and imagination these are virtues.

The script is wonderful, with lot's of crude jokes, that make excellent one-liners during parties. "Death, death to all who oppose us" has to be a classic introduction-line for a villain (who is menacingly one dimensional. And has anybody wondered where his helmet comes from?)At moment the script even becomes epic, like during the sequence where the council of elders summon Taarna.

Although the animation maybe dated and even downright ugly, it gives the movie it's charm, the same as Ralph Bakshi's animation gives it, it's cult-charm and those with imagination see what the animators tried to accomplish. The backgrounds are simply stunning. From epic landscapes with cycloptic animal skeleton's cradling entire cities to impressive space-vessels and space-stations(Mark the brick-motief of the space-station during the Sternn sequence,hahaha) The color schemes of these backgrounds are daring and vibrant.

And there are boobs, lot's of voluptuous big-breasted women! I think this needs no further clarification.

The music is excellent. The soundtrack features a lot of decent hard rock tracks(I'm not writing heavy metal, because of inane debates by metal-purists (mostly with ugly goatees) that these are not metal-songs. Thank god, No!)And there's the majestic score by the late Elmer Bernstein. That simply blows you away with it's beauty (Listen to the Den sequence when the queen flies on the dragonflies, how the trumpets and the lower brass are sequestered by two themes, one rising, on descending.)

So in a dull world where tedious monochromatic fantasy trilogies pass for a good time, Heavy Metal is the lost jewel, that fortunately is discovered every generation. So gather your friends, get some beers and pizza-bagels and watch this movie, you'll love it.


...and I'm damned glad I did.

I slapped on headphones and put the DVD in the Macbook and set sail for a better time's stony realms...I read comments saying "If only this movie were made now, it would be so much better, blah blah blah," and that's the biggest crock of horsesh*t I've ever heard. If it were made now, it would be slicker than slick, void of soul, with the wretched music of our age providing the soundtrack. Heavy Metal circa 1981 has the texture and imperfect beauty that sustaining, lasting art must possess; think Miles Davis' Bi*ches Brew or Sketches of Spain, or the Rolling Stones' Exile on Main Street - that's where Heavy Metal lives. It's not perfect, parts of it are quite flawed, but as a whole, even the flaws are beautiful gems to behold, and I tell you, for every voice barking on about Heavy Metal's flaws being too much to take, I say this: you take your Saw and remakes of Texas Chainsaw and The Omen and whatever else your fetid college brains latch onto as broken things that need fixing, and we'll take Heavy Metal and the original versions of the horror movies mentioned and be artistically far richer. But you're not after richness in art, are you? You're after eye-candy and digitally rendered starscapes, aren't you? Yes, you are. And you're beggars with moldy bread because of it.

Heavy Metal is a classic, and I'll be first to admit that it's got problems, but believe it or not, problems sometimes add to a classic's being considered a classic in the first place. Exhibit A: Heavy Metal. Watch, listen and learn, youngsters.


I was lucky enough to see this with my dad (cool guy) when I was a kid at the Cinerama Dome in Hollywood. At the time the only animated movies that you would get to see were Disney type stuff so this totally blew my mind. The soundtrack was and is so cool, you never heard heavy metal music in movies or on the radio for that matter(well OK maybe on after midnight on Sunday if you got the tinfoil just right.) so needless to say it was an experience I'll never forget. If you have not seen it yet then by all means rent it..............My comments are not the minimum length for comments of ten lines of text so I will add some more. Movie goers maybe a little more jaded now (Me included) but this movie still holds up. The b-17 segment still is as exciting and creepy as it was when I first saw it. And who wouldn't want one of those flying bird things to ride around on.


People watching Heavy Metal for the first time with on prior knowledge of the magazine or the basic concept of the movie, like me, will undoubtedly give you mixed reviews.

Some will love the violence, sex, humor and all-around edginess. Some will hate the animation (which is good in some instances and frustrating at its worst). The degree of nudity seemed a bit intense when I began watching it, but I quickly adapted to this stylistic choice.

On its own, it isn't a particularly good movie. Its Tarentino narrative style and dropped-in-the-middle exposition can't help but upset if you're not expecting it. The reason the film is called Heavy Metal isn't even readily apparent (unless you've done your research and discovered that it is, in fact, based off of something else).

But, if you're willing to look past those things that irk cinema fans, and if you picked up this little cult piece you probably are, either being an animation fan or just a free spirit, it's a rather satisfying film. The emotions and ideas of the film come together if you are willing to take some of the other elements with a grain of salt. Some people may hate it, others herald it as a masterpiece. I just think it's so bad it's good. That warrants it a 7 in my book.


Animation as it should be.

Those who trashed it are too used to the Pixar style. They forget that at one time people had to actually draw this stuff. This animation style was last used in Pinochio. That's about 40 years.

I saw this as a midnight hit in New Jersey back in '82. Finally got the DVD in Japan this year. Bargain price too. Brilliant stuff. Reminds me of the early issues. Also seems like issues of CREEPY or EERIE at times.

I have the most fun trying to identify the SCTV stars' (John Candy, Joe Flaherty, Eugene Levy, Harold Ramis) voices.


I rate this DVD a perfect 10/10.

No other artist has ever come close to acheiving what Madonna has in any field of music, but especially music videos. She has garnered 65 MTV video award nominations - SIXTY FIVE.

This compilation features my two favorite music videos of all time - Ray of Light, and The Power of Goodbye.

If you are a Madonna fan, run, don't walk to the nearest retailer and get this ASAP.


BRILLIANT! ENTERTAINING! THOUGHT-PROVOKING! STUNNING! What else can be said about this video collection? Madonna offers her fans 14 of "her" favorite video clips from 1993-1999. There are some real gems in this compilation: "Bad Girl", "Fever", "Rain", "Secret", "Take A Bow", "Bedtime Story", "Human Nature", "Love Don't Live Here Anymore", "Frozen", "Ray Of Light", "Drowned World/Substitute For Love", "The Power Of Goodbye", "Nothing Really Matters", and "Beautiful Stranger". The addition of "Drowned World/Substitute For Love", being only a European realease in the past, is reason enough to make this title a must for Madonnas U.S. fans. The only upset to this compilation are the missing videos: "This Used To Be My Playground", "Erotica", "Deeper and Deeper", "You Must Love Me" and "I'll Remember".

Madonna has made REMARKABLE contributions to the video arena, more than any other artist to date! Madonna's videos are a strong part of American Pop Culture. Madonna's videos are no stranger to awards either, "Take A Bow" received the AMA and the MTV VMA "Video Of The Year" Award, while "Ray Of Light" won MTV VMA "Video Of The Year" Award, also helped usher in one of Madonna's first four Grammy's!


The Material Girl returns for another dvd/vhs collection of her greatest hits in this answer to "The Immaculate Collection". Possibly the best video here is "Fever". Some of the videos are somewhat dumb especially "Nothing Really Matters" but the songs are good. "Ray of Light", "Frozen", "Rain", "Fever" and "Secret" show her talent for dramatic gestures and effect. The downside is the omission of "This Used to Be My Playground", "Deeper and Deeper", "You Must Love Me" and "I'll Remember". Those were her really good songs and it would've been nice to see the videos. Maybe they'll be on the next one. This is a dvd/vhs worth getting if you're a Madonna fan or a fan of 90's dance.


When people usually think of Madonna they think of the silly "Like A Virgin" and "Material Girl" videos. If you watch this video you will realize there is much more to Madonna than that.

The video start off with three Erotica videos. Bad Girl plays like a movie and is one of her most underrated. Next, is her excellent cover of Fever. I love her red hair and the video looks Greek mythology inspired. Third, is Rain which is one the videos that made me a Madonna fan. The video is suppose to look "behind the scenes". I'd have to say Rain is one of her over looked songs.

As the video goes on you get to the Bedtime Stories videos. It starts with the hit Secret. The video is shot in black and white and shows Madonna in a club. After that we get to one of my personal favorites Take A Bow. This is one of those songs and videos I could listen to over and over again. Strangely, it made the animal rights people angry because there is a scene with Madonna's boyfriend bull fighting. Bedtime Story comes up next. I find this video one of her best but very disturbing. Finally, Bedtime Stories videos are wrapped up with Human Nature. It is easily one the best videos of all time if you ask me. Madonna is biting back at her critics. Also, I love the way they decided to bleep out the words.

Love Don't Live Here appears next from her Like A Virgin and the new Something To Remember album. It was released to soften her image for her new movie Evita were she won a Golden Globe and Oscar. The video is probably my least favorite but still pleasantly simplistic.

Ray of Light videos show up next. Frozen is one of my favorites and has a haunting video. Ray of Light is truly beautiful. It shows how fast life goes. Third, Drowned World/Substitute For Love comes up. It shows the hardships of being a celebrity and how you can get lonely. Finally, you get to see the Power of Goodbye and Nothing Really Matters videos. I love the feeling the colors of the video gives you.

Last, you get the Beautiful Stranger video. If you're an Austin Powers fan this is for you! The more you watch the video the funnier it gets just like the movie.

In conclusion, the only thing that could of been better is if they added the Deeper and Deeper and Erotica video. The reason they're not on here was to avoid controversy. Still, Deeper and Deeper is easily one of the greatest of all time. This is differently the video collection to get. I can't think of a greater one!


I wish they would have included the original longer version of the "Bad Girl" video that was run on MTV. The longer original version had a much better story line to it, like a mini movie with more Christopher Walken scenes. But at least I have this one to watch, Madonna is at her very best in her career and her videos were visual magic! "Justify My Love" would have been another EXCELLENT video to have been included here but too much questionable content I guess. The black and white filming of "Justify" is pure genius! It really is too bad it's not included here. "Rain" is another visual masterpiece and "Bedtime Story" was one of the first truly "Over the Top Expensive" videos of the day and one of the first to use massive amounts of computer altered graphics, A real masterpiece! Don't pass up the chance to own this wonderful collection