The promise Jeremy Podeswa gave with his first film "Eclipse" is really fulfilled now in his second "Five Senses". Authentic atmosphere and the various aspects of a little bit neurotic life-feeling of metropolitain people is again in his new film. Podeswa has an astonishing hand for showing the daily tragedies with credibility and he really cares about his protagonists. Intelligent dialogues and good actors complete the very good first impression. A director with a great future !


The sense of sensing identity unifies these people by means of there (organic) five senses. They smell, see, hear, taste and touch each other by means of their sixth sense:they discover it by theirselves and by each other by means of the same senses. There are many more senses... But it is beautiful to see a film which show so many senses only by showing five of them.


An enjoyable quiet movie that examines people's perceptions of the world and themselves. Worthy of a watch. I enjoyed Gabrielle Rose's performance. She was good in "The Sweet Hereafter" and very engaging in this movie. The rest of the cast was equally good. I do have a problem with the title. I kept thinking this character is this sense and this one is that sense which distracted me from the unfolding stories. I think a more generic title like "Sense" would have been better. The ending was unexpected.


Every once in a while a movie comes along that takes hold and never lets go. The Five Senses does that, from the beginning to the end, in a way where you know leaving your seat will cause you to miss a vital part of the movie. Knowing this, you can't help but remain on the sofa, recliner or your favorite movie chair until the final credits begin scrolling the screen.

There is no need for me to detail the movie because I could not do it justice. The only way to get this movie, is to simply watch it for yourself. It's as simple as that and by not watching The Five Senses, you are missing out on a touching film.


This film was a remarkable surprise, complicated and charming, intriguing and quite lovely to look at. Not perfect by any means, this film is absorbing right through. It has humor, plot, plot twists, character study, and pathos, but all with a light touch. It was so thoroughly well-done and substantive, I kept thinking it was European, but the accents were American...Ah yes, it was Canadian, that explains the high quality. Three particular bits to note: overall the gay men in the film were effectively portrayed -- no caricatures. Second, the set design and locations were unusual and beautiful without dominating the film. Finally, the (subject of)five senses were nicely interwoven throughout the films -- nothing too heavy-handed. Grab it if you can.


I liked this movie and, interestingly, my much younger companion did not. Too meandering and so little happening, she said. And that is the quality that I found most appealing and more like real life.

There are gentle stories here woven around the central premise of a young child's disappearance and the reaction to this event is seen as background in many of the scenes which is a technique very cleverly done.

There is also the haunting singing of someone in an apartment in the building where all the interaction and often non-interaction of the other characters takes place. We only see this mystery singer at the end of the movie.

Mary Louise Parker was the only harsh note. I find her performances always stilted, cold and full of a hidden tension not usually necessary to the role she is playing and again she did not disappoint. I did not know what the earthy Roberto saw in her.

I liked very much the character of Raymond searching for the scent of love in all his ex lovers. I have a bias towards movies like these, of the Run Lola Run type. I feel they are more reflective of reality, no Hollywood quick fix endings just a slice of life beautifully acted and photographed that just stays with you a little longer than the A-B plot lines of most movies.

8 out of 10.


The only reason I got sucked into this drab, dull, slow paced, nowhere-going movie is because there was nothing else on TV at 3am and I had insomnia! There were a couple of characters that were somewhat interesting, however, the storyline never delved deeper into their personalities the way I had hoped...and left them being empty shells of people with no real backgrounds or insights into what made them tick or why they were the way they were. The ending was a HUGE disappointment with with one of the major characters...(I won't say who or how, so as not to ruin it for someone else who might be into this kind of film)...but I was left feeling like I totally wasted my time watching this movie!! I would have been better off taking a sleeping pill and tossing in my bed until I fell asleep.


It was really well made, I like movies that are like this. The stories all connect but very subtly and it hits "taboo" subjects in an interesting manner. It really shows how we are in society also, showing things that we tend to think we have to hide from everyone because of the way they react. The only part I didn't like was the ending, but thats a matter of personal judgment, some may like it a lot. Well done, and the acting was fantastic :) It's a very interesting movie and well worth your time if you have nothing else to do on a Saturday morning, he-he!! Hope you enjoy it as much as I did, because it's quite a fantastic movie. If i've repeated myself a lot it's because IMDb won't let me submit anything that's not 10 lines or more.. sorry!


Films like these are in vogue - a well thought out plot involving an interesting cast of characters that are connected in some way. Some similar films include Pulp Fiction, The Ice Storm, Happiness and of course, the newly crowned American Beauty.

While the style of each one is different, what keeps the viewer in check is the story. In 5 Senses, J. Podeswa manages to weave the representation of each function with a character and how this applies to their work, their friends and so on. There is no basic premise here and like most Art-house productions, there does not appear to be a clear indication of where the film is heading. There is the sub plot of a missing girl, which somehow seems to bind the main cast together. But the film is not really in need of anything like that and in no way does it fall short of maintaining viewer amusement.

Well acted, well scripted and well shot. Obviously, Podeswa is a talent to watch.


Visually rich, somewhat slow paced, and hung together by varied amounts and quality of connection between the characters and a slight plot, the film manages to hold audience attention and intrigues the viewer. Many fascinating new faces to watch, moderate amount of tension, excellent acting, and an interesting-enough story line make this Canadian film worth seeing.


My sister and I went to rent a movie one day, and came upon this one. We both thought it was more sexual, but it wasn't. Despite that, both of us loved it. Personally, if i find it on sale, I'd buy this movie without hesitating. Makes you think about how much you actually need ALL your senses to live. Very thought provoking.


I really feel the splendid ideas of scripts and the good quality of cinematographer and music too. But overall, this s a second-handed-European-kind-of-style film that might be hundreds out there ever year in Europe and all better than this one. This one is not so fell into place. The pace is not nessecerrily slow and dreadful yet the links of 5 senses are too weak and trying too hard to be connected. It's much like it tries too hard, too hard to wanted to fall in 5 senses in order to speak the film's name. I really believe Jeremy could do better with much mature skill after years practice. Mary-Louise Parker is so not acting well this time, really not knowing what's wrong with her depth of acting, it's just as on the surface as the tone and expression she acts. anyway, I love art films like life, this one, really is a well intentions and ideas but so poor in flavor and style.


Three groups of people in three unrelated stories occasionally intersect in a trivial manner. There is a massage therapist who cannot touch her daughter, an eye doctor who is going deaf, a prostitute with a deaf daughter, a baker with little sense of taste whose boyfriend cannot talk English, a gay man who is obsessed with odours and who believes that he can smell love. The film also bathes the audience in sights and sounds. The plot is minimal, just sufficient to propel us through three days of their lives. A central occurrence that runs through the three stories is the disappearance of a 3-year-old girl from one of the stories. The pace is slow and the mood is entirely captivating. This is a very unique film.


It's out on rent so, rent it.

Man, is really good. It deals with a few stories that are connected if you think about it, mainly by a building.

Love, lost, memories and discoveries are the main emotions that drive this movie. Again, another perfect film that's plot-less. This film even has an event, which has been done over and over in film but, just because you are not attached to a plot it seems like the most original event in the movie. Mothers, daughters, friends and fathers are all living their lives, like any of us, not noticing the small things in life. Our sense, specially sight and sound are over stimulated by this beautiful movie. The little simple things is what drives this movie and god that's filmmaking, that's art. Let me tell you how good it is, is so good, the movie was over and I stopped the DVD and started it again, I was it twice last night I think I'll see it tonight again.


You don't leave the theater untouched by this movie. It reached me and didn't let go. I saw this movie five times and for those among you who missed it, be sure you can get your hands on a video or dvd.

It will stimulate al least three of your five senses...


Winter, falling leaves, wind, and coldness- those are the main elements we can get from this film. Of course, they create the atmosphere so good, together with the story and the characters. we can see 5 different story's in the film, which connected by technical things (live in the same building, work together or for each other) and the fact that they're all telling us story's about- family relationships, love, and craving for warmness. With the winter, and the great classical music, they remind us the need of the proximity between people, and inside the family. Every character, represent a sense, in a directly way, or the opposite- the lack of the sense. In the main story- a little child got lost,and it's influencing everyone- The mother, the women whom her daughter left the little girl at the park by her self, the doctor who misses his little girl and ask by the police about the misses girl,and the single women and her friend who feel it's a bad sign. The movie start with allot of sadness, (beside the cynical single), but ends with a note of optimism- and again, beside the single women, who gets a big disappointment from her men. The message- everyone wants to be loved, and to have this safe feeling that there is someone who cares for you, and return you in the same way you give him.


Five Senses is a Canadian film noir playing at an art theater near you. Set against a gray fall Toronto background, it tells the stories of a menagerie of individuals leading frustrating, incomplete and unfulfilling existences. One of the five human senses [hearing, seeing, smelling, feeling or tasting] takes on a dominant role in the lives of several of the main characters. All the players have a relationship issue, or two, or three. The story is told around the central event of a missing person, although not all of the characters are directly involved. Five Senses is an award winning film in Canada, but to others it may be just an example of government effort to encourage creative film making [and thus indirectly censor and control content]. The story line has legs, but cannot walk. Each individual story is compelling, but few are fully developed. The `plot' is poorly structured, the main characters largely unrelated, and the message oblique. Finally, the movie has a stopping point, but not no real end. Robert Altman could have made this a masterpiece, but Jeremy Podeswa gives us only celluloid.


After just viewing this film, I found myself appreciative of the attempt, but the sad fact remains: the film leaves you with so many loose ends, you have to wonder why Jeremy Podeswa started so many plot lines to begin with. If this was intended to be a character study, why set up expectations for individual conclusions? Most of the characters in the film end up in the same place they were where they began, but with not a gain in wisdom or understanding. In fact, the audience is left hanging along with the characters.


Very mannered, over-decorated and Egoyanesque. It feels like a film made by aliens who've been observing human emotions but have never experienced them first hand. Still, it has a good cast and a well structured story that doesn't tie all the loose ends up too tightly.


I got this film after reading the back of the cover. It sounded wonderful: An exploration of the five senses through the lives of five people that interconnect. After watching the movie, I wondered where the movie that the box described went. I didn't learn anything about anything. The only good thing that has come from this film is the quote "I'm tense because your making me tense." Its been awhile since I saw the film, but I do rememeber that this film does not live up to its expecatations at all. If you've only seen Hollywood movies, then you might think that this is art, but otherwise, your in for a dud.


This film really did make me laugh. The acting was terrible, the sound and special effects were nothing special. The only reason i watched this film is because it was free, and i still feel cheated.

All the way through this film it tried to be like Predator that happens to be one of my best films of all time!

The story line was exactly the same as predator, but thats where the comparisons end i'm afraid. Also finally, the aliens in this film are really stupid.

1/10 - its that bad. This is a warning - not a review.


The only likenesses between Predator and this piece of rotten-cheese are: the jungle, the soldiers, aliens creatures.

Unfortunately these ingredients are mixed so badly with stupid and clichè lines and unopportune shots that I wonder what was the screenwriter thinking about while he wrote this cheese.I.e.: what about the long and senseless scene of the soldier with the snake into his pants while the main character of the movie watch it and takes fun of him instead of helping? We are supposed to smile and thrill at the same time, but in reality all that scene is simply idiotic and it's a misplaced step that bring us to hate that character since the starting.

If you liked "Predator" then go and watch "Predator 2", that was an interesting follow up (although missing the presence of Schwarzenegger) ... but watch "Code Red" ONLY if you like a descent into "C movies".

Vote 3/10


Want to know how to get funding for a movie ? It`s relatively simple , just turn up at a sales pitch and say your screenplay is a cross between ALIENS and PREDATOR which means the producer will jump at the chance of making a film that`s a cross between two massive blockbusters . Don`t worry if he can`t do your script justice with a hundred million dollar budget because he`ll save a massive amount of money by filming in the nearest forest pretending it`s darkest Africa . And don`t worry if this is totally unconvincing because that`s the audiences fault for having no imagination . And no doubt the producer will cut other corners by using the alien costume from ENEMY MINE , the Borg costumes from STAR TREK:TNG , cast off corpses from LIFEFORCE and employ actors no one has ever heard of . And don`t complain either , you`ve got your foot in the door and with any luck your next screenplay will be produced with a budget ten times your debut movie . It may even be made with a six figure sum

!!!!! SPOILERS !!!!!!

What`s that you`re screaming ? Isn`t there such a thing as copyright ? Yes but in order not to receive a copyright writ make sure that you have a ridiculous ending in the last ten minutes with the alien being a good guy who`s actually being trying to save the humans . Despite copying ALIENS and PREDATOR scene for scene for the first 80 minutes the producers of these two films won`t be able to sue . Another tip is make sure the anti hero has family issues like a long lost brother who he hates so that when he dies the tough macho anti hero starts weeping like a big girl . This is what`s known as character development, and a scene like this didn`t appear in ALIENS or PREDATOR so once again you don`t have to worry about court appearances . And make sure one of the characters is an ethnic women because not only will Halle Berry be kicking herself she missed out on the role but all the women and ethnic minorities will be able to identify with her , especially if they`re good at martial arts . And since Tarantino style post modernism is fashionable make sure you steal lines from films like SPLIT SECOND or JAWS because the critics will think you`re a genius . And make sure your climax is very exciting , this can only be done by having the hero defuse a bomb . Contary to popular perception size is very important in these situations so make sure it`s a thermo nuclear bomb . Don`t worry if there`s no logic to this because the audience will be too excited to notice.

A big thank you to the makers of CODE RED for showing us how to make a movie


Oh I laughed and cried. Maybe I went in to it looking too hard, but this made for TV presentation is a lousy and by-the-numbers knock-off ('Predator' for most part) ah most of this cable ilk could be labelled so, but where it got me was how passé it was on delivering thrills and excitement. Yes, the story didn't draw me in at all (and does it get silly in the latter half) and the transparent characters would only annoy (not a good sign), so I was hoping they would up the ante, but it just smoldered along as it seemed to be running on empty and the macho dialogues were utterly pathetic. It didn't roll off the tongues, but felt forced and clunky. I just wanted some fun. No so luck. Hey one thing I couldn't knock though, even though it looks cheap however the CGI was competently executed and never overdone in any way. They even used some passable puppet designs too, and the main alien design works out well despite being a cross between 'Predator' (mainly the armour it wears) and alien from 'Enemy Mine'. Disappointing was that the action with these CGI beasties is cut-up and blurry, making it hard to adjust and the block-headed characters get plenty of time but in the end they aren't worth it. Brian McNamara was so-so, but the rest were largely forgettable, just like this whole presentation.


*POSSIBLE SPOILERS* People often use the term "ripoff" quite liberally when describing a movie. In this case however, it cannot be overstated enough. From the plot of an elite military unit sent into a jungle under the guise of locating a similarly elite team that lost contact, right down to the stoic Native American soldier copy of Predator's Billy, it can only be assumed the creators of this monstrosity were hoping the viewers had never seen "Predator." Of course along for the ride on this trip is a female version of Dillon who knows more than she lets on. And what does all this add up to? Discovering horribly disfigured corpses of the lost team upon arrival, an alien running through the jungle keeping tabs on the team, members being picked off one by one and even killing one man off then hoisting him high up in a tree. Of course the alien can shoot an oh-so-similar "laser cannon."

So what exactly is different? There is of course no Arnold. There is also the supposition that the alien presence is known, and has been known, for years. There is even a modern military bunker in the middle of a jungle with a placard above the door identifying who runs it and what it's for. Beyond that is the typical B-movie stuff: bad acting, cheesy special effects (the "alien" is a man in body armor and a mask) and laughable dialog. One team member even carries a PDA that apparently gets great reception in the depths of a the jungle, but never uses it to contact the outside world for help or info. Of course then there is the universal theme of tossing in a nuclear bomb that needs to be disarmed. The really great twist is that in order to stop the timer, rather than entering a code, the team must answer a series of trivia questions.

Though there is no reason to condemn a film strictly for being a B-movie, it is the shameless copying of story line down to minute detail which sets this one apart from other's like it. The only mystery to this film is how to find a way to rate it without anything lower than a 1. If anyone wants to have a good time watching this film, it should be by trying to match up the number of times "Predator" is plagiarized.


My expectations were pretty low (talking Death Valley low here) before I saw this movie and I'm thankful of it. Yes, it is a mindless copy of Predator / Alien series / <insert favorite B-sci-fi movie cliche here> all together and yes both the acting and script were pretty atrocious and comical. Code Red borrows way too many scenes (and characters) from the aforementioned titles for it to be distinguished as a movie. A scene or two is fine (sort of), but to recycle everything just makes it plain obvious you had no idea what the heck you were doing.

2/10


¡°Code Red: Rubican¡± is about a soldier forced into exile due to ¡°psychological¡± disorders resulting from a failed mission in the past. When a commando mission in the jungle goes horribly wrong, he is called in to help lead the next team. When they enter the jungle and discover the mutilated bodies of the previous team, they quickly realize that there is more to this mission than they were told. While watching this movie I found it hard not to compare it with another very well known movie of a similar nature. (Predator)

Those who like movies where people wander through the jungle and are preyed upon by unknown forces, should enjoy this movie. I was not that thrilled. Late night television only.


I saw it last night. Did it look like Predator? Yes. Did it look like Enemy Mine? Probably. I never saw Enemy Mine. Did it look like The Last Starfighter? No. How about Alien? Yes, vaguely. Was it a ripoff of those movies? DEFINITELY NOT! Nothing is original. One reviewer said that the took Borg costumes from Star Trek: TNG. If you remember Star Trek: TNG, and I do, then you'll know that the Borg didn't wear helmets that covered their entire heads. They had flashlights for eyes. So as not to spoil it, I'm giving a thumbnail of the plot. Marine suffers nervous breakdown. Marine is brought out of retirement to find his missing brother. Marine joins SEAL team find his missing brother and alien cyborg. Militants want alien weapons. Militants are eaten by man-eating alien bugs. Want more? Watch the movie. I ain't givin' away no more secrets.


Yeah - very similar film to Predator, team of army folks trekking through the jungle and encountering alien lifeforms. I loved it, some of the film quality was a bit dubious, looked like someone had been let loose with a videocamera and a couple of army surplus uniforms but the acting was adequate and the story okay. Parts of it I hid behind the sofa from, which is always a good standard to set a horror film by.

Filmed in Australia, so it ain't up to Hollywood standards but it doesn't pretend to be, it's just a very watchable film.


The movie was a lot like "Predator", but it kept you on the edge of your seat and it had an interesting twist at the end. I really liked it


I bought this film second hand for real cheap a couple of years ago... I was drawn in by the cool cover art that Medusa pictures made for it. Now, despite what everybody else says...this movie really isn't bad at all, its got great soundtrack, style and actors.The main actor Vince Colosimo is perfect as the good looking hero of the story and makes the character sympathetic as a tough guy who's just from the wrong side of the tracks and is really a nice guy!Watch out for the part were he hits one of his teachers in the face when she bullies him...cool scene! Also the song on the end credits "Every Beat Of My Heart" by Jon English is such a cool song.The only slight fault of this movie is that it is a tad too long but hey, we cant hold that against it... so my advice would be to get it despite of the bad comments from others...and definitely check it out if you love eighties style movies and eighties rock music cause there's tons of that cool stuff!!!I should also mention that this film is hard to come by but you should try get it one ebay because it is worth it.The story to it is about a young dude called Vinnie who does boxing in his spare time but keeps getting kicked out of school.His mother is going out with a real scumbag guy because the father died.He often beats her and Vinnie thinks hes no good for her!Vinnies mother asks him to join the school band because she thinks it will keep him busy and off the streets away from all the bad action and maybe help him with a future career! All during this film there is some really great music by rare rock bands like Dragon...some of the cool songs are "New Hero","Wilder World" and "No Angels Tonight" all of which are brilliant tunes that you'll find yourself humming them for the following couple of days!


all of of the tortures in the world could not compare to sitting down and watching this filth.Surely even when this film was first released it would have been considered tacky back then.i'm ashamed to even live in the same country as this film was made in.what a waste of plastic and film.


Tired old tale of a rough boy from a hellish background whose heart's in the right place and who battles against the odds to make it because there's one radical authority figure who believes in him. Oh and of course, he's in love.

The only entertainment in it is the horror effect of the mid-80s Pat Benatar fashion, make-up and hairdos. Where do you buy a red leather sleeveless jacket these days?


Before moving on to their prolific (and highly successful) POPEYE series (as well as into their unfortunate GABBY series--just imagine Elmer Fudd without his macho sex appeal), Paramount's Fleischer brothers poured their creative genius into BETTY BOOP. This is their finest B-B cartoon, and may just be their finest EVER, period.

Using their 3-D filming process (and a unheard-of budget for a cartoon short), they adapted the Cinderella legend to Betty, adding some marvelous songs and (likely roto-scoped) beautiful dance numbers. For reasons not told, this was the only Betty Boop cartoon ever done in color--a tragedy.

Look for versions with the original opening titles intact--even the titles show that this was a project of love (and yes, money). Plus, Betty's as sexy an ingenue as ever thanks to Technicolor.


Max & Dave Fleischer & co. were among the very best of the creators of novel and surprising applications of animation from the late teens through the entire decade of the 1930's. For "Poor Cinderella", they must have noted Disney's stunning "Flowers And Trees", produced in 1931 and released the following year. The latter is generally credited as being the first full color process American cartoon, as opposed to two strip color which emphasized either blues or greens at the expense of certain shades that were lost to the lesser and less costly techniques of the day. For budgetary reasons, the ever inventive Fleischer Bros. developed their own "Cinecolor" approach, which was a variant on the two-strip color format. Although it apparently never quite caught on, they had applied for a patent while releasing their astoundingly beautiful and hysterically surreal and laugh-laden Boop masterpiece in 1934, the only Betty Boop color cartoon.

Combining their proprietary Rotoscope technique along with other dimension enhancing toolkit tricks, few cartoon shorts have ever matched this effort for sheer entertainment value. They did try saving money on the color, as mentioned, but the whole production was obviously a very expensive endeavor, when all its components are considered in sum. The results offer a lasting tribute to the art and magic of 1930's animation.

As a Depression-era vehicle, good jobs were scarce but the Fleischer team's uproarious talent sported young and brash animators who were willing to push the envelope of sensibilities and censors alike, much to our delight. Even the closing sequence is incredibly absurd, and gems like this will forever prevail.

Betty had already helped launch the Popeye series a year earlier, so by 1934 the Fleischers had their distinctly urban stamp firmly planted under two cartoon banners aimed as much, if not more, at adults as the kids. If that weren't true, they wouldn't have always had to play "duck and cover" with the ever-present Hays commission, censor gavel at the ready. Thanks to the Fleischer folks and all involved parties, for the guts, the creative ambition, the sheer genius, and the uncompromising quality of whichever production standards were chosen to collectively coalesce into a cartoon gem for the ages. This is a must see.


This is an absolutely beautiful cartoon! Most Fleischer shorts were quite visually striking, to be sure, but Betty Boop only had one color cartoon-this one. While in many ways it's good that black and white was used for most of her cartoons, the sweep of this cartoon cried out for color. The Fleischers were likely also hoping that Betty's popularity would boost interest in the Color Classics series that they were starting. Betty as Cinderella was certainly fitting-after all, Cinderella did ultimately become a princess when she married the prince and Betty Boop is cartoon royalty. Wonderful effort from the brothers Max and Dave. In print and available. Most highly recommended.


Betty Boop, fetching even in rags, meets her prince thanks to her fairy godmother. Similar elements of the movie are here, but the short stands in it's own. There are wicked stepsisters, but no stepmother. The animation of the mice and lizards transforming to horses and coachmen is very reminiscent of the Disney movie. The music would fit in that movie, but adds to the short's charm. I really liked the Cupid who banged the prince on the head with a mallet when he first glimpsed Betty. The talking pumpkin is a little scary with it's jagged teeth and deep voice. The ending is happy of course with Betty reunited with her slipper and her prince. While this short can't match that movie's completeness and gloss, this is a very enjoyable short for lovers of the classic story. This is the only color Betty Boop cartoon that I have seen and hopefully not the only one in existence.


If I had to produce a list of the twenty best classic cartoons of all time, it would take me well over an hour to produce it, but this would be an absolute inclusion. I hate to give any film a 10-out of-10, but I have to with this one. Max and Dave Fleischer never quite reached the depths, in shorts of course, that Disney did with either 'The Band Concert' or 'Skeleton Dance' or especially 'Wyken, Blynken, And Nod', but this is definitely one of their three best, and two of those are in the Color Classics series. The Fleishcer's never quite recovered after Disney made 'Snow White' and they made their two average, but box-office dud, features (with one glaring exception-the three color Popeye's they did). What else? This cartoon is in two-color Technicolor (it says Cinecolor in some prints) and Betty has red hair, as well as a voice not by Mae, like we usually hear. What we get in this cartoon is an-all-around classic, one worth watching by any stretch of the imagination. The film runs 7 minutes, and the best print is one the 'Somewhere In Dreamland' DVD, which you should buy right now if you don't have.


This is the first color film from the Fleischer Studio and it's in something called "Cinecolor"--which appears to be a variation on 2-color Technicolor. Unlike the older 2-color Technicolor, the film seems to have a lot of blues and a slightly greater color spectrum. It is easier on the eyes than the older process but it truly isn't full color--the full spectrum is missing. This cannot be confused with the rich and vibrant colors of true Technicolor--a more expensive process that was also being introduced around the same time. Not surprisingly, Technicolor became the dominant color process, as it simply looked nicer and wasn't mostly orange. Now despite these limitations, this Betty Boop cartoon is nice to look at because like many of the Fleischer cartoons, there were very lovely line drawings and a nice 3-D look to the backgrounds (something this studio specialized in). These help you overlook the orange hue on most everything.

Clearly this in an innovative film, though I also think it suffers from two major problems. First, although it's a Betty Boop cartoon, it's an amazingly "by the book" rendition of the old story. There isn't much new or exciting to the tale. Second, if you are not a fan of Boop, you also might not be all that impressed--simply because she's a rather dull character compared to animated characters from the 40s and 50s (which had a lot more personality). However, compared to competing contemporary cartoons of the era, this is a fairly good short. While nowhere near the quality of most Disney cartoons, compared to Warner Brothers and the other studios, it is clearly technically superior. Worth a look if you are a film historian or want to see a better than average cartoon of the 1930s.

By the way, I saw this film on the DVD entitled "Cartoon Crazys: And The Envelope Please". This is a rather poor compilation of supposedly award winning and nominated films. Poor because several of the films are very lame and are NOT award nominated, the prints are rather bad and parts of some of the cartoons are missing! This might account for the extreme redness of the cartoon, as it could use a good restoration. Cinecolor and Two-Color Technicolor films often get an even more orange look over time but clean up quite beautifully.


This one favorite Betty Boop cartoon and also "Cinderella" is one of my favorite fairy stories; I also would like to point out that this short was maded 16 years ago before Disney's theatrical version.

Like I said I love animation from Fleischer Studios (also from Disney,Hanna/Barbera,Rankin/Bass and Studio Ghilbi from Japan) and Betty Boop is one of my favorite cartoon characters beside Bugs Bunny,Twetty,Pepe le Pew of Looney Tunes and Disney's Donald Duck and Mickey Mouse. I love the ballroom scene, where Betty/Cinderella and The Prince dance (until midnight that is). And I also love the main title song :

"I'm just a poor Cinderella Nobody loves me it seems And like a poor Cinderella I find my romance in dreams.

For that's where I meet my Prince Charming When I'm with him, cares stay away I'm just a poor Cinderella But I'll be a princess someday!"


Wes Craven's "Scream" was a strikingly dead-on persiflage of the Slasher genre while at the same time including enough scares to become more than just a parody, but an important part of that genre itself. "Behind The Mask: The Rise Of Leslie Vernon" is very similar in that aspect, but it's also completely different in others.

For the most part the movie is a fake documentary in true "Spinal Tap"-fashion. A TV crew follows Leslie Vernon around, a guy who has the ambition to become the next slasher legend after his idols Michael Myers, Jason Vorhees and Freddy Krueger (who exist in the movie's reality). As Leslie shows the team how he prepares for a killing spree he deconstructs one horror rule after the other with pretty amusing results. The movie observes the genre pretty well and the sort of "Backstage" look we get of a horror icon lovingly planning his big night is nothing short of hilarious. Where "Scream" made fun of some ridiculous horror clichés and toyed around with them, "Behind The Mask" is merely explaining just how those seemingly supernatural killers are able to work so effectively. So, although both movies cover similar ground, "Behind The Mask" is never in any way repetitive.

Leslie Vernon turns out to be a really sweet guy who just loves what he's doing. He's friends with an older, more experienced slasher, who's also very warm and talkative. Neither of those guys look like typical maniacs, so when Leslie does make his first appearance masked and all, it's rather amusing.

However, the movie makes a pretty amazing turn in the final third. For the big showdown we leave the movie-within-a-movie scenario created by the documentary set-up and are taken right into the movie's reality. All of a sudden "Behind The Mask" turns into a real slasher film. Although this last part isn't half-bad, it's not quite as enjoyable as what preceded it. The twist is a bit predictable and the movie lacks real gore and suspense at the end in order to work as a slasher flick. One has to say that "Scream" coming from an old professional such as Wes Craven was more successful in that aspect. Still, regarding the fact that this movie strictly concentrates on fun in the first two thirds and only begins to throw in full on horror bits in the end, the showdown works quite well.

Leslie's mask was chosen wisely. It can look ridiculous and scary depending on the mood of the scene. Nathan Baesel, who makes his movie debut here, was chosen even more wisely. He can play the nice guy and the psychopath without ever overacting and hands in a great, great performance. The other member of the cast that must be mentioned is horror legend Robert Englund who does a nice Donald Pleasance-impersonation.

The subtle little homages to "Friday The 13th", "Halloween" and "A Nightmare On Elm Street" throughout the movie are the icing on the cake and will make the heart of every true horror fan beat faster. And that's the only true flaw of "Behind The Mask" right there: it's for true horror geeks only who can laugh about the inside jokes. Everyone else will probably not be entertained as much. If you're into the genre, though, there's no way you should miss this excellent motion picture.


This is by far the worst movie I've seen from France in the past 5 years. This supposed comedy is anything but funny. The lead character is a narcissist so wrapped up in his work & making appearances that he's unaware of the impact he has on those around him. Why anyone would associate with this creep, much less have an affair with him is beyond me. His character is so abhorrent that there is no empathy from the viewer to the events that take place. It also fails as any type of social critique or satire as it is decidedly unfunny and doesn't create any insight into its subject matter.


Laughed my head off - a howling laugh riot - sexy for sure - entire cast is gorgeous, but it's so funny you don't have time to think about whatever hormones may be rushing through your body as the beautiful people parade before you - for me it says just how absurd we all are and what complications we create over nothing! Left me with a wonderful feeling at how uncomplicated my own life is and how I have managed to avoid complication by keeping things simple - also by keeping wacky people out of my life! Like all French films, this one is character-driven, something Hollywood doesn't know anything about and which distinguishes French films above all others. There is something about French films that is truly unique and this one is a perfect example of French film at its best - although I cannot think of any French film I did not like.


This film tempted me to leave within the first half hour during the screening at Sundance.

It's rarely fun to follow characters who don't change. And much less fun to see them naked and frustrated while doing so. Don't get me wrong, we all love a little skin and angst in film, but this film lacked other elements to even that out.

I got worn out by such a depressing cycle of events. During the Q & A, the Director said he wanted to explore the life of a man who remains unchanged.

I say, explore it if you like. Just don't spend any more money filming it.


This film is the definitive example of pretentious French film-making at its worst. What could have been a sharp and witty satire on sexual identity is instead a rancid bouillabaisse of tedium. The main protagonist's character is utterly lacking in anything remotely positive and his "conquests" are as equally vapid. Everyone in this film either scowls or pouts and there is nothing likable about the whole bunch. For a film that is suppose to be a black comedy the one glaring omission is humor. It has the feeling of a movie that wishes to be many things but can't quite make up its mind as to what. What it ends up being is just relentlessly tedious. The only humor to be found is in asking ones self, "Do people really talk to each other this way?" One only wishes the ex-con at the end would have wiped out this whole sorry bunch of narcissists and brought some life into this dull mess.


"Confusion of Genders" is all about Alain, a wishy-washy lawyer and mostly gay bisexual who has a male lover, a female fiancé, and another female who is lusting after him for reasons unknown. Although the film is well crafted with believable performances and solid production value, the story is a depressingly misanthropic satire in which no one has a good word to say to anyone during the entire run leaving us, the audience, detached and with no one to care about. The result is a less than satisfying watch with a bad after taste, when combined with lots of inconsequential dialogue and, hence, subtitle reading will make for a less than desirable watch for most. Only for French film fanatics who don't mind lots of graphic gay sex. (B-)


Tom is lying around on the porch at the Dude Ranch when he uncovers Jerry under a flowerpot. While Jerry races away, Tom lassos him, the rope even going around the corner of the building! Suddenly, a station wagon roars up and out comes a beautiful cowgirl, er catgirl.....whatever....Tom is smitten, big-time!

Tom runs back in the house and gets his best cowboy duds on and starts strutting in front of the girl, trying to impress her. He pulls out his tobacco and papers, has Jerry lick the paper, pulls out his gun and shoots it to light the cigarette. He then blows a smoke ring that says, "Howdy." Wow, is this dude s-m-o-o-t-h!! Tom then serenades her (with the cows singing the chorus!). Man, he's pouring it on. Jerry, however, is ready to puke watching this spectacle. He decides to put an end to it....and how! Poor Tom takes a beating, especially from an irate steer.

All in all, there are numerous laugh-out-loud scenes in this animated short - really good stuff. Great music, too, with amusing lyrics in some of the songs.


This is one of the better Tom and Jerry cartoons to prominently feature music. For some reason, whenever music was a focus, the short was usually excellent (examples include, Solid Serenade, Johann Mouse, Pecos Pest and, obviously, The Cat Concerto). Here, there's a hilarious song at the outset, over the opening credits and a bit later, Tom does his best impersonation of a cross between Tex Ritter and Milli Vanilli. Jerry, for a good many reasons, does his best to destroy Tom's romantic intentions (hey, what are "friends" for?) and largely succeeds. At cartoon's end, we leave amid the strains of another musical interlude and a twisted variation on an old cliche of the western genre and a good time is had by all, except Tom, of course. Well worth tracking down and most highly recommended.


Tom the Cat is having fun with Jerry the mouse in the old West lassoing him up. Until a girl cat comes along and sets Tom's heart on fire. He waists no time in trying to woo her. Of course Jerry doesn't want Tom happy. So he, along with some help from a bull, try to put the kibosh on Tom's chance at love. The hit to miss joke ratio in this one is greatly in favor of the hits. And it's very enjoyable throughout. Of course I'm biased as i pretty much love anything by the cat & mouse duo. This hilarious classic cartoon can be found on disc two of the Spotlight collection DVD of "Tom & Jerry"

My grade: A


Tom, now a cowboy (or cowcat) on a farm somewhere in Texas is involved in his usual pursuit of Jerry when a gorgeous girl cat arrives. He is immediately smitten and falls in love, hoping to impress her with a tough guy act, and serenading her with a mimed song.

Not taking too kindly to being treated as a slave in his love game, Jerry messes up Tom's plans and gets him on the wrong side of the farmyard bull. It's a pretty funny cartoon, especially when Jerry tampers with the speed of the record Tom is miming to, and there's quite a bit of inventive visual humor too. I just wish that Tom would get the girl for once.


"Texas Tom" isn't particularly one of my favorite Tom & Jerry's cartoons, but still it is great fun. While not one of their finest, it does not disappoint in any way. Besides, this is a different Tom & Jerry's cartoon because it takes us to the old Texas, to the generation of cowboys, which makes this a western. Yet, this has the advantage of being much more pleasant than any live-action western movie. There's no doubt that some things only work in cartoons.

The story is generally good, the artwork of high quality and the jokes are typically... Tom & Jerry. Curiously, an excerpt from this cartoon is used in "Cruise Cat", in a funny sequence when Tom and Jerry watch themselves at the cinema, in "Texas Tom" - which is and isn't an amusement for both of them.

Lots of funny gags are a reality here. For example, it's hilarious to see Tom pretending to sing "If you're ever down in Texas, look me up" and playing a guitar at the same time (while he hears the record), to seduce the cowgirl (the well known Toodles, Tom's passion), but Jerry makes the whole thing even funnier when he decides to give wings to his own sense of fun: he ruins Tom's plan by changing the speed on the record player, which causes Tom to sing very quickly and then extremely slowly (with a typical cowboy voice). That is so hilarious!

I also find very funny when Tom is disguised as a cowboy and walks like one, rolls up a cigarette by using Jerry, a gun to light the cigarette and then smokes it to puff out the word "Howdy". And all of this very much in a style that resembles legendary stars from the 1950's, such as Elvis Presley and James Dean.

Soon, we also get to see Tom having some conflicts with a big bull, thanks to Jerry and his sense of fun.

Overall, a good cartoon that should not disappoint the fans of Tom & Jerry.


Tom and Jerry are in Texas as cowboys. When a beautiful female cat arrives Tom falls instantly in love and tries to be really cool. Of course Jerry makes sure he has not got a single chance.

This is one of the funniest cartoons from Tom and Jerry. Every joke is a good one and the songs used are quite good as well and perfect for the story. Simply great.


In this story Tom and Jerry are decked out in western wear as the setting is a Texas ranch. Tom as a cowboy is quite smooth, as demonstrated by his cigarette-rolling ability and flawless lip sync, while trying to impress cowgirl kitty. Jerry, of course, must thwart Tom's efforts to charm-in ways that provide lots of laughs. A bull gets involved, and as usual there is much trouble for Tom.

This is not one of my favorites, but by far still one of the better episodes.

What they were doing at a ranch is unknown, like many of the settings we see them in. But it really doesn't matter; they're enjoyable wherever we find them!

Apparently such a good episode that it can be found on both volumes 1 and 2 (disc 2 for each) of the Spotlight Collection DVD set.


This isn't a particularly great Tom and Jerry cartoon, but considering it was made during the absolute best period of animation from MGM (1941-1956), it still is a very, very good cartoon. Tom and Jerry are out West and Tom is apparently a very capable Cowcat (he really can't be a "comboy", can he?). He spends much of his time tormenting Jerry with his rope tricks until a cute female cat shows up (the same one that periodically shows up in their cartoons). So, Tom wants to impress her but ends up being outwitted by Jerry--who then tries to woo the girl cat (that's kind of weird, huh?). Once again, the cartoon has excellent production values and I have no major complaints other than the fact this wasn't a particularly memorable cartoon--just an average Tom and Jerry toon.


If you liked the Tasmanian Devil in the Bugs Bunny cartoons, then good news, he has his own show. I always got up in the morning to watch this show on Saturday mornings. I liked the theme tune and the interesting things that happened. Taz has a family now, a Mum, a Dad, a younger sister and a little brother. Taz works in Hotel Tasmania (some episodes) as the cleaner, run by Bushwacker Bob and his Mom, and his work buddies Constance the female Koala bear and Mr Thickley the kangaroo. There were some other good characters throughout the show as well. These include: the Platopus brothers, Digeree Dingo, Francis the Bushlad, Bull and Axel the hunters, Buddy Boar, Willy Wombat and many more. The kids will like it. Very good!


There are many TV shows I remember from my childhood, but of them all, this was perhaps my favourite! I discovered it in 1994, the year after it ended, meaning I was seeing all reruns, but that didn't matter. I was eight years old at the time, and would watch and tape it every Saturday morning, and I wouldn't find out I was seeing all reruns until about a decade later anyway! In more recent years, I have sometimes rewatched episodes on tape, and have very recently managed to see almost every episode on the Internet, many of which I never saw in my childhood, maybe even the majority of them. It turns out that like certain other TV shows I watched in the 90's, this one isn't just for kids!

The Tasmanian Devil (a.k.a. Taz), a character who appeared in several Looney Tunes cartoons in the 50's and 60's, has his own show here. He still spins around in a whirlwind, sometimes through trees and rocks and drilling holes in the ground, and still makes sounds, rarely speaking in complete sentences (though he occasionally shows that he CAN talk normally). He also still loves to eat, and is capable of consuming mass quantities in one gulp! However, unlike the earlier cartoons, he is a teenager in a family of five here. His parents are Jean and Hugh, both loving, caring, laid back parents, but they're also misguided and absurdly tolerant of Taz's behaviour, and virtually nothing makes them angry! Taz is the eldest of three siblings. The middle sibling is Molly, who is often seen talking on the phone with friends, and her favourite band is New Chips off the Block (obviously based on boy band New Kids on the Block). The majority of the conflict in the family is between Molly and Taz. The youngest is a playful young boy named Jake. These family members are all more advanced than Taz, and always talk normally. The family has a pet turtle that acts like a dog, and Uncle Drew, who appears in three episodes, the "Road to Taz-Mania" trilogy. He has a rather unsteady relationship with Hugh, his brother, as they like to insult each other.

Taz's family members don't appear in every episode, as there are many other recurring characters. In his early cartoons, Taz was known mainly as a vicious but dimwitted predator of Bugs Bunny, and is sometimes the predator in episodes of this show as well, such as the ones with Kiwi, who never makes a sound but is extremely clever! On the other hand, there are also episodes in which Taz is the prey, when Bull Gator and his idiot sidekick, Axel, try to capture him for the "zoo-going children" to see, or when Francis X. Bushlad tries capture him so he can earn his manhood in his tribe! Other characters include: Bushwacker Bob, Taz's arrogant, selfish, lazy, short-tempered boss at the hotel where he works; Mum, Bob's mother, who runs the hotel with him; Digeri Dingo, a selfish, lazy, scheming dingo dog who loves to use Taz; Wendel T. Wolf, a Tasmanian wolf who believes he is the last of his species; the Platypus brothers, Timothy and Daniel, pseudo-handymen who think they are scientific geniuses; Constance Koala, a huge, strong koala bear who likes to dance and sing, and works at the hotel with Taz; Mister Thickley, another co-worker at the hotel, a wallaby who tries to be the most beloved character; Buddy Boar, Taz's deal making pal; the Bushrats, a tribe of rats who talk with subtitles; and Willie Wombat, who appears in several later episodes, a friendly wombat who struggles to try and get a better role in the show. Whichever character(s) Taz is with in the land of Tazmania, it's bound to lead to slapstick chaos!

Watching episodes of this show now, I can still admire it for the animation (with beautiful backgrounds usually featuring yellow skies), musical scores, characters, etc., just like I did fifteen years ago, but it obviously isn't exactly the same. As one would expect, there's a lot of slapstick mayhem (with Taz often the victim), but there's also some satire/parodying I wouldn't have understood as a kid, with such episodes (or segments of episodes) as "We'll Always Have Taz-Mania", "Ticket Taker Taz", and many others. I also have more appreciation for some of the characters than I used to, including Taz's lovable family, with his over-affectionate mother and babbling, orange juice-loving father, with his catchphrase, "blah blah blah yackety shmackety," and the way they sweet-talk each other! There are so many lovable characters outside the family as well, plus some comically mean-spirited ones! Basically, all the characters contribute something to the show, though obviously some more than others. For the most part, "Taz-Mania" is consistently funny, with physical humour, satire, the antics of Taz and sometimes other characters, the main character's adventures, etc.

This early 90's cartoon series was a success during its run, and still seemed pretty popular in the mid-nineties when I watched reruns of it, but unfortunately, it doesn't exactly seem like it ever was successful now. The show sadly doesn't seem to be nearly as widely remembered as "Tiny Toon Adventures" and "Animaniacs", two other Warner Bros. cartoons from the same decade. It wouldn't have hurt if the show had lasted longer than it did, and if it were as popular as it deserves to be, it would have been released on DVD years ago, not long after they started making "Simpsons" DVD sets! And yet, there still hasn't been a DVD release of the cartoon, and reruns seem scarce. If it could get more recognition, I'm sure it could appeal to so many kids and adults alike, which I'm sure it did in its heyday! So, regardless of your age, if you like cartoons, and know a way to see episodes of "Taz-Mania", it could be well worth watching!


Not a bad show! Was part of a very popular Saturday Morning lineup that probably attributed to its success. Not as good as the rest of the lineup, but still funny. Included were many members of Taz's family including his valley girl sister, his laid back father, his action figure playing brother, and his mother, who was a typical mother! Hard to find on video, but if you can, I'd try and rent it.


Everyone likes a prison movie, and everyone likes a Gene Wilder-Richard Pryor comedy, so combine those two genres, and you've got a formidable piece of cinematic history. The two comedians play Skip Donahue and Harry Monroe, a pair of New Yorkers whose lives are going nowhere. After witnessing a very unpleasant scene in a bar, they decide to move out west. In Arizona, they get a job in a bank as dancing woodpeckers. Then, some thugs get hold of the costumes and rob the bank. The crime naturally gets pinned on Skip and Harry, who get put in jail. Adjusting to life behind bars isn't all that easy for them, until Skip everyone discovers Skip's rodeo talent.

Gene Wilder and Richard Pryor always made a great comedy team, and "Stir Crazy" is no exception. When I was in fifth grade and the teacher showed us "Willy Wonka and the Chocolate Factory", she told everyone that Gene Wilder was a great actor in many movies. I said "Stir Crazy", and she asked "Uh, did your parents let you see the whole thing?" My parents did let me see the whole thing, although there are some scenes that make it R-rated. But it's a really funny movie; you should see it.


Gene Wilder and Richard Pryor was a good comedy team of the 1970s, making several hit movies together, this being one of the more memorable. Viewing this movie recently after a 25-year absence, it was a shock to me to hear the language. I had remembered this strictly as a light-hearted comedy but I can see why it's rated "R." That is solely for the language, especially by Pryor, but he was known for his profane humor.

If you can put up with that, the film is downright funny, even today. I found myself laughing out loud at a few scenes, all of which I remembered vividly from several viewings in the '70s. They are still just as funny.

Who could forget that mammoth criminal with the long, long name - Erland van Lidth de Jeude? He was the guy that scared the hell out of everyone, just by his physical presence. In real life, that man was the opposite of his projected image on screen. He was a graduate of MIT, an accomplished opera singer, an Olympic wrestler, devoted husband and father, writer, etc. The poor man died at the age of 34.

It also was interesting to see such a young looking Craig T Nelson and JoBeth Williams.

This might have been the best of the Wilder-Pryor films. I was shocked to see that Sidney Poitier directed this movie. I didn't know that until seconds ago when I looked at this IMDb title page.


Skip Donahue (Gene Wilder) and Harry Monroe (Richard Pryor) are best friends living in New York City. Donahue is an amateur playwright, working a day job in department store security. Monroe is working as a catering assistant. When Donahue is canned for harassing a starlet and Monroe is fired because his marijuana ends up in the food at a society dinner on the same day, Donahue takes it as the perfect opportunity to finally leave the cold, unfriendly metropolis and head out West. Unfortunately, neither is very well adapted to life outside of New York, and they end up framed for a crime.

I hadn't seen Stir Crazy since at least the early 1980s. Recently I had a chance to rewatch Gene Wilder's The Adventure of Sherlock Holmes' Smarter Brother (1975), which I hadn't seen since the 1970s, and I was a bit disappointed. So I was nervous that Stir Crazy might also be a let down this far removed in time. That couldn't have been more wrong. I may have even thought it was funnier and more exciting this time around than when I first watched the film as a teen.

I had forgotten that Stir Crazy isn't just a comedy. It's also fairly suspenseful and surprisingly serious at times in the last act. Director Sidney Poitier makes a smooth transition through many genres--buddy film, road movie, fish out of water story and prison film, aided of course by Wilder and Pryor. While both actors have had plenty of performances just as good as Stir Crazy, neither have had any that were better.

In a way, this is really more Wilder's film than Pryor's. That's no slight on Pryor; Wilder just ends up getting more screen time. He presents a hilariously bizarre, complex character who is full of contradictions--kind of a channeling of a less loquacious Woody Allen through a more down to earth version of his Willy Wonka (Willy Wonka & The Chocolate Factory, 1971). Wilder's Skip Donahue has an air of Mister Rogers-styled good-natured innocence, with the same kind of odd and maybe creepy homoerotic overtones, but he'll also turn on a dime into a neurotic, screaming loon. As I said, it's all very complex, but extremely funny and enjoyable to watch.

Pryor's Harry Monroe is more of a streetwise perpetual victim who doesn't adjust to the social world of the criminal justice system as well as Donahue does. He has a much more typical reaction, with no misconceptions about their dire circumstances.

The crux of the humor in the first section of the film is the naivety of Donahue's "grass is always greener on the other side" conception of the Western U.S. compared to New York City. Of course, things turn out to be not quite so simple, but it's funny and charming that Poitier and writer Bruce Jay Friedman have Donahue never quite wake up from his naïve misconception. It also turns out to have much more weight than just a comic device: Donahue survives in prison as well as he does, and it brings about the profound changes of character--Donahue becomes much more authentic, realizes his potential, gains material for his art and even gets the girl--because of his continued misprision (in the Bloom sense) about life outside of New York City, and in the end, it enables a "return to the market", as they say in Zen Buddhism.

Watching Stir Crazy at this later point in time, some of the humor might seem a bit clichéd to younger viewers. It's important to remember that this is where a lot of those "clichés" came from. In 1980, everyone was mimicking scenes from this film (such "We bad . . .") and repeating dialogue and jokes. Some of the filmic (and by extension general cultural) folklore or urban legends about prisons contained in Stir Crazy had made appearances in films prior to this one, but not in the particular irreverent way that they're satirized here.

This is an important film in the careers of a few of the greatest actors and comedians (Wilder, Pryor and Poitier), with an important place in the history of Hollywood comedy. The fact that it's also suspenseful and has philosophical things to say about human nature is a bonus that makes this a film you shouldn't miss.


"Stir Crazy" once again brings together the comedic talents of Gene Wilder and Richard Pryor. Here, they play Skip and Harry, two hapless slackers in New York who decide to go west to find their fortunes. On the way, they stop in Arizona, and get framed for a bank robbery. This lands them behind bars. This movie is loaded with screwball comedy, and it shows Gene Wilder at his most manic. His methods at pretending to be insane and keeping his spirit from being broken will elicit the big laughs. It all climaxes with a prison rodeo, and an elaborate breakout scheme. "Stir Crazy" is a comedy classic, and reminds us all of the comedy team of Pryor and Wilder.


the scene when grossberger meets pryor, and wilder alone is worth it! and when they are playing cards!!!!! and wilder's "back problem cure" scene is astounding!!!!! these two actors were made to work together!


Recently i bought a DVD-recorder. As a stunt the shop sold it at a special price, together with a selection of Movies on DVD. One of these DVD's is "Stir Crazy". I watched the film again, this time together with my 13-years old son and a friend of his. The boys were rolling on the floor with laughter, so one can definitely say that this is a timeless comedy, that never ages. The film always leaves me with a good feeling and i have seen that it still works, even with kids these days. The acting is superb, the dialog continually funny, the prison setting convincing and an extra credit should go out to Jobeth Williams' small but heat-warming part. Guaranteed to bring a little sunshine to a rainy day.


Simply put, one of the greatest buddy movies of all time. Pryor and Wilder were great together. At least for their first two movies together. Pryor and Wilder are at their funniest as two guys wrongly convicted of a bank robbery.


Enjoyed this film starring Gene Wilder, (Skip Donahue) and Richard Pryor, (Harry Monroe) who are arrested and sent to prison for a bank robbery which they did not commit. Skip & Harry are from the East and are sent to a prison in the Western part of the country and they have to face some very difficult situations in the prison and just can't seem to adjust to prison life. One day the warden of the prison finds out that Skip has a great deal of experience in riding broncos in rodeo's and asks him to participate in a Western rodeo which is going to be presented to the prisoners and general public. There is some romance which goes on between a girl named Meredith, (Jo Beth Williams) who is attracted to Skip Donahue and obtains a lawyer for him to be able to investigate this false prison sentence and get him free. There is plenty of action with Skip & Harry trying to run away from bulls who are out to attack them and lots of great comedy.


Two guys doing a bank promotion dressed as Big Bird are mistaken for the bank robbers who stole their costumes in "Stir Crazy," a 1980 film starring Richard Pryor and Gene Wilder, who worked so well together in several films.

Two friends, Skip and Harry (Wilder and Pryor) both lose their jobs and leave New York City, planning to work their way to the west coast. When the unfortunate situation described above happens, they wind up in prison. The naive Skip (Wilder), an aspiring playwright, takes notes and Harry (Pryor), facing the reality of the situation, is terrified. In prison, they meet the very gay Rory (Georg Stanford Brown), the sweet Jesus (Miguel Angel Suarez), who misses his girlfriend Teresa, the huge, scary Grossberger (Erland van Lidth de Jeude) who turns out to be a pussycat with a beautiful singing voice, the miserable guard (Craig T. Nelson) and the warden (Barry Corbin). When it's discovered that Skip has a natural ability to ride a mechanical bull, the warden enters him in a rodeo where he has a huge bet with another warden (Nicholas Coaster). Harry, Skip, Rory, Grossberger, and Jesus plan an escape to take place at the rodeo.

Very funny film, with one of the highlights being Pryor in the prison hospital because he was told he had to have his appendix out, though they had already been removed. Skip is advised that in order to get the team he wants at the rodeo, he needs to turn down the warden's request that he ride. Putting Hank in the hospital is just one ploy to break him down. The scene is hilarious.

Pryor and Wilder work beautifully together, the street smart black and the naive dreamer. There's always something so sweet about Wilder and nervous about Pryor, one walking into obvious danger while the other one desperately tries to pull him out, that just worked in all their films. It's also a rare chance to see the uniquely talented Erland van Lidth de Jeude, a huge, 6'6" Dutch heldentenor who qualified for the Olympics in wrestling, was a teacher, an MIT graduate, and had his own computer company. An absolutely amazing man who died 7 years after this film.

Lots of fun. Recommended.


This is actually my favorite of the four Wilder/Pryor team ups. In the second of these match ups, Wilder and Pryor play a struggling playwright and actor in New York City. The two finally decide that they are sick and tired of just sitting around with their lives and careers going nowhere(we have seen this plot probably 100 times). They decide to take off in an a rickety old van across country to try and find some work and eventually end up in California.

On the way to California, the two men get framed for a bank robbery at one of the banks they took an odd job at and end up in prison. This is where the real fun starts. Gene Wilder is especially hilarious as the more naive of the two who gets duped into competing in the prison rodeos.

If the film did not run out of steam in the final act, I would probably rate this a nine. Still, there are some hilarious scenes here, including one where Wilder and Pryor try to look "bad" when entering the prison.


Comedic Legends Gene Wilder and Richard Pryor have been paired together numerous times, but this is quite possibly the most memorable of all their comedies as a duo. The plot is actually quite simple, they both flee New York to find a small peaceful town, then while finding work they are framed for a bank robbery and placed behind bars, then in the thick of it all they plan an escape while Wilder's character participates in the Prison Rodeo. All in all it is a classic comedic performance from both Wilder and Pryor. Wilder's character brings probably some of the biggest laughs of all time. His film career is legendary, but these laughs are truly memorable from him. Pryor also is a very hilarious friend sort of character. This has truly the makings to go down as probably one of the greatest comedies of the 1980's.

10/10


Many people considers Silver Streak as the best Pryor-Wilder movie. I don't think so. Silver Streak is Gene Wilder's movie, Richard Pryor didn't get much of the show. In Stir Crazy both of them get equally of the show. Both of them were very funny, though (as I noticed) they were a little different from nowadays comedians, maybe that was even better. I think at that time comedy makers knew what they are doing, because all of the jokes worked, not like in most of the nowadays comedies. My favorite scene was where Gene Wilder's and Richard Pryor's characters where pretending that they are bad, you won't see such a funny stuff in nowadays movies.


Gene Wilder and Richard Pryor are a pair of doofuses who decide to leave New York for a better life out west. They get a job at the local bank as a pair of dancing and singing woodpeckers apparently as a promotional thing, but things get hairy when two bank robbers steal the costumes and rob the bank, and the police blame Wilder and Pryor for the crime and are sent to jail, they get a chance to take the case to court, but are found guilty and are sentenced to 125 years in prison(no joke.)At first, prison is considered to be a living he** for the both of them. But Wilder is chosen to be the main rider in the prison's annual rodeo, but the warden is actually planning to rig it so his prison wins it and not the other. This is a great send up of prison films with a lot of memorable scenes including one in which Pryor is treated for an appendix operation in the prison's hospital by a Korean doctor recently new to the United States. This is the second movie featuring Wilder and Pryor so be prepared for big laughs.


I didn't like this movie, I found it so naive and boring.

"Stir Crazy" is entertaining and funny for about 10 minutes and those minutes are just at the beginning, so if after this comment you are going to watch it anyway I recommend you to stop watching it just at the first moment you find it a little boring because from that moment the movie will get after each passing minute even worse until the end.

The plot is about 2 friends (Wilder and Pryor) who live in NY and are fired from their jobs on the same day so they agree to go to L.A to follow their dreams to became a playwright and an actor respectively but on their way to L.A they are sentenced to prison by mistake, but at prison they will have yet a couple of chances to be free again.....

Don't waste your time watching this terrible movie, If you do you will regret it.


See this film, and marvel at the comedic pairing of straight laced Gene Wilder, and frantic Richard Pryor. A more bizarre odd couple of comedy I don't think I've ever seen. The dead pan, stiff style of Wilder is dramatically improved when placed alongside the kinetic energy of the street wise, Afrocentric humor of Pryor. Now, while Pryor doesn't need someone to be funny, he's a riot on his own, Wilder and his style seemed to bring out an appreciate of Pryor's approach. This film isn't a gut buster, like watching a football to the groin, but the comedy suffices, and the writing does enough to fill the time of the two leads enough to hash out a plausible, likable film.


I love and miss this comedy team!

This time our two hapless heroes are framed for a bank heist and find themselves in prison.

These two actors have a wonderful chemistry together and generate a marvelous feeling of kinship, friendship, and give us the feeling that everything will be fine as long as they are working together as a team. The story here is both touching and creative. The direction by Sidney Poitier no less, is wonderful, and the sets are well designed. This movie gives you a wonderful feeling of hope.

I love this movie, as I have all the others these two have done together.

It rates a 7.6/10 from...

the Fiend :.


After the success of Silver Streak it was inevitable that Gene & Richard would be teamed up again & they are here in another very funny outing for the comedy duo. Maybe this is not quite as good as their first film together but it is still one of the best comedies around. Framed for a crime they didn't commit the two new yorkers find themselves facing a long time behind bars. Skips new found talent may be their ticket out of prison, just maybe. The film runs out of steam a bit towards the end, they don't appear to know how to end it! However the chemistry between Wilder & Pryor coupled with some other great characters & scenes make this a classic prison comedy.


Classic comedy from two of the funniest men in cinema. The film itself is a vehicle for some of the best slapstick in any modern film. The main critism is that the film gets slightly boring towards the end as the comedy is replaced by the plot as both characters attempt a jailbreak. That said however, it is definately worth seeing this film just for the classic scene when Wilder and Prior are convicted of Armed Robbery and sent to the county jail. For the next hour the film is as funny as any I have seen. Classic Stuff!


This movie is just hilarious, It's definately the best movie Pryor or Wilder ever did. The slapstick comedy, and jokes from Pryor and Wilder still have me laughing. The plot does need some work, but it's so funny I dont even notice! If you are a fan of any of the actors in this movie, check it out.


Stir Crazy was one of the first films I ever remember watching, it came out the year I was born and I always associate 1980 with the time I came into the world and Stir Crazy. I was about 3 or 4 and my grandfather rented the video (back in the early 80s, this was INCREDIBLY sophisticated). Even though it's pretty much an adult film, with swearing, nudity and adult themes, I found it to be hilarious at such a young age and I watched it few times. Over the years I've watched it more and more and I only just got round to buying the DVD a few days ago. And now, at 26, the film is still just as funny as it always was. There is not a single unfunny moment from the beginning to the end, even though the last act gets serious and suspenseful.

Gene Wilder and the late Richard Pryor play Skip Donahue and Harry Munro, two NYC losers who are making no money in their dream jobs of play-write and actor. Stuck with insulting service jobs they both get fired on the same day, at the same moment, for various reasons. Skip, the apparent ladies man and ever the delusional optimist, talks Harry into seeing it as their big chance to escape NYC and head for LA 'where you smile and they just POUR money on you'.

In their rusted, derelict combi, they make it as far as Glenboro, a hicksville backwater desert town, where they are promptly framed for bank robbery. Their lawyer is utterly useless and they are in jail before they know it, literally. Skip only realizes the seriousness of the situation as they are being shown into their cell. But when Skip shows he has undiscovered talents as a rodeo champ the crooked Warden forces him to compete in the annual rodeo competition, giving Skip, Harry and some others a chance to escape.

The chemistry between Wilder and Pryor is insane. Skip is innocent, optimistic, romantic and sees the good in everything. Harry is cynical and reactionary and is frequently the real victim of Skip's impossibly good-natured personality. Everything they say and do is brilliant and every scene has something special about it that you'll remember always. It's literally impossible for me to pick out one in particular as they are all as great as each other.

It's hard to believe that auteur actor Sidney Poiter directed this movie. I've never really seen in do a crazy, comedic performance, so for him to be so on-the-ball and humorous behind the camera is always a surprise when watching Stir Crazy.

There's so many things that Stir Crazy has going for it. It's not just a crazy comedy, it's also a character drama with wonderfully surreal and authentic moments (mass-mass-mass murderer Grossberger sining 'Down in the Valley' and proving to be as timid as a kitten being one of them).

If you don't find Stir Crazy funny, you're dead. And if you've never seen it...you're certainly no movie buff.


This is an all-time favourite of mine. Yes, it's got its flaws but it is what it is - a rip-roaring, blundering, comedy classic. I must have seen it at least 6 times. The late Richard Pryor was a comedy genius and gelled brilliantly with Gene Wilder. It is a sad, sad shame that he deteriorated in health with the onset of MS, culminating in his tragic passing yesterday (December 10th 2005). Stir Crazy was the 2nd greatest movie of 1980 in my opinion (true movie buffs will know which was the greatest of that year). Fans of the movie should also view the inferior, but still funny See No Evil, Hear No Evil which sees the partnership of Wilder and Pryor re-ignited for a third time, following on from Stir Crazy and Silver Streak before that.


This movie ROCKS This movie is great. It is so funny that I couldn't believe it at all, not even a little bit.

If you watch this film you will discover it is all about two little men with curly hair who go off on an adventure. When they rob a bank they quite rightly get put in a prison, where all they can dream of is to escape to a life of luxury in some other small town. They are allowed out to join a horse-burgling competition and have lots of fun.

This movie is so funny, like killing a wasp right in the face, or when your chickens have gone walkabout. There is even a big fat man who sings beautifully LOL! My favourite part was when they escape from the prison BECAUSE THEY ARE DRESSED AS CLOWNS! The two men who play the two men are very funny. When they speak, amusing little speech comes out (so you can hear them). The one with orange hair looks like a cat LOL and he is the funniest little man since that other guy I like.


This film is memorable for one reason and one reason only:Gene Wilder and Richard Pryor,together as a unit.They had a chemistry that was undeniable,and they are in full force here.The script is flawed,the supporting cast,at least for the most part,forgettable,and I'm not knocking Sidney Poitier as a director,but I always considered him to be much better in front of the camera than behind it.Much of the dialog and interaction between the two main stars was no doubt improvised,and they probably needed no instruction from Poitier whatsoever.As funny as the two men were separately,there was just something special about them on screen together.They were just knock down,drag out funny,and if you were to just put them on an empty stage with no sets,props or even a script,put a movie camera in front them and just said "action!",the result would most likely be priceless.See Stir Crazy for the unbelievable talent that was Gene Wilder and Richard Pryor.Without them,the film would have been forgotten,and very quickly.


"Stir Crazy" capitalizes on the previous, better film "Silver Streak", as it reunites two of the best comedians of that period, Gene Wilder and Richard Pryor. Under the direction of Sidney Poitier the film is a lot of fun to watch, but in viewing it again after so many years since we last saw it, the film feels flat, at times.

The best excuse for watching "Stir Crazy" is Gene Wilder. Mr. Wilder is, in my humble opinion one of the most original funny man during the 70s and 80s. He was in a lot of excellent movies. In "Stir Crazy", he demonstrates his genius playing against Richard Pryor, who is the straight guy. The rodeo sequence is one of the best things going for the movie.

The picture is dominated by Gene Wilder. Richard Pryor has some funny moments. Evidently Mr. Poitier must have encouraged his stars to improvise a lot, and it shows. This picture, is still worth a look just to watch this winning team together.


Ok maybe I overdid it in the opening line. My point is what a wonderful talent Gene Wilder is. He can take a relatively normal character and turn it into hilarious comedy, such as he did in the producers, silver streak, and this movie. His character was basically the whole movie. The wonderful thing about watching Wilder is you never get the feeling that he is desperately trying to be funny. It just comes natural to him. There are only two other comedians that add such spice to their parts, Woody Allen and Grouch Marx.

 Aside from Wilder the movie was pretty funny though it was boring at times, such as the end, where it turned into an action film more than a comedy, much the same that silver streak did. I would rate this movie as funnier than silver streak but silver streak was a better movie.


I love Gene Wilder and Richard Pryor. Silver Streak was great. Hear No Evil See No Evil wasn't bad. I just don't get why this movie is so highly thought of. It has a few chuckles here and there, but all in all I didn't find it that funny. The funniest moments were Gene Wilder's craftiness in dealing with the guards brutality. Richard Pryor's striking a match to the big guy in jail was funny too, although it didn't make much sense. I have seen both the TV and DVD version of this film and neither were able to impress on me the reason this movie is considered to be a "classic". Both actors have had funnier films (together and on their own).


This movie is one of the better comedies I have seen over the last few years. The comedy duo of Wilder and Pryor are one of the best we have seen in movies. They have such great comic chemistry. This is the best prison comedy ever in my opinion if that is saying much. I highly recommend renting this movie or at least catching it on the tube.


The earliest episodes with John Amos as the captain were silly. His continuing bad attitude toward them in the face of their success was unrealistic. Beyond that, however, the entire series was great. It suffered some after Stepfanie Kramer left, but it was still good.


Enjoyed the series when shown on TV first time around.I have purchased season one to three (as available) and I am wondering when further seasons will be released.I enjoyed Fred Dryer's laid back acting(I know he was replacing Clint Eastwwod persons on TV) but the cast was so right for the show,except maybe the "Captain', until the arrival of the actor who finally settled in the role.I seem to have forgotten the name of whoever played the captain. But I enjoyed James Whitmore Jr and his by the book policing, Didi Mccall (Stephanie Kramer)stunningly beautiful yet so handy with her gun,although I must admit she looked too frail to be a real cop.All in all a good series to add to one's library.Cannot wait for future season releases to buy. Millie


I loved this show when I was in high school. Hunter was a kick-ass, take-no-prisoners kind of cop, even in the first 3 seasons where only a few suspects were actually killed when confronted by Hunter & McCall. In the last few seasons more and more of the suspects Hunter tried to arrest for murder pulled weapons on him and ended up dead. That made it a little tiresome although I never tired of seeing Hunter confront criminals.

The idiotic, bleeding-heart approach to law enforcement - especially the 'warning-shot' policy issued by Hunter's captain (Michael Cavanaugh) in the pilot episode - really annoyed me in the first two seasons. John Amos was somewhat likable as Hunter's captain save for his hatred of Hunter's methods and what seemed to be his personal mission to get rid of Hunter. The character of Sgt. Terwillegar (James Whitmore, Jr) was as dumb as they come; a blustering buffoon who appeared more suited to teaching at a university than as a homicide detective. Commander Cain (Arthur Rosenberg) was even more loathsome; he was a man who was a politician first and a policeman second. Captain Devane (the late Charles Hallahan) was probably the most likable of all of their superiors, though he was a strictly by-the-book cop. Some of Hunter's earlier superiors reminded me of Dirty Harry's superior, Captain Briggs (Bradford Dillman of 'The Enforcer & 'Sudden Impact') who was on a single-minded crusade to get rid of Harry.

Most of the stories centered around Hunter & McCall's cases - usually homicides; one episode that made my skin crawl was one that appeared in Season 2 where McCall is raped by the son or a foreign diplomat, who then insists his psychopathic son is a saint and shields his son from answering for his criminal behavior behind diplomatic immunity. That particular one made me sick. I am hoping that Seasons 3 & 4 will be released on DVD - these were the ones that I thought were the best times for the show. Captain Devane was in charge, Hunter & McCall were strictly working homicides, and there was no subplot about the nefarious plans of Hunter's superiors to can him - except in a couple of episodes featuring Cmdr. Cain (Rosenberg).

Bring on Seasons 3 & 4!!


I saw this in Germany on "surprise" night. That means, you go to the theater and pay only four or five bucks, get to see something new, but you don't know what you're going to see. On top of that, its always in the original language without subtitles. Problematic if its a French or Chinese movie - but they were *always* in English.

When the curtains came up, one always had those moments of dreadful anticipation. And DAMN if the last thing I EVER expected was Crocodile Dundee in LA. I didn't even know they had made another one...

My German comrades didn't get as big a kick as I did out of it -- but this is just a fun, fun movie -- and if you've had a few beers and grew up with the originals you'll enjoy it tremendously. The story is pretty weak, mostly an excuse to get Paul hogan cracking jokes, but any excuse is good if it means Paul hogan is cracking jokes...

You'll get a big kick out of it or you'll be miserable. I thought it was awesome.

ps: Mike Tyson!


This is a perfect Sunday afternoon film, when you're stuffed with roast and vegging on the sofa.

The plot is nowhere to be seen, but the film ambles along in a series of sketches and setpieces usually involving Dundee being amazed by the crazy Americans and coming up with some Australian saying to sum up the situation.

'Gay, well I am kinda happy' Yay Mick, you show those Americans who's boss.

In summary, a ludicrous film, but I really enjoyed it. And I agree with crocodile dundee about coffee enemas. 'Don't order a coffee here, you might not like how they serve it'


It's been a very long time since I've seen a movie with my children that did not have to rely on gross-out humor just to get a laugh. "Crocodile Dundee in Los Angeles" is a FUN movie.It's fun to let go and get in on the silliness of the jokes. Critics should not be comparing it to the first or even the second Dundee movies. This film is wonderfully different than both of them, and uniquely funny and endearing all on its own. Yes, Paul Hogan's Mick Dundee is still the same--still sweetly naive. Why critics feel the need to rip the character up for that just goes to show how jaded our society has become when people can't appreciate and embrace a quality like that in a film character. I, for one, love that my children can sit and watch a character who is moral, who is loving and attentive to his wife and child, who seeks out new things and learns from them and for the most part who sees the good in people. What's wrong with sending our children THOSE messages?


I just saw this movie it was like a timemachine, I was back in the 80's. That was positive. The movie has the same charm and humor as in the first Dundee. So if you like Crocodile Dundee you must see this movie.. this is a good oldfashioned movie without any big special effects. See it...


CD in LA is not a classic, but doesn't aspire to be, and if you're simply looking for a fun, light-hearted comedy, then this is the movie for you.

The plot is relatively simplistic and predictable, but there are more than enough funny scenes and enjoyable characters to counter that. If you enjoyed the first 2 CD movies, than you'll probably enjoy this.

Note: I actually wanted to give this move 6.5, but there is no way to do that, so I gave it the benefit of the doubt and gave it a 7.


i 've read some very bad reviews about this movie.. but hey people.. this movie isn't about a great storyline etc.. It's just about some entertainment...

but i would suggest to watch this movie if you like Indiana Jones and movies comme ça.. if you don't, then don't bother to watch this one...

to those who saw the first two a long long time ago all ready..

You must love this one too.. I did for sure.. go Dundee :)


If you liked the first two Dundee's you're guaranteed to like this one.

There are a steady flow of chuckles and a few laugh out loud moments in this entertaining installment. Hogan and newcomer Cockburn have good chemistry and for once a child actor is not an annoying brat. Equally good is Alec Wilson as Jacko, Mick's outback mate who comes to LA as a baby sitter.

There are a few jokes that only Americans would get, a few that are corny and a few that fall flat. It is almost a cross between Crocodile Dundee and "Crocodile" Dundee II in its writing. The action sequence at the end of this one is far more comical than the second and doesn't take itself as serious. One factor that may be missing is the loss of the character Wally (deceased actor John Mellion)

All in all Hogan's charisma takes this beyond just an average family film, and a worthy sequel to a great franchise. I did wonder once it had finished, if this film would be more successful if it had been released closer to the first two and sadly I'd say yes. Still, it is a good reason to head down to the cinema for a light family film.


Personally I have never been a fan of the crocodile Dundee series. I find the humor to be childish and the action to be less than sub-par. But my mind sure was changed after viewing this one! I found myself delightfully entertained throughout the entirety of the movie. I was either laughing hysterically or on the edge of my seat at all the crazy mishaps Dundee managed to get himself into. I figured he'd have a difficult time with the culture change, but not do such crazy things like he did! LOL absolutely nuts!! The best part has got to be when they are trying to save the skunk on the express way! OMG I though for sure I was going to faint from laughing so hectically hard. I mean they stopped the entire freeway just for a skunk. Can you imagine if that really happened in LA!?! People would absolutely freak about it! Either way this is a must see film, I hope they come out with another witty installment as good as this!!!


"Crocodile Dundee in Los Angeles" follows the same fish-out-of-water formula as the original 1986 film with a different setting. That probably explains why its overall IMDb user rating is just 5. People get the feeling that the movie is only repeating, with minor changes, something that was already done. (Like when Mel Brooks used jokes in his Robin Hood movie that he'd used years before in "Blazing Saddles."

Yet "Crocodile Dundee in Los Angeles" is still a pleasant and funny diversion. Perhaps if "Crocodile Dundee" and "Crocodile Dundee II" hadn't come before it moviegoers would be more enthusiastic about this movie.

It's also a movie you can show to young children, which is more than you can say about 90 percent of the comedies (or movies in general) nowadays.


In general, life can be a most trying proposition even in the best of times; and simply negotiating the daily grind can be exasperating for even the most resilient among us. And that's why it's so refreshing to find respite from the drama of day-to-day living-- a safe haven, if you will-- even if it's only for a couple of hours or so at the movies, which is just what you get with the light-hearted comedy, `Crocodile Dundee In Los Angeles,' directed by Simon Wincer. In this third installment of the `Dundee' series, once again starring Paul Hogan as the famed and fearless crocodile hunter, Mick Dundee, we find Mick, his significant other, Sue Charleton (Linda Kozlowski) and their fourth-grade son, Mikey (Serge Cockburn) living in a small hamlet (population 20) in Australia on the cusp of the Outback. When the editor of Sue's father's West Coast office of his newspaper in America dies suddenly, Mr. Charleton asks his journalist daughter to fill in for a few weeks until he can find a permanent replacement. So it's off to Los Angeles for Mick, Sue and Mikey, where Sue quickly finds herself involved with the investigation of a shady new movie studio, while Mick gets work there as an extra on their latest production. There's also plenty of time for Mick and Mikey to explore the terrain of the big city, which is new territory for Mikey, but for Mick-- already a veteran of a trip to New York-- it becomes just one g'day after another, mate. Which is really what this film is all about. And it works.

	It's light fare from the outset, and Wincer does a good job of keeping it all on track and presenting the material in just the right way. It's casual fun and a lot of laughs, and though there's a lot of sight-gags and physical humor it's never overblown or slapstick, which keeps the rhythm of the film intact and makes the humor flow quite naturally. In short, Wincer has the formula down for what works here, and he never attempts to make this film anything other than what it is, which makes it easy for the audience to just go with it and enjoy the proceedings.

	Hogan has a charismatic screen presence, and as Mick he's so laid back that you feel relaxed just watching him. He makes his character real, and the way he under-reacts to just about any given situation makes the story refreshingly and readily accessible. Watching this movie is kind of like spending some time with an old friend; it's a fun and pleasant experience, and makes you glad you got together after all these years. Like the film itself, Hogan never attempts to make Mick anything other than what he is, which is a guy who happens to hunt crocodiles for a living. And that's an aspect he could easily have tried to play upon, approaching it from the perspective that this is a rather `odd' occupation compared to the average guy on the street. But he doesn't take that route, opting instead to make Mick just another average guy on the street, like the clerk at the store or the mailman. And it lends credibility to the character, as well as the story, inasmuch as the plot is fairly insignificant in light of the fact that this movie is really about the characters and the way they interact, as opposed to what the storyline is. It's good work by Hogan, who has created a character who is so likable and real, while Hogan the actor, in retrospect, is destined to be under appreciated for it. It's one of those instances in which it's too hard to separate the actor from the character, which in essence is a tribute to the quality of Hogan's performance.

	After being absent from the big screen for some six years, it's good to see Linda Kozlowski back reprising her role of Sue Charlton. As an actor, she is talented, has an extremely natural screen presence and is absolutely gorgeous; it's a shame she hasn't made more than a half dozen movies or so since `Dundee II' in 1988. Her role here is fairly straightforward, but she plays it so well, and with such facility, that it's the kind of performance that is easily and too often overlooked. And she plays well opposite Hogan (but then, she should; they're married in real life). She's a gifted actor, and hopefully we'll see much more of her in the near future; her continued presence would be a real asset to the cinematic community.

	Serge Cockburn, meanwhile, does a good turn as Mikey; he's a likable youngster with a natural talent that was a definite asset to this film. Also helping to sell the movie is Alec Wilson, as Jacko, Mick's friend from Australia who follows him to L.A. to join in the fray, and who adds some laughs along the way.

	The supporting cast includes Jere Burns (Rothman), Jonathan Banks (Milos), Aida Turturro (Jean), Paul Rodriguez (Diego), Kaitlin Hopkins (Miss Mathis), Gerry Skilton (Nugget) and Steve Rackman (Donk). An entertaining, uplifting comedy, `Crocodile Dundee In Los Angeles' is well crafted and delivered, and will make you feel good and put a smile on your face. There won't be any Oscars here, but it doesn't matter; this is a film that makes life a little brighter-- for awhile anyway-- and that's not such a bad deal in the grand scheme of things. It's the magic of the movies. I rate this one 7/10.


I went in to this film hoping to entertain my children, a few of their friends who came along, and myself for 90 minutes on a weekend afternoon, and what I got was quality old-fashioned family entertainment and a reintroduction to Paul Hogan's fine comic talent. To most kids my children's ages, Hogan is better known as a spokesman for Subaru station wagons than as an actor. However, he is a wonderful comic actor, fully deserving of vehicles such as this. The yokel- among-the-sophisticates plot is timeless, ranging from Buster Keaton's "Elmer" character through the Bowery Boys, Ma and Pa Kettle, Jerry Lewis, Jim Varney, etc. Hogan is working in that classic tradition, and his skills as a physical comedian, his superb comic timing, and his loveable persona will make this film a favorite on cable TV and as a video rental for decades to come. There were no dazzling special effects, nothing shocking, no social or political agenda--just well-performed, funny family comedy. The only flaw, if it can be called that, in the film was that Paul Rodriguez's character was not given enough screen time. I could imagine those two making a great screen pair. Maybe in the next film, Mick Dundee could call on his old friend from the movie business, the character played by Rodriguez, to help him out of some jam. With that large Aussie sidekick who accompanied Dundee in the second half of the film (the name escapes me)playing off both Hogan and Rodriguez, you'd have a great combination! Think about it, Paul Hogan and Lance Hool! I'll pay to bring my family to Crocodile Dundee 4 when it comes out. We had an 8 year old with us viewing the film, and she loved it, so I'd guess that the film should be acceptable to children 6 or over, and there's nothing really offensive in it if you have to take children younger than that. With this and SPY KIDS coming out in the same month, it's been a good season for family films.