***MAY CONTAIN SPOILERS, CONCERNING MAKE-UP EFFECTS, BUT NOT PLOT*** Well, Well. After years of video collecting, countless hours of fast-forwarding, and the occasional decent flick, I have finally got my hands on a copy of the infamous Antropophagus. I used to read old Threat Theatre catalogs, and issues of The Dark Side magazine, and I heard about all the Video Nasties, and Exploitation, and Trash, and think to myself, man it would be great to get my hands on some of that stuff. It all seems so rare and obscure like a cult collectors dream! But as i started to find ex-rental copies and bootlegs at flea-markets and such, I came to an even more shocking conclusion: Most of this trash, really is trash. Hardly are any of these films truly gorey or impressive, none of them live up to their American counterparts. I would gladly trade in my Francos, D'amatos, and Fulci's, any day for old-school Raimi, Savini, and Peter Jackson(New-Zealand). The definition of a Video Nasty, in truth, is simply any film that the British find offensive. It doesn't mean it's good, or that it will even shock you, it means that the British are far too easily offended!

And so we have Antropophagus. From cult favorite, Joe D'amato. The version I own has the most ludicrous dubbing I have ever seen in my entire life, along with japanese subtitles. In the beginning of the film we are quickly treated to one of the better moments when a male victim laying on a beach receives a hatchet to the face. But sit tight, because that's all you get for the next hour, until finally the title character shows up. It's frustrating to say the least, when watching a horror movie, if the "Bad Guy" does not even appear ONCE during the first hour. I mean it, not even one shot of his face until the last 30 mins of the film. George Eastman plays the Antropophagus Beast, or the Grim Reaper, depending on which version you own. All in All, he is creepy, a good slasher'stalker type, but more laughable, than say Micheal Myers, or Jason Vorhees. All of the horror elements in this film are strictly routine, by the numbers type of fare. However the atmosphere created is unique. Although it is poorly executed, you can see the potential for something scary, within the great landscapes and sets on this island. Too bad the lame dialogue and ridiculous off time soundtrack ruin any possibility of suspense. I will admit one thing... unlike Jesus Franco and Lucio Fulci, I do like Joe D'amatos directing. This may sound like a long shot, but I like the way his films look, especially Emanuelle in America. He has good camera movement, and his films benefit greatly from a widescreen presentation.

But back to the issue at hand. The gore scenes in this effort were far and few between (Yes, I have the UNCUT version!!!). Perhaps, judging by the cover and by the general buzz about this "Nasty" I was expecting some over the top gore-fest similar to Evil Dead or Bad Taste. Well I couldn't have been further from the truth. The amount of blood and guts in this film amounts to about 1 min of screen time. Theses moments consist of 1 hatchet to the face, 1 sword to the back, a couple of slit throats, 1 hanging and of course both the infamous "Fetus for Lunch" and "Auto Cannibalism" scenes. The first, is so quick and built up that its done before it even begins. Antropophagus reaches into the pregnant character and pulls out what looks like the fetus of a small animal, proceeds to take a single bite- and then Bam! -the scene ends!!!!!! What??? All that controversy over 20 seconds of that?? I could have made a more shocking scene on my Dads camcorder with a $20 budget. Talk about a rip-off. Anyone expecting some grotesque display of horror of the most graphic nature, will either throw their remote at the television set, or laugh themselves silly.

On to the only other highlight or "lowlight"- depending on your point of view- of this movie. The scene in which Antropopo eats his own intestines. Again, i can't say enough how much of a disappointment this was. Antropopo takes an Axe to the chest (albeit, it's a hefty blow to the sternum), which looks incredibly fake. He then stuffs his mouth with some (half-decent) looking intestines that he pulls from said axe-wound which opened his chest. Then he collapses, and the movie is over. To be honest I found the goriest scene in the whole film to be when a girl victim is lifted through a hole in the roof by her neck. That seemed to be more shocking than either the fetus or intestines. I was expecting the most visceral thrills but this and the few other glimpses of gore were so quick and unimpressive, that as a gore-hound I was truly disappointed. There were no painfull close-ups or slow motion techniques used to glorify the bloodshed, which may make me sound sick and desperate, but I argue that this is what the typical fan of this kind of film will be looking for. If not, why would someone bother to go through all the trouble of locating an UNCUT copy, I ask??

Bottom line- If your looking for a good fun romp with lots of carnage, try Don't Go In The Woods (1980), or Night of the Demon (1980, or more standard stuff like Dead Alive. If it's D'amato your looking for, I would suggest some of his more entertaining work like Troll 2, or the any of the Ator series. He also has quite the line of Porn and Erotic material, most of it easy to find, if that floats your boat. But if you MUST HAVE Antropophagus, I wouldn't recommend paying more than 10 bucks, as the best part of the movie is looking at the classic cover of the box it comes in. * 4/10


It's amazing to me how many people comment on these old Italian horror films saying things like: "Don't watch this movie and expect to see 'The Godfather...'" This film can't be compared to big budget Hollywood productions. In many ways, it's miles better than anything else out there because films like "Anthropophagus" achieve an emotional effect greater than films like "The Godfather" on a fraction of the budget.

There are two famous scenes in "Anthropophagus" that people tend to focus on because they are so shocking. If you've seen as many Italian horror movies as me, you'll find these scenes to be typical of the genre, albeit a little excessive. The things about this movie that I really like is the editing, the acting and the music. George Eastman makes for a perfectly creepy bad guy. He's big and intrusive and believable. The setting is perfect: a strange deserted island. The gore is over-the-top and D'Amato delivers it as usual.

It would be impossible to find a movie nowadays that's this effective with such a budget. Nothing but vintage Italian greatness here. I recommend the Shriek Show version which includes the uncut masterpiece plus a whole disc of extras.

8 out of 10, kids.


Italian horror movies from the '70's and '80's especially, are not really know for their subtitle or overall brilliantness. Let's face it, they always have low production values and has a cheap look over it, with actors in it that really can't act. In essence all of the movies are also the same with its story and development. "Antropophagus" is really no exception to this all but has as a big difference that it's really well developed and build up, which provides the movie with a great horror atmosphere that is both tense and gory, despite being predictable from start till finish.

Next to the gore, also all of the other typical Italian horror movie elements are present here; many young characters, a scary kid (although she is only scary in one sequence), cannibalism and a psychotic monster like killer. No sex or nudity present though this time, which was a bit of a surprise.

The movie is really well build up. It features many scares and false-scares. Also the tense ending does not disappoint. It also definitely helps the movie and its tension that the killer his face isn't shown until about halve way through the movie. It makes the movie more mysterious and tense at the same time, which also really adds to the atmosphere. Also the environment adds to this atmosphere. The movie is set on a small Greek uninhabited island, where all the former residents were slaughtered. It makes the island empty, moody and claustrophobic, which all suits the horror genre really well of course.

There are also two sequences that make this movie a memorable one and through that also makes it distinct itself from other genre movies. The first is the one in which our psychotic monster rips an unborn fetus out of the belly of a woman and starts to eat it, while the dying husband is watching and the second one is the ending when the killer is starting to eat his own intestines after being stabbed in the belly. Really some unforgettable and gory sequences. The movie is filled with also some other great gory sequences and scare moments, such as the head in the bucket and the Irina Karamanlis suicide. The movie is also helped by it's killer, that is a great character, who is also quite scary looking.

The budget for the movie obviously wasn't very high. Like with all Italian genre movies is the case, the sound is terrible, the movie cheap looking and the actors are amateurs. I also at the same time adds to the charm of the movie and it gives B-slasher movies like this one (because let's face it, this is a B-movie, no matter how well its made) a big cult following. And in that perspective, this movie by specialist Joe D'Amato is definitely one of the better ones out of its genre.

8/10


For anyone that's ever seen this in its heavily edited US version, the original version is quite different, with lots of extra footage (some which is merely there, some which was cut for OBVIOUS reasons). The music is also quite different and more menacing and appropriate for a horror movie than the jazzy 80's-style soundtrack that's on the US cut. A bunch of tourists end up on a small island off the coast of Greece and encounter a being who is a crazed cannibal, and of course that's enough to ruin most folk's vacations. Most of these tourist types were just bumming around other islands until they ran across Tisa Farrow, who asked if she could bum a ride to this place as she spends her summers there caring for a young blind girl. It seems as though the young blind girl is the only survivor of some grisly attack not long ago, though, and she isn't doing very well, mentally. Most everyone else on the island seems to be gone as well. This has a decent air of foreboding and is quite nasty in parts, especially the parts that editors didn't want you to see back in the days when it was considered "tasteless" or "too brutal". Well, it's still that way but you can now view it in uncut form, thanks to the marvels (?) of DVD. I'm referring to the Shriek Show DVD too, Anthropophagus, I have a DVD of the US cut which is now going to be traded in. Gruesome and creepy stuff, and for those of you that like that, you will probably not be disappointed. 8 out of 10.


A classic gore movie from Italian director Aristide Massaccesi (alias Joe D'amato). It's a typical 80's slasher movie, its point of advantage is a great atmosphere and really good special fx. So good that someone claimed, when the movie was on theaters, that the scene with the fetus was a snuff! The fact is that the actress in the scene is Serena Grandi and the scene is just a great joke!

The movie was banned in england for its violence.

Some really scary scene, with good pathos was realized in this horror flick, together with excellent special effects.

Even if it has its highs and lows it's one of the best gore movies of the 80's

So, if you can't stand lots of blood and gore don't look for this movie!


This is what grind house movies are all about. They lack most of the things that one would think, make up a good movie (i.e.- no budget, no name actors, poor art direction, rough cinematography, etc.). But this is exactly the type of movie that you expect nothing from, and it gives you an unbelievable amount of entertainment.

If there is any way you can get a hold of a print of this film, or have a chance to see it at a revival house, I suggest you do. It is much better to watch on film than it is on DVD.

I believe this film is a sequel (one of many) to the film "Zombie A.K.A: Dawn of the Dead" originally directed by George A Romero. The Second Zombie film was done by Italian director Lucio Fulci and was entitled simply, "Zombie" here in the U.S.

Truth be told, I expected little from this Italian import campy horror flick. But as the film progressed, I realized that it is just the kind of nostalgic grind house film that select demographics will enjoy for years to come.


just got my 2 disc anthropophagus DVD in the mail the other day put out by those awesome folks at shriek show.this movie could have used a couple more gory killing in it but i'm not going to complain to much and what there is for gore in this Italian classic is pretty bloody and gory.george eastman is perfectly cast as the mad cannibal who stalks a boatload of tourists on an island.i am a huge fan of joe d'amato so when this came out i threw my old bootleg in the garbage.disc two has a sixty seven minute documentary and interview with d'amato so just that is reason enough to buy this DVD..so if you are a fan of gory and cheesy Italian horror buy this right away


Lovely animated film, we loved it as children! It includes both some really sad moments (including the death of sympathetic characters - a topic rarely treated in children's films), but also some funny ones, like the hilarious scene where the two geese get drunk or the scenes that feature the two stupid dogs. It is a nice, moving, often funny, sometimes serious story both children and adults can well relate to. I would recommend it to anyone interested in "non-Disney" animated movies.


This was my absolute favorite movie as a kid. Foxes were always my favorite animals, and I believe this movie was what started that. This had to be one of the first movies I saw because I watched it for years and years after that. It still brings back many fond memories. I can't quite put my finger on the reason why I liked it so much, but I don't really care to anyways. I liked it then, and I still like it now.

Watching it now as an adult I can see the juvenile aspects of the film, as well as the non-North American influence. The animation is very unique (almost like anime, but completely different). This isn't a flaw, but instead a part of the film that makes it that much better. The dialogue is almost humorous in that it is very juvenile, but I can't bring myself to criticize this film. As a children's movie in the early 90's it was utterly flawless, but today's kids are getting smarter and probably wouldn't appreciate a film like this (unless they were very young).

I still have the old VHS copy of the movie, but would like to find and purchase a newer copy so that someday my kids could enjoy it as well. They need to re-release it as a classic on DVD. I'll bet many people could appreciate something like that.

If you've never seen this film, find somebody who owns an old VHS copy and watch it with your young children. You'll find that it is a welcomed escape from some of the distasteful modern cartoons they put out these days. I can't say everybody who watches it will enjoy it simply because people have different tastes. But you will have to admit that it is unique in a good way.

Cheers


I have seen above post just now, and even it is an old comment, I must react. The original story of Vuk the fox has been written by a Hungarian author, István Fekete in the 1950's. The book became very popular, so the animation has been created 1981. The author died in 1970, so the answer for the question: was The Glacier Fox the story he used, is NO.

The story itself is very sweet, enjoyable for kids and for adults as well. Nowdays it is even recommended book for elementary school children, so if you find the book version, don't hesitate to buy it. For smaller kids the comic book is available also. Have fun with the book or VHS/DVD as well :)


In case of movies that were commented by a lot of users, it might work, but to give 5.8 for this movie when out of 40 votes (at present) only 3 was below seven, and 42% voted this movie 10, it is really not working. This movie is simply great, beautiful, moving, I loved it with my all heart as a child and cried together with the other kids in the kindergarten...I don't repeat the story, but this is really a uniquely nice movie and it is really a shame that it seems to be some 5.8 crap only because of this weighted rating.


The screenplay of this animated movie had been based on the classic novel by István Fekete, of the same title (freely, but not aggressively). The story starts with a tragedy in the fox-family, which leaves Vuk the little fox as an orphan, all alone in the woods (I wouldn't call this a spoiler... Right after the film boosts off, hell breaks loose). Despite the fact you haven't get to know his family too much, this scene surely gonna bring tears to your eyes... for the first time in this movie. For its a story about LIFE itself, with all its tragedies and joys. We follow Vuk from this moment till the time himself becomes a father too. Through this period, we watch him as he explores the world around him, learns to hunt, to move like a shadow, meets new friends and foes, falls in love, and eventually: grows up. We see as the many events in of the story changes the motivation in the way he lives his life, and we get the chance to watch this character advancing WITHOUT being forced to struggle trough several morals of the fable, and several annoying cliché's you might get used to in cartoons. Simply: wonderful!:)


Full-length movie about foxes. The main hero, a little fox Vuk lost his parents and was adopted by another old fox, Karak. When he grows up, he avenges a hunter and rescue a vixen Panny from the cage. Style of that movie is classic, but not Disney's, Hungary made own different animation (and this is not anime!). The movie himself exists in two version: one for TV in two parts and second for movies. That versions slightly differs in some episodes.


I know this is an animated movie,where the animals talk and not a documentary.But I wonder if maybe it was made in response to it.I saw this on cable a long time ago,when I was 10.The movie is about a little fox cub,named Vuk, who decides to wander off from the safety of his den.He lives with both his mom and dad,and shares the den with many young,sleepy siblings.Before he even returns home though,he is greeted by his uncle,who has some unsettling news.While he was gone,an evil farmer and his two stupid mongrels killed his entire family.His uncle helps raise him,and they have some fun and exciting adventures.Later on when he is grown up,he and his uncle rescue a vixen named Panny from a cage.The farmer had caught her and put her in there to kill her,or trap Vuk and other male foxes. Together, he and his uncle decide to settle the score with him and his mongrels,by taking something really important to them.The two dogs are humiliated and made fun of by the other neighborhood dogs.This is a great family movie with both sad and funny moments,especially with what happens to the dogs.Watch what becomes of two geese,who are drunk on wine.They're so busy laughing up a storm,slurring their speech and being clumsy,they don't know what will hit them.They had stolen the wine from the farmer,while he wasn't looking.All around great movie,I give it 91/2 * out of 10.Was this Hungary's version of a sequel for The Glacier Fox?Just asking,so please don't flame.


It's funny how I stumbled on this movie. It all began with a fan fiction character I created named "Roka Embers" which is a Hungarian name. I got curious and typed that name on you tube. I found some old Hungarian cartoons including this title. I watched it in Hungarian, and then found an English version.

I love the movie! It is one of the few animated movies that you really just fall in love with. The comic relief mixed in with the more serious and idealogical aspects make this a classic I won't soon forget. I would recommend this movie to anyone looking for an old cartoon to watch. I was surprised to actually find the English version. But a good fellow on you tube has a collection of obscure movies and he had some other foreign and domestic films that are rarely seen. But all in all, this is one great movie.


Wile E. Coyote (Eatibus Anythingus) has a bad reaction after eating some flying insect but he's so hungry he'll eat anything, even an empty tin can on the road. The road runner (Hot- roddicus Supersonicus) races by and runs over the poor, starving coyote. Wile gives chase, showing amazing speed, but who can catch the ultra-fast road runner? So, it's back to Wile to try to use his brains, once again, and figure a way to get this delicious-looking bird-meal.

Outside of some of the normal unsuccessful ploys such as falling boulders and TNT, there are several funny original thoughts, such as "The Burmese Tiger Trap," the automated steel- plated shield and the leg-muscles vitamins!

This was fun, and part of the Looney Tunes Golden Collection Volume Two DVD.


For some reason, Wile E. Coyote - aka Eatibus anythingus) never figures out that he just can't catch Road Runner - aka Hot rodicus supersonicus). In "Stop! Look! and Hasten!", he uses a Burmese tiger trap (guess what he catches!), a spring-up metal wall, and muscle-building pills, but absolutely nothing does what he wants. Is this cartoon mostly stuff that we've seen before? Maybe so, but how can you not like seeing him get hung by his own petard? All in all, the combination of director Chuck Jones and writer Michael Maltese, plus Mel Blanc as Road Runner, makes for another classic.

How many cartoons would think to mention anything relating to Burma (or is it called Myanmar)?


Chuck Jones as director, and that means it will be at least entertaining. The Coyote, or Eatibus Anythingus, chases a fly because he is very hungry. When he wants to eat an empty can the Road Runner, or Hot-Roddicus Supersonicus, runs by. Of course the Coyote prefers a Road Runner over an empty can, so the chase can start once again. This time he uses a steel wall that has to pop up, a motorcycle, birdseed on a bridge, vitamins for the muscles in the legs and a Burmese tiger trap.

Most of the gags work very good. The one on the bridge with the birdseed is terrific, the timing and use of the pop-up steel wall is perfect and the gag that involves the Burmese tiger trap, and the freeze frame directly after that (you will recognize the moment) are hilarious. A very good cartoon.


The fifth pairing of Wile E. Coyote and the Road Runner is still good and features many gags that work, including a tiger trap, a pop-up steel wall, a motorcycle, a unfateful encounter with a train (Stop in the name of humanity), and a box of Acme-brand leg-building vitamins. I love the little gag of the coyote eating a fly in the beginning as well. All these cartoons make me so very happy for some unknown reason. This animated short can be seen on Disc 2 of the Looney Tunes Golden Collection Volume 2. It also features an optional commentary by Greg Ford.

My Grade: A


As with most Roadrunner cartoons there is not much of a plot just lots of failed attempts by Wile E Coyote to catch the Roadrunner for his dinner. His methods are amusing though; the best being the the pop-up barrier he installs in the road, of course it doesn't work when the Roadrunner goes past but a few minutes when Coyote is using "Acme Triple-Strength Fortified Leg Muscle Vitamins" which enable him to run so fast he literally sets the road on fire this barrier springs up just in time for him to run into it.

If you like other Warner Brothers' cartoons I'm sure you'll like this although if I wanted to watch a few Roadrunner shorts I'd mix them in with other character's cartoons or they might seem rather repetitive.


Chuck Jones's 'Stop, Look and Hasten' is one of the greatest installments in the whole Road Runner series. The fifth cartoon in the series, 'Stop, Look and Hasten' brings together all the lessons learned in the first four Road Runner shorts and uses them to create a perfect marriage between the ingredients that make these characters and their antics so popular. It combines the breathless pace of 'Going! Going! Gosh!', the wonderful reaction shots of 'Zipping Along' and the experimental extended chase scenes of 'Beep Beep' to hilarious effect. Even the oft-used gags are executed with such perfection that they breathe new life into the joke. Look to the falling bridge gag for proof. But 'Stop, Look and Hasten' isn't just a classic combination of elements from earlier cartoons. It brings to the Road Runner series a very valuable element; the extended set-up. Previous cartoons had just opened with the Coyote in pursuit of or awaiting the Road Runner. 'Stop, Look and Hasten' adds a slower paced opening in which we see the Coyote wandering slowly through the desert, attempting to eat anything from insects to tin cans. It's a great sequence which gives us a glimpse at the sad existence of the character outside of his pursuit of the Road Runner. These steady opening set-ups would go on to become an important part of later cartoons in the series. 'Stop, Look and Hasten' is simply a cut above most Road Runner cartoons. It has everything down perfectly. There's not a wasted second, a rarity in spot-gag cartoons such as this.


In the early 90's Jarmusch delivered this charmer, a movie that unites America and Europe through one single topic, yet shows very different versions of it.

At probably the exact same moment people around the globe get into taxis. A stylish Hollywood casting agent mounts a cab in L.A., in New York it's a hapless poor man trying to get home, in Paris we encounter a blind woman, in Rome a priest and in Helsinki a bunch of drunks will tell their story. Yes, indeed. Stories are told, because each episode is an encounter with the respective cabbie, who all have a life and a past of their own.

Wynona Ryder's performance of the 20-year-old, chain-smoking taxi driver does not work very well and also makes for the least interesting story. But Armin Müller-Stahl as an East-German refugee and former clown, who is awe-struck and belittled by the bustling NYC around him makes up for a lot. His helplessness when trying to communicate with his passenger, played by Giancarlo Esposito, almost becomes tangible when it manifests in his complete inability to steer the taxi. Within very few minutes the two men develop an utterly deep and good-humored trust and friendship between them. I'd call it the funniest portion of the movie, but in Rome we encounter Roberto Benigni as an always talking, sex-obsessed cabbie. His is the story we get the least emotional or intellectual outcome from, but, hey, welcome to the Benigni Show! If you are open-minded enough to laugh about a few surprises in the field of sexual experimentation (which we don't see but only hear described without too much detail), this one will stay with you as one of the brightest twenty minutes in your life. Before Rome we visit Paris with the most mysterious, yet most catching segment, a curious story about the afore-mentioned blind woman and a black cab driver, who - we can't be sure - might be going blind himself (he's very short-sighted and therefore has problems with driving his taxi) and has a lot of questions to ask. The woman, however, is not interested in conversation, yet we get the impression she opens up more than the driver realizes. In Helsinki a group of drunks tell the story of their sleeping friend's worst day. The cab-driver listens to it. It's a terrible story about a horrible predicament and the poor fellow's life basically lies in ruins. And yet the cabbie tops the story with one of the saddest things you'll ever have heard.

The concept of the movie thinks of night as a place rather than a time, because all of the stories begin at the same moment in time but in different time zones. We move east in the process of the film and so we experience sunset in Los Angeles and early morning in Helsinki. Each of these times lends a special atmosphere to the story it tells, which becomes the most effective in the Helsinki story, which is utterly sad, however ends with a new day starting. People leave their places and go about their lives - the world moves on, none of the stories has an ending, life for each of the characters (except one) will continue.

What's so great about this movie is that it tells such different stories with such different characters who all have different pasts and intentions, each accommodating the place of action (even visually - in L.A. even the buildings appear to be candy-flavored, while in Helsinki the city is cold, drab, yet hopeful) and it all comes together to this huge picture, which reminds us that we are all different but all live on the same planet and know similar things about life, death and everything in-between. I wonder what this movie would have been like, if Jarmusch had also considered taxis in non-western countries.

I highly recommend this movie to anyone who... Oh, blast! I recommend this movie to everyone.


Since I have almost seventeen years of experience in the taxi business as a dispatcher and driver, I have to say that "Night on Earth" is one of my favorite movies! This movie gives a very real and comical portrayal of life in this line of work. I've known people who were given great opportunities, and rejected them. I've personally kicked drunk idiots out of my cab. I've had blind people tell me which route to take. I've had people who were so "down and out" tell me their life story. This is a film that portrays what taxi driving is all about, and it is not limited to the USA. People are the same all over the world! This movie is not yet available on DVD in the USA, but I really hope it will be soon!


Jim Jarmusch, a director who never neglects to find the time for the little moments, glances, exchanges in dialog, that bring out the better (or lesser) in people, puts his skills to full force in Night on Earth. Another in his several episodic-style films, this time he pushes forward his great use of pure conversational, and emotional, comedy, as well as drama. In fact, this may be one of the best from the 90's of that kind that came out (i.e. mixing comedy and drama to create some bittersweet vignettes). Inspiration of course pours out from European cinema, but even in the American segments there's a sense of genuine pathos with the characters. Sometimes one style was kept totally consistent, with all comedy in episode four or all tragedy in episode five, or the two styles went back and forth like in the first two. The third remains the more ambiguous, and maybe more uncomfortable, segment of the bunch, and even if it might be the lesser of them all it's still fascinating due to the actors.

But to get back to the humanism that comes on in the film, it's not something at all uncommon to Jarmusch's work. In Ghost Dog it goes a long way to help us not be too left out of the world of Whitaker's character, or it makes every lady seem all the more odd and unique in Broken Flowers. Here since it is met with a more realistic approach, with situations that could be happening right now at night in these cities, I'm almost reminded of Renoir. Particularly in the second segment in New York, where there's the perfect divide between lightness and over-the-top- lightness being in Armin Mueller-Stahl's performance as Helmut (German ex-clown turned un-knowing cabbie) and Giancarlo Esposito's performance as Yo-yo. Maybe it's because scenes like these usually wouldn't make it into 'mainstream' fare, but a sequence like this showcases some great dialog on both sides (and when Rosie Perez comes in, all bets are off). Stahl especially makes the scenes work in-particular as he almost seems to inhabit this person of an outsider in the (taken for granted) amazing space of NYC.

To say which one was my overall favorite might be a little picky, as every one of them had something to offer differently. There was the cute, and slightly awkward, scenes with Ryder and Rowlands (maybe one of Ryder's few gems in her career too, mostly based on style). The segment in Paris, again, may make one feel a little uncomfortable, but that might be the point. And I loved how Beatrice Dalle's role went effortlessly between the bizarre and the almost ironically compassionate. It's also the segment which provides a little extra bitter of a touch by way of the Ivory Coast cabbie, however it does come to pass as being about two outsiders thrust into a strange little moment in life. Roberto Benigni's segment was drop dead funny, which is surprising considering the hit or miss ways of Jarmusch's comedy. But Benigni is so outrageous in his long monologue its no wonder what becomes of his passenger. It's a terrific mix between Benigni's voracious style of fast (but not too fast) speech, and a sort of silent-film kind of comedy, likely out of Buster Keaton or something. And all of this is accentuated by a carefully controlled mis en scene of driving (which is always visually endearing), where right when you're expecting there to be a cut it waits one or two extra seconds. It's a film with a sweet rhythm that doesn't drag like in Jarmusch at his worst.

The last segment, oddly enough, could be a downer for some. It was for me, until I decided to watch it a second time. This combines the frustration seen in bits in the other segments regarding a city life that bogs down on its inhabitants, and the sympathy that can come out even behind the tough veneer of lives lived with a shell protecting them from idiots. When it comes time for Matti Pellonpaa's monologue, it makes for the most touching, and a close-call for most emotionally striking, thing Jarmusch has ever written, put together by his portrayal. What's interesting even more so is how the film, despite this bleak story, doesn't seem to end too much on that note, due to the last little bit between Mika and Avi, the drunk passenger. In fact, after watching this a second time, I got to get the sense of what the film might be about- getting past that separation between a driver doing his job and a passenger with their own issues. It's also a small ruby of a communication fable, of how lives in different cities and countries may be of course different in speech and attitude and dress, but have similar plights to deal with in the dead of night.


No one I ever mention this film to has heard of it, let alone seen it! I actually tried to see Thelma and Louise at the cinema when Night on Earth came out, but as it was sold out, I saw this instead - what a lucky break! The film is actually 5 short films of around twenty minutes, each one a taxi journey, taking place at the exact same moment in 5 cities across the world, from LA to Helsinki, via New York, Paris and Rome.

Without ruining the surprises contained (its unexpectedness is one of its delights) the film covers numerous emotions. At times it is utterly hilarious, at others it's sad and moving. It is pacy and yet considered, the characters are well painted, both by the writing and the acting, and the story lines engrossing yet punchy. There are some sub-titles, by the way, but please don't let that put you off. It's not one of those intellectual "aren't I clever" films.

If you like your films classy, well written, well acted, intelligent, thought provoking yet accessible, and with a great soundtrack (Tom Waits), then Night on Earth is for you! Share it!


Jim Jarmusch does an excellent job in creating character conflict and intriguing, realistic dialogue. But what I admire most in this movie are the opening scenes of every segment. He knows how to capture the essence of every city and how to establish mood. National Geographic has nothing over Jarmusch's photographic talent.

All segments are well written and tie in with the respective cities that are the back drop of the film: LA, NY, Paris, Rome and Helsinki. The Helsinki segment is the most depressing and it's kind of a bummer that the movie had to end on that note. The Paris segment steals the show. Incredible camera work and terrific dialogue.

Overall, the movie gave me a renewed appreciation for cinema. Thanks Jarmusch.


Jim Jarmusch does for movies as Tom Waits does for music, no wonder he uses his music in his films. I've seen this movie over and over, its truly wonderful. We glimpse A side of the world that is the same no matter where you go. The world is round so no matter where you go you are always in the center of it. Here we catch a Taxi in different cities around the globe and although the cultures are clearly different , there is something of the blues in each act. I can't make out which one is my favorite, they all have a certain magic to them that totally captures to mood of the country we are in although the mood itself is that of the night where not much seems to be going on really except in our taxis. Each scene in this film is a masterpiece, no matter which country Jarmusch takes us too. Of course Benigni needless I mention is that little bit more of a of a superstar but for that matter so is the blind girl in Paris. Great music, great photography, great acting, its all good. Its magic!


In terms of perspective on life, these comic-philosophic taxi rides may be the most uplifting scenes in Jarmusch's oeuvre. The first of five segments (in L.A.) deals with Winona Ryder (in a broad, self-conscious performance) as a cab driver who picks up Gena Rowlands, who wants to put her in a movie. Rowlands is subtle and complex: she's a rich bitch with a soft side, but we don't know if she's the former because she's a player or if she's the latter because she wants to use Ryder. What Jarmusch is going for is to contrast the social classes -- he has an obvious, unfunny line where Ryder's character says she's never been to the executive terminal at the airport before -- but what's really interesting is seeing, since Jarmusch is usually a male-oriented director, how he handles women (one a tomboy, one in a position of power).

It's obvious that the little idea of a movie about four taxi cab drivers is just a thin story that gives Jarmusch an excuse to work with certain actors, like Rowlands, whose late, great husband he adores. He goes for cultural miscommunication in the New York story (which is the film's most tender and brotherly), the warring cultures within a city, where a black man (Giancarlo Esposito) who can't land a cab fights with his Puerto Rican girlfriend while being badly driven around by former circus clown (Armin Mueller-Stahl, in a goofy, charming performance). Jarmusch makes brilliant statements on race and color in the Paris segment, with a sassy blind woman who's aware of what her driver is thinking of her -- and who turns our expectations on their head twice, without coming back to where we started. Benigni, who doesn't play the clown, is nevertheless the funniest in the Rome ride: he talks aloud to himself and outdoes and predates "American Pie" by almost a decade. The final, Helsinki section is the most powerful. When the cabbie tries to one-up the sob story by one of his three passengers, the conclusion seems to be that he wins; the two conscious passengers seem to think their unconscious friend's troubles are insignificant, as if they can't both be sad. 7/10


A fantastic piece of entertainment: five little stories, five cities, four languages. That's all. This movie has no message but it portrays five regions of the world most sensitively.

The L.A. episode is the weakest. It is not bad but it has one big problem: it is the first one. People start watching the movie and expect something sensational. This first episode cannot present anything spectacular, only first class character acting. There are no big surprises or twists, the episode is not particularly funny or anything. Honestly, when I saw the first minutes of this movie I thought: `O dear, I'm going to fall asleep!'

Then, the N.Y. story came. This one made me laugh real hard, and it made Armin Mueller Stahl one of my favourite actors. I started to love this movie, and I was well prepared for the Paris episode, which is, in my opinion the best, the most satisfying of them.

I found the story of the Roberto Benigni episode rather stupid, but his talent in exaggerating (so he did this even seven years before 1999's Oscar ceremony!) made up for it.

Then, the huge contrast: The liveliest episode is followed by the dreariest. Finnish workers tell each other stories from their lives, each trying to tell the saddest.

`Night on Earth' is not a movie for everybody but I think it is, in any case, the ideal movie to watch on television at two o'clock in the morning.


I suppose people will typically talk about they loved the NY and Rome stories, but hated the Helsinki segment, or vice-versa, or whatever. This probably comes from thinking of the entire movie as belonging to a single genre--drama, comedy, satire. If you take each story by itself, though, with an open mind, you will find yourself being entertained (mostly) in five different ways. Although of course we will all have our favorites.

I wondered briefly why there wasn't a segment set in Hong Kong, Singapore, Japan--to make it truly global. Of course it wouldn't be night at the same time on that side of the world. Jarmusch should have done it anyway.

Some think the movie is too long. But this is obviously a movie you don't need to watch in a single sitting; indeed, for the reason stated above, it's perhaps best watched a little at a time.


For me this film is the best of Jarmusch and one of my favorites films ever. The reason is simple: Is original, yes this film is one of the most originals films in a lot of years, the five stories, the five different cities and is all only in one night, for me that is awesome and excellent because Jarmusch is the only filmmaker that could do that. About the film: well my favorite story is the one with Roberto Benigni that takes place in Rome, the reason is Benigni, because for me this is the funniest performance of Benigni and well the story is great, the part when Benigni tell his story about the sheep is just very funny and of course the other five stories are great. The other story that i loved is the one that takes place in New York with "Helmut" is very funny and i think that Jarmusch want that: funny and great stories with a message like the message in the one that takes place in Paris, whit the blind girl and the taxi driver. Well this all i can say about a great film and well i have to say that hope that you can see this film and enjoy Roberto Benigni, Winona Ryder and more (yes the cast is great). Night on earth: 10 Roberto Benigni: 10


It's at times a little telegraphed, even heavy handed; the links between the five stories being arbitrary, almost tenuous introductions to another morality tale, but there's lots to like regardless. Roberto Benigni is excellent as the offbeat cab driver who likes the company of pumpkins and sheep, and his funny segment is juxtaposed quite beautifully with the more heartfelt and raw finale. My favourite segment, however, is the equally funny New York section starring Giancarlo Esposito, which is basically a culture clash between a working-class New Yorker and a foreign immigrant's first night driving a taxi. It balances both the humour and drama perfectly, a harmony which isn't met so successfully in the rest of the film. Yet, Jim Jarmusch's tale about disparate lives intermingling during one night is both original, bold (filming across the world and in native languages has to be applauded), poignant, and very funny.


Jim Jarmusch is an independent filmmaker known for making a lot of anti-mainstream films with an offbeat track to them, clearly inspired by the French New Wave of cinema. With NIGHT ON EARTH, as most of his pictures, they have some harsh reality in it, but at the end it makes you feel good and satisfied. NIGHT ON EARTH is an offbeat cult film that does lift your spirits somewhat.

This film is really an anthology. The events of the film take place on the same night. It's five stories taking place in five cities: Los Angeles, New York, Paris, Rome, & Helsinki. About 99% of the film takes place inside a taxicab. It shows the relation that taxi drivers sometimes have with their customers.

In the Los Angeles segment, Winona Ryder is a tomboy cab driver picking up Gena Rowlands, a Hollywood persona. In the New York segment, Armin Mueller-Stahl is a German immigrant driver taught by Giancarlo Esposito the streets of New York. In the Paris segment, an African cab driver picks up a blind woman. In the Rome segment, Roberto Benigni is a motor-mouthed driver picking up a sickly priest. And in the Helsinki segment, three workers, one of whom is depressed and drunk have an interesting conversation with the driver.

This is one of Jarmusch's best films, because it shows how important to subtleties in riding in a cab can be rather uplifting. I myself had a taxicab experience like this while riding a cab in Berlin, so there's a personal connection for me. It's different from most Jarmusch films because it's filmed in color, when most Jarmusch fans would prefer black and white. It's more uplifting than most of his films, so the black and white wouldn't work out so well.

It has a comedic value to it. Roberto Benigni's character is absolutely to die for. There's a really great musical score in the film by one of my favorite artists, Tom Waits. His rather jazzy sounds give it a noir-ish feel to it. It's an offbeat kind of film, but it's well filmed, well scripted, well acted, and has a feel-good value to it.


When I first heard about "Night on Earth" I thought it was one of the typical award-winning Arthaus- movies your girlfriend forces you to watch. I mean, 120 minutes watching people in taxis? But it was really entertaining, especially the scenes with Roberto Benigni and Armin Mueller-Stahl. I could Benigni watch for the whole 120 minutes talking to himself. (Talking? Singing, screaming, yelling, poking fun, ... and his interlocutor, the deserted, silent, dark, somewhat morbid streets of a beautiful Roman night) So, if your an Arthaus-sceptic like me, give this one a try. Buy the DVD and, if your girlfriend wants you to watch anything that sounds boring, suggest that one in response, you'll not be disappointed.


Playing on a theme similar to the one in director Jim Jarmusch's "Mystery Train", "Night on Earth" portrays the relationships between cabbies and their fares in five different cities all at the same time. In Los Angeles, punk Corky (Winona Ryder) picks up overworked executive Victoria Snelling (Gena Rowlands) and gets on her nerves. In New York, immigrant Helmut Grokenberger (Armin Mueller-Stahl) picks up African-American YoYo (Giancarlo Esposito), who has to show the driver how to drive. In Paris, an immigrant from the Ivory Coast picks up a blind girl, and they have a discussion about race and blindness. In Rome, a lunatic (Roberto Benigni) picks up a priest and confesses (warning: what he confesses may shock you royally). In Helsinki, a man picks up three men, and everyone has a sad story.

The Rome segment is truly the funniest, with Benigni going all out in every way possible. The New York segment is also pretty funny, with YoYo getting irked by Helmut's inability to drive, and making fun of his name. The Helsinki segment is touching in every way possible. Jim Jarmusch may be an acquired taste, but he does have some good ideas.


This movie is excellent. For the 41 people who did not like this movie go rent the Porky's series and lock yourself in a room. After you get through the first scene with Winona and Gena Rowlands it is all gravy. Not that the first scene is not better than most movies it is just not nearly as good as the rest. From there are on out it is a four start film. This movie gives you everything. Great acting, great writing, great directing, and Tom Waits great soundtrack. You have Roberto Bergnigni doing his thing. You have comedy and drama. This film towers above most films on its premise alone. Great charachters who are more developed in their short sequences than most cardboard hollywood cut outs are in their entire movies. If you like Jim Jarmusch then you have seen this movie. If you don't know who he is watch this film and if you like it see the rest of his work because it is excellent.


Jim Jarmusch is a filmmaker that you can always rely on to deliver something offbeat and unlike most other films. My only taste of him before seeing this film was the slightly later 'Dead Man', and I found that to be a very worthwhile experience and one that set me up nicely for Night on Earth. Night on Earth isn't quite as trippy as Jarmusch's later film; but it still oozes that odd sense of cool and while you're watching it you're constantly reminded that what you are seeing isn't just any film. This film is split into five sections, all of which tell a story about a taxi in different parts of the world. Part of the reason why this film is so odd is that all of the stories take place at the same time, which creates a very strange feeling while you're watching it. One problem with films that work in this way is that there's always a weak link in the stories; but here there isn't. All of the stories are of high quality, and all are brilliant in different ways. Of course, everyone will have a favourite and mine has got to be the blackly comic one that takes place in Rome!

An excellent ensemble cast, mostly made up of unknowns, helps night on Earth immensely. In fact, it's ironic because the only cast member that doesn't pull her weight is the only one that isn't unknown - Winona Ryder. I'm something of a fan of Ryder; but seeing her in this movie is an awful experience. How anyone could think that she could be cast as a taxi driver, complete with cocky swagger and cigarette in mouth, and get away with it is ludicrous. However, the rest of the cast is really good and all bring realism to their roles. Roberto Benigni is typically over the top, but his performance is very fun and he is an actor that has a great ability to draw you into his performance by the way he speaks. This was capitalised on brilliantly in the masterpiece 'Life is Beautiful', and it's shown here too. The stories in the film don't appear to have an absolute defining point (with the exception of the story in Paris); but it doesn't matter as the musings about life and such are always interesting and the obscure idea of following people in taxis is always amusing. On the whole - a very worthwhile film experience!


1 night. 5 cab drivers, 5 fares, 5 different cities.

5 stories pass between passenger and driver as one of the worlds best contemporary directors Jim Jarmusch takes us around the world and back, in stories about cultural adaptation, following your bliss, sex and death, and the depths of love and... pain, some in more detail than others. The last two with the priest and the "saddest story in the world" stand out the clearest in my mind.

Alternately funny and reflective, but always entertaining, this is definitely Jarmusch' most accessible, and also one of his most compelling. Great film maker, and great moment for "world cinema".


The first episode (Los Angeles) was the most boring. It had absolutely nothing to offer that was entertaining and I felt the actors didnt play very well too. Sometimes it looked more like a play than a movie. Also I found Winona Ryder exaggerated her character too much. But luckily after the LA episode came the NY episode which was the best overall. Very funny and the characters played very well too. Really gave me a good laugh. The Paris episode, well it wasnt that great overall. The Rome episode then again was a bit better featuring Roberto Benigni as the Taxi driver. Very good actor! The last episode played in Helsinki and tried to be dramatic though for me it failed as you cannot feel so much for characters you hardly know about. Besides the plot the movie featured some really great scenes and I liked the fact that everyone spoke their native tongue (the french taxi driver spoke french,...).


I know that this film is now at the 10 year mark. However, to me it is a true classic. The film is almost like a really good book. You can stop it between chapters and not miss a beat. It has fantastic acting and a dynamite cast. Some have said that they thought the first story with Gena Rowlands and Wyonna Ryder was weak ,but I disagree.That story was about someone being content with who they are not looking for the brass ring. It also left the door open for further possibilities. I loved the New York story for many reasons . Not the least of which is that I live in New York. Excellent casting and a real story of the immigrants who came here to New York and the melting pot we are here in New York. It also showed a real problem that minorities face here in NY trying to hail a cab.

Each story had a really excellent theme. The confession theme in Italy had me rolling , while the story of the Helsinki cab driver was really tragic. If you look at how the film begins and ends, there seems to be a opposite end effect. The affluent casting agent stepping off the private jet versus the worker stumbling out of his cab into the morning.

This is an excellent film with an excellent cast. I highly recommend it!


Even allowing for Eraserhead, Blue Velvet and Wild at Heart, this film probably features the best work of Frederick Elmes' life (Cinematography). The transitions from location to location are beautifully constructed; a series of intimate painterly portraits, introducing you to the vulnerable underbelly of each city. This also applies to the cut scenes between dialogue ... at times I was drooling! The characters are generally so well drawn that we can even forgive Winona Ryder's unconvincing tom-boy mechanic. Each twenty minute story is just long enough to engross and short enough to leave you happy that you didn't waste your time and you're ready for the next. And there's real comedy too ... farce, circus buffoonery and even belly laughs. I must admit, by the last story I did begin to tire a little of the format. It all finishes with not so subtle pathos (which I resisted) which highlights the unrelenting pain of life. Absolutely beautiful. Highly recommended.


This picture is most unique, and is really superb in terms of generating interest and capturing the audience's attention. There are excellent performances from great talents like Rosie Perez and Wynona Ryder, and a wonderful early glimpse of Roberto Benigni as the very explicit Italian taxi cabdriver in a scene that is absolutely hilarious. This is a classic small film-it works wonders on the small screen- imagine what it could do as a blockbuster, though it's small screen image gives it an extra boost. In order to catch great films such as these you either have to watch Bravo or attend Film Festivals, which is what makes films such as these rare gems.


One of the few movies that I've seen in recent years that actually made me laugh out loud. The best segments of the movie were those not obviously played for laughs - Paris (hilarious) and Helsinki (touching). Recommended to anyone that wants to see a quirky film that is also very funny.


Night on Earth... Just another picture that you didn't plan to see, but you just couldn't stop watching when you got to see on your TV set. It's not one great story, but several, and the comical about the driver who doesn't understand the gear box, but lets his passenger drive his car, and the tragical about the Finnish driver whose 14-year-old daughter has got pregnant, is a great mix. Next time it's showing on TV, be sure not to miss it!


It's a film split up into five different sections, each of these sections follows a different taxi ride in a different city. We have an LA one, a New York one, a Paris one, a Rome one and a Helsinki one.

We start off with the LA one, with Winona Ryder playing an obnoxious chain-smoking rocker (apparantly, at least she listened to rock) who somehow managed to get a job as a taxi driver and gives a ride to a casting agent. At first Ryder is an annoying, obnoxious, Juno-like character (except she swears and doesn't talk about Argento) but then we suddenly learn that she isn't all we see her to be. This section of the film elaborates on the idea that some people are who they are, and don't act any differently, but then we know this is never true because no matter who the person is, you get to know them and you see them as differently to how they act on first meeting. This should seem obvious, but a lot of people don't seem to think so, just like Ryder's character. When we discover what Ryder wants to do with her life, and about her character near the end of the segment, she really isn't the obnoxious girl she seems to be. It was a good beginning to the film, but it only got better from there. Rewind the clock forty minutes and jump on a plane down to New York...

The New York section was ducking perfect. A serious 10/10 to this section. Armin Mueller-Stahl plays the confused taxi driver Helmut, who picks up a 'bum' and can't drive for chit. So, the 'bum' drives. It was Mueller-Stahl's acting, the characterisations and chemistry that made this segment so perfect. Helmut is truly one of my favourite characters of all-time now. At first he's just a confused foreigner who knows nothing about America, but then we discover that, even though he is, he's also a smart, happy guy who just loves being who he is. This segment put a massive smile on my face.

The Paris segment too was a 10/10. Some brutish looking black taxi driver with a plaster on his head gets ridiculed by some rich guys in the back seat, kicks them out and then mutters to himself, "What a ducked up day." It certainly was. Even though he appears to be brutish and tough, he just seems like a normal, curious George who must take a lot of chit from people. It's four in the morning when he kicks the two guys out, and then he sees a blind woman on the side looking for a taxi. He picks her up, expecting her to not give him "any chit", but this notion instantly shatters when she acts whorish to him. She's not though, she's just feisty. He doesn't react though, he just takes it in. He questions her, and is bemused by her extreme intelligence. He went through a transformation in that journey. Before, he was negative about all his customers and found flaws in them, but now he seems to see it all so differently due to a woman who can't see anything. It was silently perfect.

The Rome section was... crap. I entirely blame Roberto Benigni (who I loved in Life is Beautiful). His shtick just did not work in the slightest with the rest of the film. His crazy, rapid-fire improv just brought the film down a hell of a lot, and is the reason I won't give the film as a whole a 10/10, which is a shame. I have no more to say. Not good at all, and really there was nothing to it other than for Benigni to show off how great his head is.

The Helsinki section was a 10/10, and was the absolute perfect way to end the film. A moustached taxi-driver picks up a couple of drunk guys, one of them passed out, and the other two pretty masculine and overpowering. A few things happen: They grab the taxi driver by the throat, they moan about their passed-out friend and how bad his life is, then end up in tears when the taxi driver explains how his life is far worse than that of the passed-out guys. Like the rest of the film, it really is impossible to explain it without seeing it for yourself, so all I can say is, get the film by any means and watch the hell out of it. From Taxi Driver-esquire cinematography with cameras mounted atop taxis swimming through the street-lights of the world to the most unexpected characters to come out of those we assume will be something else, it's worth watching and could still be a 10/10.


Her name was Lola; she was a sheep. As Roberto Benigni's lascivious taxi driver confides in his incredulous fare, he wanted "something that moved, that looks you in the eye... something with a soul." After losing his virginity to a pumpkin, Lola was definitely a step in the right direction. Alas, his embarrassed father sold Lola to an "ugly, uneducated" butcher for 80,000 lire. "I felt so badly, I haven't eaten meat since." By the time he's confessed he's shagged his sister-in-law - her cotton panties reminded him of Lola's fleece - his passenger, a bishop (Bonacelli), is lying dead on the back seat from a shock-induced heart attack. It's 4am: what to do?

Benigni's powerhouse performance is the high point of a film incorporating five different taxi rides, set during a single night in five cites. In Los Angeles, harried Victoria Snelling (Rowlands) thinks her sweary, tomboy driver Corky (Ryder, not so much chain-smoking as absorbing whole cigarette packets through osmosis) would be perfect for the film she's casting - only Corky turns her down.

Over in New York, an East German clown-turned-cabbie (Mueller-Stahl) who doesn't know how to drive, teaches sceptical YoYo (Esposito) the virtue of patience. Meanwhile, in Paris, two outsiders - Béatrice Dalle's sharp-tongued blind girl and her sullen driver (De Bankolé), a victim of racial prejudice from the Ivory Coast, reach an understanding.

That same night, in Rome, Benigni's cabbie talks his holy passenger to death while making his confession, and, in Helsinki, a laid-off industrial worker and his colleagues (Väänänen, Kuosmanen and Salmela) meet a taxi driver (Pellonpää) with rather more to be depressed about. Travis Bickle had it easy.

We're in familiar Jarmusch territory here, with his recurring theme of loners reaching out to one another in the dead of night. And there's little delights to be found tucked away within these red-eyed meditations; not least Tom Waits' clanking score - evoking the ghosts of New Orleans and Kurt Weill via Captain Beefheart.

Night On Earth isn't Jarmusch's best movie - despite some good turns from the cast, it's too uneven, and the weaker segments (Los Angeles, New York) could have been excised without any loss of quality or coherence. Not that the film follows any linear strictures (however inverted, as with the superior Mystery Train) or narrative arc: Jarmusch isn't interested in dealing a complete hand here - merely shuffling the deck around and plucking cards at random.

The effect is rather like bolting through an exhibition of Edward Hopper paintings at high speed, half-glimpsed nighthawks on the periphery of vision. The whole film is redolent of a Tom Waits lyric from his classic 1985 album 'Rain Dogs': "I've seen it all. I've seen it all through the yellow windows of the evening train."


Jim Jarmusch's "Night on Earth" is what one could call an international American movie - and therefore almost a contradiction. When normally Americans come to Paris, to Madrid or to Rome, the movies in which they act look like these cities would lie in the US. Not only there is exclusively English spoken, but the actors do not behave as if they were in Europe. Sadly enough, this is even true for Soderberg's "The Good German". The worst that can happen, then, is that Americans try to film European history. I do not watch such movies anymore until Unviersal will have agreed to contract Fredy Murer as director of a new American Western.

Very different are the movies of the world-versatile Jarmusch, a real Odysseus for whom the Greek attribute "polytropos" could not better fit - also what the choice of his movies concerns. Although the situations in the different taxi-drives are acted, they are so good as in real life. In order not to spoil the real pleasure that everybody has who has traveled to the cities in which Jarmusch leads us, I give here only a few hints. Masterfully Armin Müller-Stahl as taxi-driver and clown who looks as if an UFO had abandoned him amidst New York city. His film-name Grokenberger is a nice allusion to Grock, the greatest clown of all times. Jarmusch's humor gets a bit cynic if he chooses exactly Paolo Bonacelli for the role of the priest who dies in the taxi under the "confession" of Roberto Benigni: the same Bonacelli who was in one of the three leading roles in Pasolini's "Salo", a movie that is so full with nausea that people can hardly survive it. To a nice allusion Jarmusch also succeeded in the last episode which shows a cab drive of three drunks in Helsinki. Helsinki is the cinematic seat of whom? Right, of Aki and Mika Kaurismäki. So, the awaken watcher is not too astonished, when the sober taxi driver is called Mika and the deathly drunk passenger Aki. Also a form of reverence of Jarmusch who is a real Global citizen.


After watching "Night on Earth", it is not hard to see why Jim Jarmusch is regarded among the greatest of independent filmmakers. Brilliance pours from every scene of this movie. As you probably know, the film takes place in five taxi cabs in five different cities on the same night. In a film with a such format, it is tempting to comment on "which segment is superior" but this would be missing the point entirely because "Night on Earth" is greater than the sum of its five parts, although it is true that the five segments can stand easily on their own. The L.A. segment portrays two very different women, for whom expectations from life differ completely and yet they are both content with who they are and they can somehow connect at some level. The N.Y. segment is hilarious, especially the part played by Rosie Perez. The trio in the taxi can only come together in New York, I guess. The Paris segment works so perfectly on so many different levels. It mainly raises questions about prejudices, not just about where people come from but simply about regarding others who are not like us. At the end, it leaves you asking "who is more blind?". The infamous segment in Rome is comedy at its purest and Roberto Benigni in top form. I guess it will be the most bizarre and entertaining confession I will have ever heard of. The Helsinki segment seems to end the film on a sad note but in my opinion, it actually says more: Although we sympathize with the two "talking" passengers since they sympathize with the taxi driver, it is again these two who are inconsiderate to their friend. And as for the driver, although he is deeply sad and wounded, this sadness is a little self-centered and he has no pity to those whom he can actually help. As a whole, in addition to being a very good comedy to make you laugh, this film makes you contemplate about life, people, space and time. It opens in L.A. just about when it is getting dark and ends in Helsinki at dawn. While you actually know that these stories are taking place at the same time, it feels as if you have witnessed a night go by on Earth and have made a unique journey.


I rarely write reviews but after just seeing this, I thought that I couldn't leave the experience behind without commenting...

'Night On Earth' unleashed the whole array of emotions for me to experience. After watching so many movies (often one or two per day) I thought I had grown numb to feel that in any motion picture.. This piece of art proved otherwise, thankfully.

Personally I loved the New York segment and thought that it was the best of them all. That said, one of the very few negative things was Sakari Kuosmanen's performance in the Helsinki segment (the talking drunk in the backseat). He is not a very good choice to act in such a tragic piece.

All in all, I loved this movie. It is actually probably the best one I've seen in years. So watch it.


Jim Jarmusch's "Night on Earth" is a tricky movie. A tricky long-duration movie that wins points because its masterfully made and because the connections established between its different parts justify its condition of full-length feature. Otherwise, we were simply fooled by the original Jarmusch (well, maybe we were a little), as we lived the experience of five different shorts in the same movie, presented as one whole piece. The truth is I don't know what was the man's plan, so these are guesses.

However, whatever the plan there's no doubt that "Night on Earth" is a good piece of film-making. Honest also, the film doesn't ask much of the viewer; only that he or she listens and watches carefully. If you do that, you will be rewarded. But don't worry about trying to get some 'meaning of life' thing out of this ride; the less you look for the better, because although Jarmusch's script is as complex and thought provoking as they come, there's never an intention of teaching something or giving a lesson of anything.

The development is simple, as stated in the adequate tagline: "Five Taxis, Five Cities, One Night". What's a night on Earth, anyway? Well, for me it's just about every single night of my life, and I suppose it's the same for Matsan who lives with me and for my parents and brothers for that matter. Well, Jarmusch chose the cities and the characters: taxi drivers.

I mention the characters in detail and not the cities because I personally believe that these five cities could have been any of the cities of the world (of the Earth, to respect the film's title). The fact that the cities Jarmusch chose are iconic world places and that the director 'knows the night' of every one of them and shoots them brilliantly and similarly and trying to tour them all is a remarkable fact, but still I don't feel the necessity of mentioning the cities in this review.

As I said, I'd like to make a reference to the taxi drivers: the first one, played splendidly by Winona Ryder is a compulsive smoker who looks and acts like a boy and cares about nothing else than her work and becoming a mechanic; the second one, played by a phenomenal Almin Mueller Stahl, is a man who is apparently driving a car for the first time; the others include Roberto Benigni (and I think with that you can imagine the character), a black driver played by Isaach De Bankolé and a driver named Mika played by Matti Pellonpaa.

All of these individuals 'are' the film, which shows each taxi from a few camera angles and cares about anything else than the people in each car (the ones who are not driving also give magnificent portrayals) and the streets of each city. I realize that I might not be writing a very enthusiastic review, but I think it may not be enough with the expressions 'amazing script' and 'amazing human perception' to convince to watch this atypical picture.

I'm going to take one last risk by telling you that what you'll see must happen every day in many cities of the Earth. But to write it down and shoot it for people to watch it, laugh at or with it and maybe also cry, is very original and unforgettable.

Of course, if like I said in the first place, "Night on Earth" had been a series of shorts, or a miniseries or whatever, I wouldn't have had this trouble writing the review. Watch the film and tell me about it.


Movies, which are made of different stories, are often having one problem; that stories are quite different to each other by the quality. But not in this case: Jim Jarmuschs most famous work Night on earth is a perfect example of the movie, made of stories, where every story is great. The movie shows five different taxi cab drivers in one night all over the world: Los Angeles, New York, Paris, Rome and Helsinki.

LOS ANGELES: Maybe my least favorite but Winona Ryder is fantastic and very cute in this clip. But the whole story was nothing special, maybe some cute dialog in the middle, but overall quite average.

NEW YORK: Very funny clip, despite the fact I hate Rosie Perez (well, her voice), but the other two characters, the German ex-clown who is now very unsuccessful taxi driver, and Jojo, very funny guy who is just complaining all the time and laughing very loud, are really convincing. Funny episode.

Paris: Great clip, Beatrice Dalle is beautiful in this clip, very convincing and the story is also very great with good message.

ROME: The best clip of the movie. Benigni, describing his sexual relationships with sheep and pumpkin, is funny as hell. He's really a master of comedy and without a doubt this is the most funniest part of the movie.

HELSINKI: After very humorous clip, Helsinki are quite depressing part of the movie. Three drunk workers and a depressed taxi driver with a tragic life is really too sad and sometimes I doesn't fell like this part belongs in the whole movie. But there are some funny moments (Taxi driver is asking a drunk man: "Do you know where you are?" and the drunk man says: "Yeah... Helsinki.").

Overall, this movie is great and a cute masterpiece. Jim Jarmusch really is a king of independent movies.


Seriously, I did cry, but this wasn't an overly sappy film. I read in most of the comments that it was too sappy for some viewers. Yeah, you might cry, but rightfully. "Mask" is an excellent story. Rocky is a teenager who is very horribly disfigured. But he keeps his spirits up and just wants to fit in with the rest of the world. Cher plays his mother who is a biker chick. She loves him to death. And Rocky makes wonderful friends on the way through his life. It's a wonderful movie. I thought the story was very good and the actors were great. If you enjoyed movies like "Powder" or "Huntchback of Notre Dame", I think you would like this. I would highly recommend this film. Don't be afraid to cry.

9/10


This is an excellent film with an excellent story played by an excellent cast! Rocky, a teenager with a horribly disfigured skull tries to fit in. His mother, ably played by Cher, portrays a biker babe who loves her son but little else. Sam Eliot plays her biker boyfriend but also has a soft spot for Rocky. Rocky loves a blind girl, played wonderfully by Laura Dern. All in all, this is a touching, but not overly sappy film! This one is worth a watch.


Eric Stoltz plays Rocky Dennis, a teen afflicted with a horribly disfiguring disease. He lives with his mom, Rusty (Cher), a sometime junkie who pals around with a gang of bikers.

Between coping with his mom's antics, dealing with the prejudice he encounters and the debilitating migraines he suffers from, Rocky still manages to win over his teachers and classmates, becoming an inspiration to them.

While the story initially seems to be about Rocky, it's also about Rusty. She wants everyone to see her as the tough biker chick who can handle anyone and anything that comes her way, including Rocky's disease and the strangers who stare. This is her mask. She's really scared to death for Rocky and turns to the alcohol and drugs to help her cope.

A great film based on a true story, Mask will convince you that sometimes the most unlikely people become heroes.


This movie has moved me since it first came out in the 1980's. The

performances- particularly by Cher and Eric Stoltz as Rusty and Rocky

Dennis- are fantastic, the camera work (by the great Lazlo Kovacs) fluid

and superb, the make up won an academy award, the music perfect, and the

story, well, it's almost too good to be true. It's real life we're

watching here, and knowing that it's also a true story makes it all the

more touching and wonderful. I watched it with my boyfriend, then my

husband, and now with my children. It's a simple tale of triumph of the

spirit, but it goes deep and really stays with you if you let it. If you

haven't seen this movie yet, go out and rent it tonight, you won't be

disappointed.......


This is one of my favorite films of all time with a brilliant cast. Cher puts on the performance of a lifetime as the mother of a child frowned upon by society because he looks different. Eric Stoltz also gives a hell of a performance as Rocky Dennis, the teenager who's head is a weird shape because of a growth problem. When Rocky finally gets accepted into a school and does really well, his Mom and friends give him a massive cheer and applause! Touching stuff. Sam Elliot gives great support as Rocky's mom's fella. Rocky later meets Diana, a beautiful blind girl and romance blossoms. When Rocky teaches Diana how to 'see' through touch she is delighted at her new way to see and this has to be one of the most beautiful scenes ever committed to camera in a movie. This is by far one of the best films of all time.


i saw this film recently, and it was the first time a movie has made me cry for so so long. i cried because rocky was so brave, because he never let anything get him down, despite being ridiculed by people simply because of his looks. i warmed to his unique personality immediately, and the way he showed Diane what colours were melted my heart; everybody should have a friend as considerate as him. Mask teaches an important lesson about life: it doesn't matter what a person looks like, its what is inside that counts. i only wish that rocky could have lived longer, to achieve everything he wanted to. the fact that the story is actually true makes this film all the more poignant and profoundly moving. i would urge people who haven't seen it already: rent it out, or buy it. it will soften even the hardest of hearts.


Ugh, what a gut-wrenching movie this is.

Peter Bogdanovich avoids the maudlin histrionics that could have marred this story about a young man suffering from a fatal disease that leaves him horribly deformed. Eric Stoltz is remarkable as the young man, Rocky Dennis, and it's entirely thanks to him, and to his charm as an actor, that we fall in love with Rocky and are heart-broken to see him die at the end. Cher is equally as good as his mom, who sees nothing ugly in her son and feels nothing but ferocious love for him.

I will always remember a wonderful scene in this movie, in which Rocky is trying to explain colors to a blind girl (played by a lovely and young Laura Dern) and does so by giving her items to touch -- a hot potato for red, cotton for white, ice for blue.

Grade: A


I happen to believe that Peter Bogdanovich is an astonishingly undervalued director. Those who feel it worthy to mention him at all usually hand out praise to "The Last Picture Show", but his output since that milestone - such as this and "The Thing Called Love", for example - undeservedly gets lost in the shuffle.

In each of his films I have seen, Bogdanovich displays an extraordinary level of intimacy and comfort with his characters. We get drawn into their struggles because they are shown to us as fully fleshed-out human beings, not because manipulative elements like the score instruct us how to feel, at what time. He is able to draw our attention neatly to the vulnerability that exists inside everyone, regardless of external appearances. Such an ability is crucial to "Mask" and its overwhelming success in making us care about what happens.

Particularly good is how deftly the fierce bond between mother and son is illustrated. As I was once a disadvantaged child myself, I know that what makes a good parent isn't always signalled by a cheerful disposition, but instead security comes from the knowledge that you have always been loved. Whatever may be on her list of faults, you are never allowed to dismiss the love she has for her kid.

So, if you're looking for a journey over sometimes bumpy terrain that never forgets about the joyous qualities in life, then "Mask" would be it. It's amazingly affecting and is further demonstration of Bogdanovich's wonderful artistic gifts.


Beautiful movie from a true master Peter Bogdanovich.Truly warm movie about a boy Rocky who has a rare disease so people often think he's wearing a mask.But he was lucky because he had a family.Maybe not kind of family we all think about when we hear that word,but he had a true family who loved him till the end.His family was mother,drug addict and bunch of bikers.All of them saw something in Rocky and that something was his inside and not outside.Story is very good and you can relate it to any other story from todays life.This isn't just a story about boy with weird face,it's a story about whole society,family and mostly about people.What is really important to us people?How we look from the outside or from the inside.Only girl who connected with Rocky was a blind girl.Isn' that tragic how we,people have wrong priorities in life.Excellent movie that really touched me and also some great performance from Eric Stoltz,Cher and Sam Elliott.All time story with great directing and good acting.


Eric Stoltz does well in this role as Rocky Dennis, a high school boy with incurable neuro-fibromatosis.

Cher as his mother, and Estelle Getty and Richard Dysart as her long-suffering parents; she is a rebel/Hell's Angel (apparently this was also true) and fights an uphill battle to give Rocky some kind of life while he still has the chance.

While it requires some suspension of disbelief, I think people may not have liked this movie because it makes them uncomfortable. It was difficult to watch when it first came out. Laura Dern also has a good role as Rocky's friend. There are some good scenes between her and Stoltz. Also some scenes where he is with his dog (I admit I am partial to animals!).

This is a good story because it is based on truth, and Stoltz does a good job of creating a sympathetic, moving character. 8/10.


I believe this movie helped some young adults to understand that a "physical disability" doesn't make that person a "monster". I know the movie was sad but it also had a good message. In "real" life we encounter people with disabilities and if we can learn to be compassionate it will make this world a better place.


It is a very spooky feeling to see a film based on someone you knew in real life. I honestly do not know how much artistic liberty was taken with this film as I did not know his family, but I knew Rocky Dennis as a teenager and Eric Stoltz did an absolutely fantastic job of capturing his heart and soul as well as his intelligence. I am grateful that such a remarkable person will be remembered for who he truly was.


I have seen "Mask" many times and it remains one of my favorites, since the first time I saw it in 1986. Rocky Dennis was a true inspiration and a wonderful human being. We can all learn a lesson from Rocky. Cher, Eric Stoltz, and Sam Elliott were the perfect cast to tell this true story of Rocky, and they did an awesome job. Cher has stated that it was her favorite film to make, and Sam Elliott is sexier than ever. Eric, of course was wonderful as Rocky Dennis. The music used in the film is excellent and appropriate, Lynard Skynard, Springsteen, Bob Seagar, Little Richard, Steely Dan, and The Grateful Dead to name a few.. A great classic Rock soundtrack should be made available from this film!


This is one of, if not THE best film I have seen. OK I am a guy, but it really is an emotional film, very moving ( yes ladies I did cry). There are wonderful performances from all the leads and also from a young Laura Dern ( destined to even greater things) and the whole movie is a complete success. It has humour, action, sorrow, sarcasm, you name it it is in there. It just shows that sometimes the good guys don't always win, the ending is SO sad. The predudice is handled well and sadly we still have the same predudices present in our society today ( will we never learn?) If you haven't seen it before, settle down with the boy/girlfriend on the sofa with a box of tissues and enjoy. A totally triumphant movie!


Ignore the fact that Cher is a leading character, because people either love or hate her as an actress - there's almost no gray area. She works in her role. Deal with it.

No matter how much you might want to dislike the movie or thinks it's ridiculous, you can't. It hits right to the soul and tugs at every heart string and tear duct. I cannot listen to the last line of the movie without submitting to a fit of sobs. Never has a closing line captured the emotion of a completely movie as well as the last line of this movie:

"Things I dig....the sun shining on my face....things that are a drag....the sun shining on my face."

Crap, I'm getting choked up again.


I saw this movie when i was 15. it just absolutely blew me away. from the amazing acting,to the beautiful score by bob seger,even down to the make up effects.Having seen pictures of the real rocky dennis,the make up job was absolutely dead on.

The movie concerns rocky dennis. A boy who despite being born with a disease that has left his face horribly disfigured,is an extremely intelligent,kind,and outgoing young man. Rocky lives with his mother who is a hard living biker. Yet through her troubles she genuinely loves her son. There is also gar,a biker who treats rocky as if he were his own son.At the beginning the odds are stacked against rocky but through love and perseverance,he emerges as an inspiration to all around him.

This film is an absolute triumph. However it is a major tear jerker. i think sometimes we need those kinds of films ,and a reminder that nothing is impossible. That no matter how high the odds are stacked one can emerge on top. I really related to his relationship with gar. i have always considered myself an outsider,but when i was 14 my step dad came into my life and took me as his son despite my flaws,much like gar did with rocky. Rocky also falls in love with a blind girl who even though she is blind,she loves rocky for who he is. the film is flawless,and the song by bob seger at the end credits is just perfect. I love this film and think everyone should see it. Also for the fact that it makes us look at ourselves,much like the elephant man did 5 years earlier. Instead of us looking at how we treat those who are different,it makes us look at ourselves in a much different way.That everyman has his burden to carry in life, regardless of if its mental,physical,or spiritual we all do. That appearance means nothing, beauty is truly in the eye of the beholder and if rocky dennis isn't a shining example of that then nothing is. Fair warning however. As wonderful as this film is the rocky dennis face could be frightening to small children. Great story with a great message. 10 out of 10


There are lots of these films. Generally, these "Feel good/inspirational films" try so hard that they end up making you feel sick. Often they go above and beyond the reality and overplay something so insignificant, its hard to relate to it. Mask does neither. Mask is grounded in reality. Yes, some of the facts are skewered, but it lives in the real world. It feels realistic and it feels relatable. Another thing Mask does differently is how it spreads its "Inspirational" message. Many of these films just give the message straight up, with no spice or seasoning to make it interesting. Or they might just toss it in your face at the beginning and forget it, letting it sit in your face throughout the movie, often making it more uncomfortable than inspiring. Mask uses subtly and lets the story itself unfold its message. The direction is tight and conveys this beautifully. There is a scene that always touches me- when Rocky is looking in a fun house mirror. At first we do not see what he sees, but he goes to get his mother. She looks into the mirror, and the fun house mirror shows Rocky but without his facial disorder. It's a beautiful, somewhat haunting, scene.

The film is the true life story of Roy "Rocky" Dennis, a boy born with a disease commonly known as "Lionitis" that deforms the cranial growth. His mother, played surprisingly well by Cher, is short tempered and morally questionable, but is ultimately determined to help Rocky live as good a life as normal.

The ultimate message of the film is not to be shallow. It doesn't matter what you look like on the outside, it's what is inside, what is behind the "mask" if you will, that counts. The movie conveys its message well, and Rocky's character does a good job of delivering that message. Rocky was intelligent, nice, funny, and caring. Sure he has his faults, but once again thats the film actually staying in the realm of reality. Rocky is a likable- if not lovable character despite his originally off putting appearance.

Mask is something we don't see in cinemas anymore: An "inspirational" true story that doesn't force it and ultimately, succeeds in making you feel good and even tugs your heart strings a bit. So many films try to do this but fail, but we should be thankful we have Mask. One of the most beautiful and touching films ever made.


This film is a true story about a young California man born with a rare brain tumor that gives his a head a large and disfigured shape, played by Eric Stolz. He is raised by his biker mother, Cher and her friends that come and go. His mother desperately wants him to live a life like a normal teenager, insisting that he gets enrolled in public schools and such. We are taken through the young man's journey through life and the difficulties he faces with friends and girls, as well as his increasing frustrations with these difficulties. Cher gives one of her greatest performances here, as does Laura Dern as the blind girl that Stolz meets at a summer camp for the disabled. Truly a memorable and gripping film that will stay with you for many years.


This arrived at my house through Blockbuster, although I never remember choosing the title.

"What the heck? I'll give it a try," I thought. I like b-movies, horror films and most anything by independent production companies. First of all, the movie was completely disjointed and flowed like a stopped-up septic tank. The acting was trifling, which is OK most of the time, but it made no sense. I wish there was something I could defend about the film, but I had to turn it off 30 minutes or so into it.

The subject matter didn't bother me in the least and I can certainly appreciate inventiveness and shock value when done well. The crappy, bald skull caps with zit attachments were actually a distraction. Of course defenders of this film will say "You just don't get it" or "You couldn't do any better." To the "I couldn't do any better" crowd they're probably right, but I don't have to. I'm not a filmmaker, nor do I pass myself off as one.

For those who enjoyed it, I'm glad they could find some value in "Acne" that I couldn't, after all diversity is what makes the world go 'round.


First of all, my son brought this movie home and said that I would like it because there are songs by the Dead Kennedys and Devo - these are two bands that we both love. The cover art had a very interesting retro 50's look that also made me inquisitive. We put the movie in and saw one of most ridiculous, unreal and somehow touching movies I'd seen in a while. I don't know how Rusty Nails (the director) managed to mix film noir, horror and science fiction and make it all fit together into a workable, though experimental film, but I liked it. There are definitely some gross moments in the film but they're not mean spirited - more just gross out humor - though more funny than gross. The soundtrack and score were terrific mixing punk rock and an intense symphonic score... again - very interest but it works. A movie that a punk rock kid and a rock and roll dad can love. Bravo Mr. Nails Good Job!


Say what you like about a good independent movie or a good b-movie but to me, a good film like ACNE, beats a decent $80 million dollar film every time. Yes, the acting isn't as professional with this film, but that adds a certain realism. Yes, the sets aren't always picture perfect but whose house or office is? ACNE is a horror movie for 2005 and beyond. The threats to the main characters are as real as what people face everyday around our planet. Pollution, exploitation, manipulation, false promises, disease and disfigurement but it does so with a twisted black comic heart and believe me, you're going to laugh (with the movie).


I just bought this 2005 released film ACNE from Go Kart Films on a whim and it charmed the pants off of me! What fun! What creativity and wild energy! The movie is about so many things: Political Corruption, America's hypocritical puritanical stances on everything, anti-drugs legislation, sugar as the opium for the masses... you name it.

More than anything... the movie is about old fashioned thrills, suspense, clever ideas and making the audience think while laughing. No doubt the film is truly silly and in no way believable - but once you suspend your disbelief and unbutton your shirt - ACNE really kicks in. I don't want to wreck too much of the plot - I hate when reviews do that. Let me just say - I've been waiting for a bizarre independent film with horror and science fiction elements to come my way for a good while...

Note to the viewing public - this film has a very small budget - do not expect Hollywood style sets or slickness. From what I've read about ACNE - it cost $18,000 and was shot on film (amazing). So don't expect massive production values because you'll be cheating yourself and the film - buy ACNE wherever you get your hands on it.

Jessica


I saw a great review of this film a couple of weeks ago when it played in Portland and I thought I would give the film a go... I was a little put off when I heard the director's name was Rusty Nails - a bit odd - but it didn't take long for the film to drag me into a very strange and creepy otherworld that unfortunately looked very much like the America we live in today. I'm a bit of a music fan and I really loved the Devo and Dead Kennedys songs as well as the original 50's style score. The film really defies any kind of categorizing... it's a mixture of many genres - comedy, film noir, horror, science fiction and something all of itself - which was refreshing because the film defied expectations. It's not often that a movie can hold down so many styles for such a small budget... the director (who was quite nice and intelligent) was there and mentioned that the film cost a mere $18,000. I can believe that he made this film for that little money - shot on film - fantastic. This film isn't for everyone - it does get a bit gross - which I loved - but you may not - though it isn't quite as gross as listening to a George W. Bush speech. I hear Rusty is currently doing something with George Romero (Land of the Dead) - that should be interesting.


This show is to be commended for addressing real issues and the dedicated ASPCA workers and officers who rescue these animals. Some of the situations witnessed on this program are upsetting, but as one officer mentioned, it helps her to tell herself that they are making a difference, one animal at a time, and the animals cannot speak for themselves.

There are outright cases of abuse, but it is also hard to believe people may be unaware they are abusing an animal; for example if they are elderly, and have too many dogs in the apartment. The officers educate the person and the audience about what is best for the dog, or cat. Sometimes people cannot afford medical care, but that doesn't mean they should abandon the dog in the streets. Call the ASPCA and they will help. Everyone should watch this show.

This series is one (rare) example where reality TV has done some good. It is not mindless games, or meaningless competitions set out to degrade the participants. It also educates those in the audience who may be considering buying a cat or dog, and not aware of the responsibility. Especially in the city, caring for a dog is a major commitment. Dogs are like children, and need attention and love. They should never be chained outside a junkyard, or anywhere. Thanks to the creators of this show for presenting a viewpoint in defense of animals. 10/10.


Let me start by saying I think that people who torture and harm animals are sick and should definitely be punished. That aside, this program shows these officers and people stretching the definition of "animal abuse" to ridiculous proportions. Before watching this show, my first impression was that it is wonderful that society has taken a proactive stance against people who hurt animals and made a division of law enforcement specifically to stop it. After watching it I have mixed feelings about the people involved.

One episode I remember, some ducks were in a parking lot some guy owned (but was rarely there), and one of them was sick. It ended up dying, and the people on the show were talking about how the results of why the duck died were inconclusive, and they were angry because they couldn't charge the owner with any crimes or tickets. I'm sorry but that's just insane - people now have criminal liability for animals that randomly come on their property and die? The same episode showed these two incompetent officers going after a cat and completely tearing this guy's apartment apart, wantonly destroying his property, and literally throwing boxes of his stuff across the room to get it out of their way.

Some of the shows detail some pretty sick people, but at the same time, some of them go a little too far in their zeal to just find people to prosecute. Many of the shows I've seen, maybe it's just chance, were officers harassing poor people who were kind enough to take what little extra money they had and feed an animal or let it stay on the property. Then fining them or arresting them and acting like these normal, compassionate people who were of meager means and doing what they could were actually sadistic freaks because they couldn't afford to get some stray dog they were leaving scraps for a $8,000 kidney transplant.


Yes, it has some of the usual corny cliches of made-for-TV movies, especially ones made in the 70's. Yet all in all, it's a very decent movie and I would recommend it to high school sex ed. classes. Much better and more hard-hitting than the usual TV movies that simply just exploit people and their situations without adding any depth or insight. It's a very realistic, honest, gritty portrayal of the struggles of teenage motherhood. There doesn't seem to be a lot of movies out there on this subject, so this little gem is unique. Certainly better than the awful 'For Keeps' with Molly Ringwald that came out in the late 80's. That one was sooo badly written and had the worst dialogue.


and you'll see that they're quite similar. I Want To Keep My Baby starred Mariel Hemingway as a girl who became pregnant by her boyfriend and decided to keep her baby, whom she named Elizabeth, after the youngest daughter on The Waltons, rather than give it up for adoption or raise it at home with her meddling mother. Sue Ann Cunningham is your average Southern California teenager. She gives birth, and becomes an irresponsible mother. Her boyfriend refuses to take care of their daughter, and she goes about her normal teenage activities, including going to the pool in their apartment complex, with her friends. This is similar to the ABC Family series The Secret Life of the American Teenager. This movie was the inspiration for that series. It also inspired the ABC After School Special Teenage Father, and three episodes of 7th Heaven about teenage pregnancy. Watch this movie and then ABC Family's The Secret Life of the American Teenager, and you'll see the similarities.