In the updated reversed version of "Guess who's coming to dinner" Ashton Kutcher is the white man that his black girl brings home to her parents. Her father Percy Jones (Bernie Mac) is off put that she brought home this honky ass cracker, and precedes to goad Aston into telling off color jokes, go cart racing, and other things. This film was rather unfunny, didn't have anything profound to say like the previous version, in matter of fact, it doesn't do much of anything well at all. A better updated version of "Guess Who" would be to keep Ashton as the boyfriend, but replace the parents with Demi Moore & Bruce Willis (get rid of the girlfriend part). THAT I'd pay to see ( this I just caught on Encore). Yea i know, my hypothetical film as great as it would be would NEVER be made.. However with the success of "Brokedown Mountain" (critical NOT financial), I think I know what the next version of "Guess Who" is going to be and may god help us all. But I digress, back to this movie. This film is best summed up in two words: SUPREMELY forgettable.

My Grade: D


I was a bit anxious at first when I heard about this remake. I have never been a fan of remakes. I always worry that they will somehow ruin a perfectly good classic movie. And being an avid lover of "Guess who is coming to dinner," I had even more to worry about. However, I believe that this "new take" on the movie was great and inventive. It was updated to give it a modern twist and wasn't an exact replica of the original. In fact I laughed hysterically through out the movie. Of course there may be some over-the-top antics, but it is in good fun and this definitely constitutes a meaningful feel-good movie. So I am recommend watching Guess Who highly.


I am stunned to see the low rating that this movie is getting here. I saw "Guess Who's Coming To Dinner?", and I found it rather stereotyped and one-dimensional. (And "Adam's Rib" is my favourite movie of all time, so it's not like I don't appreciate Katherine Hepburn and Spencer Tracy.) "Guess Who," on the other hand, is fresh, touching, funny, and honest. The idea of switching the races from the earlier movie -- a white guy being introduced to a black family -- is a good one, and the movie tackles racial issues much more head-on and with an immediacy that affected me. The scene in which the white boyfriend tells jokes that has the family roaring with laughter but then suddenly frigid when one joke goes too far is highly symptomatic of the confusing problems behind the race issue: namely, that there are identifiable differences culturally between (most) blacks and (most) whites, but that some differences are more sensitive (on both sides), and that, in the end, we all wish they would go away.

"Guess Who" always deals with serious relationship issues in a way that had my wife in tears. Yet, in spite of its seriousness, it was still basically a comedy that made me laugh out loud repeatedly. Unless racial issues are too serious for you to laugh at or too sensitive for you to want to think about, or if you don't like Bernie Mac's style of humor, this is a terrific movie that hits on all cylinders.


When Edge of Doom was first released, audiences turned away from it with the coldest of shoulders. It was yanked out of circulation so that a pair of bookends could be shot, in which the story becomes a kind of parable told by a wise old rector (Dana Andrews) to a younger priest undergoing a pastoral crisis. The filmmakers shouldn't have bothered: Edge of Doom remains one of the bleakest, least comforting offerings of the entire noir cycle (no mean feat), and probably the most irreligious movie ever made in America.

 When Farley Granger's devout but tubercular mother dies, it precipitates a rampage against everything that makes up the prison of his life: his ugly urban poverty; his penny-pinching employer who offers promises rather than a raise; the Church, which once refused burial to his father, a suicide, and is now refusing his mother the "big" funeral he thinks he owes her; the smarmy, sanctimonious undertaker. Long story short, he ends up murdering a crusty, hell-and-brimstone priest. The police nab him for a robbery he didn't commit but end up with a different murder suspect. But compassionate pastor Dana Andrews (now in flashback) suspects the truth.... There's something almost endearingly Old Left about the savagery of the indictment leveled against society's Big Guns: Church, police and capitalism. The slum where Granger lived with his mother makes Ralph and Alice Kramden's Chauncey Street digs in Brooklyn look cozily inviting (Adele Jergens, as the slatternly wife of a neighbor, observes, "Smart people don't live here"); outside, the nighttown is noir at its most exhilaratingly creepy. It's easy to see why the public, on the cusp of the fabulous fifties, shunned this movie, whose unprettiness is uncompromised. But it's as succinct a summing up of the noir vision as anything in the canon.


Farley Granger is a young man on the "Edge of Doom," in this 1950 film also starring Dana Andrews, Mala Powers and Paul Stewart. When a young priest wants to change parishes, Father Roth (Dana Andrews) tells the story of Martin Lynn (Granger), saying that what happened with Martin showed him that, as a priest, he was in the right place. Martin Lynn is a young man who is having trouble making ends meet as a delivery man for a florist; he has a chronically ill mother, and he wants to be able to move her to Arizona. However, after working with the florist for four years, he still can't get a raise. When his mother dies, he wants a high-priced funeral for her. He goes to the church rectory, as his mother was deeply religious and, despite living in near poverty, always gave what she could to the parish church. In an ensuing argument with an old, tired and tough priest (Harold Vermilyea), Martin hits him over the head, and the priest dies. Later, he's picked up, not for the murder, but for the robbery of a movie theater actually done by his neighbor (Paul Stewart). Though released, the detective in charge (Robert Keith) is still suspicious of him.

"Edge of Doom" is a grim noir that never lets up; Martin Lynn can't get a break, not from his boss, the funeral director or the church. His girlfriend (Mala Powers) at first feels there is no place for her in his life because of his mother. After the mother dies and Paul commits murder, he breaks up with her. His only support is Father Roth, whom he doesn't like - he resents the church for not burying his father on hallowed ground when he committed suicide and for taking his mother's money. It's not often in a film that one sees a priest killed - and with a cross yet.

The acting is good if not great. Farley Granger is sympathetic as Martin. He was often cast in this type of role. Dana Andrews does an okay job as the priest, but is a little too precious. The way to play a priest is the way Spencer Tracy did - as a man first. Andrews tries to put on a priestly air but it seems forced.

Apparently this film was not well received upon release and was withdrawn to add the very beginning, where Andrews begins to tell the story, and the very end, which comes back to the present time with Andrews and the priest. It doesn't really help the film's relentless, depressing tone. Don't watch this one if you need a smile or a feel-good movie.


I kinda liked this film--maybe it was the cast more than anything. The script was a bit lame @ x's. the author's son makes some comments that indicate that the book was deeper or something--but when a book is sold to Hollywood--the author gives up ownership, so to speak. this film came out in 1950 & 57 years later the son still sounds sore. Meanwhile, the book is like totally unavailable so a modern viewer of the film would be hard pressed to make comparisons. Anyhow, I thought that Farley Granger did an excellent job ( despite his negative views on the film). Also excellent were Paul Stewart, Mala Powes and Robert Keith. Joan Evans was given nothing to do & Dana Andrews was good--but the character was not written well.


Watching this show is like watching a very nasty train wreck - you want to look away yet you can't help but stare at the horror... I think I've seen four episodes, and I hated every single one of them... I TRIED to like it! I kept hoping the stupid piece of you-know-what would get better... I didn't expect it to be that 70s show rehashed, but damn! There's a REASON they have a laugh track on this show, you know - no live studio audience would stick around. What gets me the most is the way they're trying REALLY REALLY FREAKING HARD to force a love plot with the main character and his overdone-punk co-worker. You realize Corey and Tuesday are going to get together, and when they finally passionately kiss that laugh track is going to give a big "WOOOOO!" and I think I'm going to go to my basement and hang myself. And while we're on the topic of Tuesday, I'm sorry, but I remember the 80s fairly well, and while mohawks were in, whatever the hell she's attempting to do with it was not (to be honest, I think that actress refused to shave the sides of her head in the name of her part so they had to think of something else). I hate this show... I hate myself for having wasted two hours of my life watching it. The only people who could possibly like this show are the hopeless pre-teens who have nothing better to with with their time and don't really know the meaning of quality yet (we're all victims at that age; I remember Saved by the Bell all too well). I'd rather sit and watch a loogie dry than to watch that 80s show ever again.


since I am a hugh fan of that 70's show, i had the feeling that this show was gonna be a step down. but it wasn't. I love it.

the chemistry between the characters just made it impossible not to like even thou I already had made up my mind before even watching it.

the relationship between corey and tuesday(so hot in this show, not as hot in movies like "not another teen movie") is presented in a manner that brings hope to us with a ... diffrent lifestyle, that the gap between normal and e.g a punker is not that significant.

acceptance is important to me, that is one of the reasons I love this show, maybe more then that 70's show + that tuesday is like the finest thing i have ever seen :)


this show was better then that 70's show any one who had made bad comments really did not watch the show loved it wish they would bring it back. if they ever do i think they should do a reboot and leave it on for people to pay attention and get to know the characters and probably needs some fresh episodes i enjoyed it when it was on and i hope to see more of it in the future. i hope they will also bring in more characters and add some other locations if you haven't seen the show they have not released a DVD but they have the episodes floating around on the internet you can find some on you tube in parts and in torrents but some are in poor quality i recommend that you watch the first 4 episodes and to get others to watch it maybe if fox notices the increase in fans they will do a reboot


That 80's show was so promising! That 70's show was a lot much too teenage (not that I didn't like it though) but the 80's one was soooo more adult! There was no Kelso like (the basic dumbass) they didn't play much on the "foreigner" side of "their Fez". And Tuesday guys!!! God I wish they kept going on with them! Starting with this unbelievable quote: (Tuesday):"So I'm punk. Deal with it!" (Corey): "You're not punk! You're retro! See, punk was like 6 years ago, and I know. I was at a Sex Pistols concert while you were listening to the Bay city Rollers in your Barbie jammies!" Oh! vlam! in your face !!! Seriously this show could have lasted more if Americans had my sense of humour (ahaha! Yeah I'm getting a little magelomaniacal so what?) Please someone must have really liked this show as much as I still do?


I thought "That 80's Show" was a very funny sitcom. The cast fit in perfectly and were hilarious. I think people didn't really like that show because they kept hoping that it would be the same characters of "That 70's Show". If people would watch it again, (without thinking of 70's show), they would probably enjoy it. That 80's show was put on the air too soon. They should have waited a bit longer to put it out there. But it was very funny. If that show would go back on the air, it would probably have better ratings than before. Now that "That 70's Show" is no longer running, they should bring back 80's. Viewers were just loyal to their "70's show" and took 80's show as a threat. I loved that 70's show and was unhappy to see it end. But shows have end some time! I really think that 80's show would do better this time around. Viewers just have to give it a chance and get that 70's show off their minds while watching it. After all, it was a different show, they can't all be the same.


"THAT '80S SHOW," in my opinion, is an absolute FOX classic! I don't think I've seen every episode, but I still enjoyed it. It's hard to say which episode was my favorite. However, I think it was always funny when a mishap occurred. I always laughed at that. Despite the fact that it was a short-lived series, it would have been nice if all the main characters had stayed with the show throughout its entire run. It seems that no one stays with a show throughout its entire run. Everyone always gave a good performance, the production design was spectacular, the costumes were well-designed, and the writing was always very strong. In conclusion, I hope someone brings it back on the air for fans of the show to see.


This show was hilarious! I really wish that it would have been given more of a chance. The actors/actresses were perfect in their roles and had real chemistry. I only hope that some time in the future perhaps the cast will be reunited in some new series. If you haven't seen it I recommend downloading the episodes from some peer to peer network, you will love it if you watch more than the first 15 minutes of the first episode. Glenn Howerton, who plays Cory in the show, has a lot of talent and should go far as an actress. And Eddie Shin is just downright hilarious in his role. I hope to see more of him in other sitcoms in the future. But all of the cast made this show one of those "gotta see the next episode" series that should have stayed around for a long time. Too bad, the network didn't know what they had with this one!


When i first heard That 80s show i thought it was just a rip off of That 70s show, but i was totally wrong. Don't get me wrong that 70s show is alright but that 80s show is sick as. The cast is brilliant. There is a good blend of different characters, which gives the show a good mix and if the show hadn't got canceled there was a lot of potential to work with. Roger is so funny, his dancing, his hair, Katie is silly and cute, Margret knows everything, Corey and Tuesday's(hot) relationship is a great angle. I just wish they will bring it back. Even Owen does funny stuff. Come on wake up people! This show is a class above. Bring it BACK! They always cancel the good shows. Every episode makes me laugh so hard that my stomach starts to hurt!

P.S. Bring it back! This show Rocks! Roger: "Why does bad things happen to people with good hair!"


The cast is just perfect. The casting crew have done an excellent job. Roger, Tuesday, Corey, RT, Margret, Katie, Sophia even Owen are all good actors. It is 1000 time better than that 70s show. That 80s show is way more hilarious than the 70s show. The 70s show had crappy flashbacks and overall was pathetic. While the 80s show had excellent characters and the jokes were hilarious. All the crew performed above themselves. The storyline rules! I hope it is brought back because there is super potential in this show.

Full on crack up! The setting is mad the cast is cool!

10 out of 10 for a Sitcom no doubt!


I haven't seen a whole lot of this show, but I've seen enough to know it never should have been aired. Fox seemed to be trying to get a quick buck from a less-than-mediocre excuse for television. After the success of That 70s Show, Fox should have had the sense to realize it wouldn't work to do it for every single decade. It tried to copy That 70s Show, but didn't have the heart or the character. It's no wonder it only lasted half a season. They tried, but it was a miserable, miserable failure. I love That 70s Show, but this doesn't even come close to living up to half of it's predecessor. The idiot who came up with this should be completely ashamed. DON'T WATCH.


If James Cagney had played Paul Krohl and Greta Garbo (who had in fact turned down the part) had played Marta Molnar, this film would be a lot better known than it is. Because the leading roles were played by the lesser-known Warren William and Lili Damita, the film is neglected, although neither Cagney, Garbo, nor anyone else, for that matter, could have bettered the performances. When this film is reviewed, reviewers, who are not averse to writing hatchet jobs on creaky old black and whites, instead write comments like: "Not at all bad," and "Uncommonly well acted."

The film closely follows the life of the crooked Swedish safety-match tycoon Ivar Kreugar, right up to his suicide, after being caught trying to sell forged Italian government bonds. There are a few scenarios which are made up for the purposes of the film, otherwise the story of Paul Krohl is in perfect accord with the facts, right down to the invention of the three-on-a-match superstition in an attempt to get people to use more matches. This film is well-layered, a perfect analysis of modern industrialism. It shows that products are successful only because they have a limited life. The scenes of Krohl working as a sweeper at a ball-park shows that an industry has arisen dealing with the spent products. The doomed love affair with Marta Molnar shows that he is trapped by the industrialisation process, which relies on the money he has borrowed, eventually bringing about his ruin. Warren William's acting cannot be praised enough. He is totally convincing, as he manipulates people with his reassuring, "Never worry about it till it happens, and I'll take care of it then." Lili Damita provides some light relief, as she unsuccessfully spurns Krohl's advances; and is, as we all know, exceptionally good-looking.

This film is well worth watching.


A totally unscrupulous cad plots & schemes to finally become THE MATCH KING of the world, oblivious to the many lives he's destroyed. But with blackmail & murder part of his personal arsenal, how long can it be until avenging fate topples him from his throne?

Warren William dominates this splendid, albeit neglected, crime drama. As in some of his other roles of the same period, William displays his talent for portraying characters simultaneously repulsive & appealing. With his sophisticated good looks & deep, interesting voice, Warren William was the perfect embodiment of the corporate climber, the crook, the conniver. It is a shame this fine actor is generally forgotten today.

Although the plot is firmly centered around William, his co-stars all do a fine job. Brassy Glenda Farrell appears all too briefly as William's first betrayed lover; this was an actress who could really light up the screen, but she's only given two scenes here. Lili Damita is fetching as the movie actress who attracts William. Hardie Albright is a younger relative of William's who gets pulled into his orbit. Blink your eyes and you'll miss Alan Hale as a timber baron. Movie mavens will recognize Charles Sellon as an elderly Match Company executive.

The film makes good use of an intriguing series of short opening scenes, showing various classes of people around the world using that indispensable enabler of civilization, the match.

There was a real life Match King upon whom this drama was based. Ivar Kreuger (1880-1932) was a financial genius whose Swedish Match Company controlled more than half the world's output of matches by 1928. This was accomplished through amazingly speculative deals involving long-term loans to poor nations desiring US dollars, in exchange for match monopolies. As a result, Kreuger's empire grew immensely rich and diversified in many ways. The bubble was soon to burst. World wide depression hit in 1929 and economic pressures mounted steadily. Rather than wait for his holdings to collapse in bankruptcy, Kreuger shot himself in a Paris hotel room on March 12, 1932, aged 52. Subsequent investigations showed his companies to be riddled with fraud & forgery.


TCM aired The Match King yesterday morning at 3:00 AM, shown as one of the last movies in its Thursday night series of October movies from the Great Depression. Its previous showing on TCM, as I recall, was in 2005 as one of the favorite movies of guest programmer Stephen Sondheim. The Match King demonstrates a mastery of editing that puts this movie in a class of its own, with the final montage of mini-scenes decades ahead of its time.

In The Racing Form, the capsule description for a horse winning a race by pulling away from the others at race's end is "driving." That describes this movie, which moves at a headlong pace throughout, as it describes the career of crooked businessman Paul Kroll, a fictional version of Ivar Krueger, the real-life match king, who just died in 1932. The same year The Match King was rushed into production at Warner Bros., Hal Wallis the uncredited supervisor, Darryl Zanuck the studio production chief doing his usual job of making movies ripped from the newspaper headline pages of the time.

At the movie's end, Kroll's partners are at a meeting where they now realize they all face economic ruin as Kroll's business empire is about to collapse. Their first though is, sell all their shares before the public finds out. The cynicism in this scene is a capper for what went on before, as Kroll sells down the river almost everyone he has dealings with, including going as far as murder and getting one problem person locked up for life in an insane asylum to shut him up for good. This movie shows the influence of 1932, the bottom year of the Depression, when many people though all businessmen were thieves and crooks who wrecked the world's economy. The more things change, the more. . .

Even with all the technical mastery available now to Hollywood filmmakers now, no studio can come close to the greatness of The Match King, made only two years after Warner Bros. scrapped its Vitaphone sound discs to switch to sound on film cameras. The Match King shows there is something to be said for a movie studio run like Warner Bros., a real slave labor operation where quitting time was not 5 or 6 PM, but when the day's scheduled work was done, which could be 2:00 AM the following morning. A studio where the words "income security" did not exist, as Jack Warner strove to cut everyone's salary, actors' employment contracts be damned (with no worry for craft union contracts, there were none then in non-union Hollywood).

There was a downside to Jack Warners' cheapness. One of the hardest working actors on the Warners lot was Warren William, but apparently when his contract was up in 1936, he went off the Warner Bros. studio payroll. William joined a parade of other acting talent in the repertory company that Zanuck created when he was in charge of hiring actors before he quit in 1933. Looking back now, it seems incredible that the Warner Bros. dream factory could make one high quality movie after another in 1932, usually with a 3 week production schedule (6 day work weeks with no overtime pay) on a budget of around $150,000.

In this year of 2009, as the financial world is again enmeshed in worldwide economic downturn caused by thieves in business suits, thieves now who sold near worthless derivatives to investors on a massive scale, Hollywood turns out hit movies dealing with robots and teenage vampires. A far cry from 1932, cinema wise. There are no movies in fast production now involving the Madoff Ponzi scheme, the strange death of Madoff investor Jeffrey Picower or the subprime mortgage meltdown. The big corporations that run the Hollywood studios are not about to produce movies that remind moviegoers about the real life wreckage of the U.S. economy. Ripping movies from current headlines is not done anymore, especially making grim movies like The Match King. That is just too bad for moviegoers. Good thing there is TCM to finally show The Match King again, a movie about a real world in 1932 that does not seem that far away today.


This is probably the best performance you'll see by Warren William--a very popular leading man in the early to mid 1930s but who has been all but forgotten today. And, since he's no longer a household name, it's not surprising that this film is very much unknown.

This story is based on a real individual named Ivar Kreuger, who tried to corner the world market on matches by being about the most unscrupulous and power-hungry man of his day. The film concerns the many ways he shows that down deep he has no soul and there is no sin beyond him if it gains him more money and power.

William is exceptional in the role and the film is fascinating from start to finish. Considering the film is about matches, it must have taken considerable writing, acting and directing talents to produce such a captivating film.


This gangster-styled story set in the world of business shows the rise of a janitor Paul Kroll, who as a janitor in the US returns to Sweden and rises to own and become a monopoly in the world matches business using unscrupulous and immoral antics. You know he has to fall. Good acting by the always good Warren William and an extremely beautiful LIly Damita as the "woman". The difference between making the movie today, than back then, would be the lack of melodrama between the William and Damita character (heck! it was the era of the woman's picture) Formulaic stuff but good formula all the same with an unusually expensive look (good cinematography, tons of location shooting, great sets, lots of wide shots) for a WB thirties picture tells you this was probably an expected blockbuster in the year of 1932.


Though the script could have used a rewrite, mainly to upgrade the dialogue, Warren William's presence makes the film worth watching. He plays a lying, evil, conniving, and utterly ruthless human dynamo who works his way up from janitor to international power broker.In other words, a typical Depression-era anti-hero. Especially enjoyable is the penultimate flashback sequence, in which William remembers every rotten thing he's ever done. In a word, fun.


**SPOILERS** Movie about a man who started out as a sweeper or clean up man at the Chicago Cub's ballpark Wrigley field and ended up cornering the world's match market. That's until all his sleazy back-room wheeling and dealings finally caught up with him.

Paul Kroll was anything but modest in his achievements even when he was sweeping cigarette butts and spent matches as a sweeper in Chicago's Wrigely Field. Kroll took over his family's small match factory in Sweden that was about to go bankrupt and turned It into a world wide conglomerate that covered some 40 countries with over 250 match factories. Becoming the undisputed "Match King" of the world Kroll was always a step ahead of his creditors in paying off his bills, amounting to over 150 million dollars, in a number of Ponzie schemes that he dreamed up.

In the film "The Match King" we see what a smooth operator Kroll was not only in the world of business but the world of romance as well. Always out to get what he's after Kroll turned his sights on German actress Marta Molnar and, despite her wanting to have nothing to do with him, finally ended up getting her to fall in love with him. Kroll did this by getting Marta's favorite entertainer Gypsy violinist Trino to cancel his concert appearances in order to serenade her, as well as himself, wherever she went. Always looking to be king of the hill in the match business Kroll went as far and having the socially minded and somewhat naive chemist Christian Hobe committed into a mental institution because he invented a match that was self sustaining and would never burn out. This would have put Kroll and his world-wide match empire out of business as well as put him back in "friendly confines" of Wrigley Field sweeping up the matches that his, by then closed down, match factories once manufactured!

***SPOILERS*** It was after the stock market crash of 1929 that Kroll's unbroken string of luck suddenly ran out. Afer getting Italian financial crook Scarlatti to sell him 50 million dollars worth of forged Italian bond notes Kroll had him killed, in a staged boat accident, so he wouldn't have to pay him, something like pennies on the dollar, for them as well has having Scarlatti not in the position of blackmailing him! This all backfired on Kroll in that with Scarlatti not being around to cover up the truth about the fraudulent Italian bonds it soon came to light that, with the bonds shown to be fakes, he didn't have the money to pay off the banks whom he was deeply in debt to! The final nail in the coffin for the by now desperate Kroll was that his love of loves, and he had many of them in the film, Marta Molnar left him for another man! That man turned out to be non other then the Gypsy violinist Trino that Kroll himself introduced her to! With the walls closing in all round him all that was left for Kroll was to go back was the gutter from where he, in his job as a clean up man in good old Chicago's Wrigley field, came from. And that's exactly where he ended up!

P,S The movie was based on the real Match King Ivar Kreuger who, after getting wiped out in the crash of 1929, blew his brains out in his Paris Hotel on March 12, 1932. Which happened just eight months before the movie "The Match King" was released!


It's a Warren William showcase that should be seen along with his other ruthless tycoon triumphs, such as Employees Entrance (1933) and Skyscraper Souls (1932). Cagney personified the street tough with a gun and the guts to power his way into the penthouse. William personifies the unscrupulous aristocrat with the charm and polish who's already in the penthouse. What both have that makes each so convincing is total self-assurance. When Kroll (William) says: Wait till it (the bad) happens, then I'll take care of it-- we believe him, just as much as we believe Cagney's snarl. Today, Cagney is still a household name, while William has unfortunately been forgotten, the victim of an A-picture career that peaked during the forbidden pre-Code era that never turned up on popular TV.

Here William plays a real life character (Swedish match king Ivar Kreuger) who schemes and manipulates his way to the top of Europe's financial empire. Oddly, the schemes and shenanigans remain illuminating of our own time some 80 years later, as other reviewers point out. After all, it looks like Kroll relies on a Ponzi setup in assembling his empire much in the way Bernie Madoff swindled billions from investors before finally taking a fall. In fact, a viewer can probably learn more about the anatomy of our own recent financial meltdown from this antique than from anything on the current screen.

All in all, this celluloid obscurity remains both broadly topical and a fascinating glimpse of capitalism's perils and attractions at the top. It's also a chance to catch one of Hollywood's most compelling actors in a tailor-made part. William may be unknown to the broader public, but it looks like a new appreciation is building among old film buffs.


When I watched this, I figured it had to be a spoof by Ben Stiller. Stiller, who I don't normally like, had made something so outlandish that it couldn't possibly be real. But it was. And it was incredibly funny. So, Ben Stiller, I might have faith in you after all.

Jack Black, Owen Wilson, Ron Silver and Christine Taylor.... all on TV? Who turned up this idea? Fools, I say. Christine Taylor, for Jiminy's Crickets! And Jack Black... on a talking motorcycle... and he is fighting against "grave danger"! "Apparently the human mind is not unlike cookie dough..." "NASA is evil! They have a man tracking me down. His name is Ron Silver... a gifted actor and a cold-blooded killer." How can you turn down programming like this? I remember 1999 and the only thing even remotely like this was "Son of the Beach"...

This review is horrible and poorly written... lucky for you, this show isn't. Watch it. Or else. NASA is watching you.


What can be said about Heat Vision and Jack? It's great, it's not good, in any way! But very funny. You have Jack Ausin (Jack Black), a NASA astronaut, who become supersmart in sunlight, because he came to near the sun during a NASA mission. He's buddy (Owen Wilson) has been transformed into a motorcycle. And they are being chased by a NASA hitman, Ron Silver (playing himself). And it's all being directed by Ben stiller.

Great if you like Tenacious D and Ben Stiller's wacky humour.


I would probably watch this show if it were real... because it's pretty funny.

Not as funny as Tropic Thunder, mind you... but what is? This almost seems like a joke pilot made for fun. It's "episode 14" too, so that should tell you something.

The cast is interesting... a lot of the same players who do appear together in a lot of stuff... (Night at the Museum -- Ben Stiller and Owen Wilson... Tropic Thunder -- Ben Stiller and Jack Black)... it's quite possible these are all friends who just wanted to make a funny movie pilot.

If I had as much money as they do, I'd still have to find some time to do some stuff not for profit... but for fun -- that's how you keep your goals in check and not purely based on how much money your next gig pays... keeps you straight, in line with your actual creative goals.


Ben Stiller came to television with the Ben Stiller show, and despite great reception, it was canceled quickly. He went out and got famous in film, only to come back to television and get canceled again. Heat Vision and Jack takes humor out of it's ridiculous premise, bad dialogue and melodramatic acting, parodying bad television shows, mainly Knight Rider. Where Knight Rider took itself too seriously, Heat Vision and Jack takes nothing seriously at all. It's a stupid, but hilarious joke.

Jack (Jack Black) was formerly an astronaut sent into space on a special mission. When in space, his mind was expanded and now he knows everything. NASA wanted to take his brain, so he called his roommate Doug, who was vaporized into the motorcycle he was driving. At that moment, he ceased to be Doug and he became Heat Vision, the talking motorcycle. In this thrilling adventure, Jack and Heat Vision (voiced by Owen Wilson) are on the tail of a possessed gas station owner (Vincent Schiavelli) that can melt people with his eyes. Along the way, Jack and Heat Vision must avoid Ron Silver who's trying to kill them, and they meet a sheriff (Christine Taylor) who helps them on their journey. Can they survive the chaos? Well, unfortunately the pilot didn't last to become a show.

There really isn't anything wrong with this pilot. The performances are so purposefully bad. Jack Black gives his best serious performance, which ends up seeming like a bad Shatner imitation. Christine Taylor's delivery is late 80s/early 90s stuff, like one of the girls off of Baywatch. Owen Wilson has a good voice, and Ron Silver plays Ron Silver to perfection. Even Ben Stiller has a small role as a DJ. The direction and writing is terrible, but in the context of this spoofy material, it's great.

As long as you know this is a spoof, it's funny. If you somehow missed this....well, it's hard to imagine someone missing that.

My rating: Great show. 31 mins. Not rated, contains some mild sexual content.


Hey, I noticed everyone spotted the spoof of Knight Rider, but did anyone pick up on this - the plot line about getting super powers from the sun after coming close to it in space is lifted straight from another doomed pilot show 'Northstar' - in which a NASA astronaut got hit in the face by a solar flare and then got super powers every time he looked at the sun! The original show I'm talking about was pretty bad... I remember the guy being shown a model of himself to explain what would happen if he stared at the sun for too long... and the model's brain caught fire... Oh, it was quite shocking. Check it out, trivia fans.


I thought it sounded interesting when I first read about it. Then I saw it. It's like Lovecraft funny. Like "human language is inadequate to describe the horror blah blah" funny.

It's like every action/adventure show EVER packed into a half hour, but the most obvious comparisons would have to be "X-files" and "Knight Rider." (Heat Vision is KITT) The only thing I didn't like was Owen Wilson's flat reading of Heat Vision's lines. And even that wasn't bad the whole time.

So why didn't it make it on TV? It's a half-hour live-action comedy without a laugh track. How many of those have EVER made it? (Apparantly people need to be told when it's funny.)


Jack Black is the man, and Owen Wilson and Ben Stiller rock. This show was awesome. I really wish they would have made a few more episodes, though I doubt sincerely that it would have done well in the ratings. If no other reason, than this show is great because it featured a clip of Doctor Who, and played Metallica. These are a few of my favorite things. When the dog bites.... ahem, well, you get the idea. Funny, silly, and stupid. Can't ask for much more.


The first word I thought about after watching this was "ugh." No offense to Ben Stiller, who I actually like, but I've got to say, it could have a LOT better.

First of all, the villain was a little out of control. It had a stereotyped "robotic" tone to it. I could see why he called humans "monkey-sluts," but why and how would an alien even know the name of a strip club? And honestly, Jack Austin (Jack Black) could have figured out a better way to escape jail. If he had a doggy whistle with him all along, gosh, it doesn't need a super-sized brain (or the sun to power it) to use it in the first place.

But I must say, it had some very creative insights. Heat Vision's (Owen Wilson) opinion about a round universe was widely in-depth. Whoever this Doug was, he mustn't have been such a dummy after all. And Jack's connection to the sun with his rival-like urgings and speakings is totally out there. And Ben Stiller has more to show.

Still, my first reaction to it was "stupid." Plus, I'm not quite sure if I like the idea of a motorcycle that both swears AND gets turned on by women. It was pretty funny, I'll give it that. But the only reason to watch this and actually enjoy it, I think, would have to be if you're really, really, really, bored and in desperate need of an action film.


All that Glitters was short lived, but WAY ahead of its time as Norman Lear who's the "king of controversial sit com television" placed this out there for audiences to see. As I was a female young kid at the time, and "women's lib" was supposedly established, here Lear brought it to fruition. A women run society. And the women were as ruthless, sexual and cut throat as men. Boy, did people have a major cow. This show as very short lived.

Between this show and another short lived network show I liked called "Executive Suite", America - even a very small portion of it - wasn't ready for things like women executives, heterosexual male secretaries & interracial pairings, abortion issues. "All That Glitters" focused on the woman dominated society. But that is the history of early television and the masters, male and female, behind it all. And Norman Lear was one of the leaders.

One that that is important to note: there wasn't such thing as "syndication" as we all know it back then. Syndication didn't come into play until the 1980's -- with a block of shows like "Small Wonder", a new life to "It's a Living", "Out of this World", "The New Gidget", etc. that were being packaged and sold to fill time -- and networks were poo-pooing the concepts, but an audience was out there for these shows....AND 50's & 60's actors realizing that their shows were being played ad-nausea on UHF, local channels and the new medium Cable-TV and its "Superstations", and they weren't getting paid! That's when everyone realized that syndication became ... lucrative - but the whole point of this is that Norman Lear took advantage of the medium way early of this to express a broader artistic view of programming. I'm sure he knew the networks were having a cow. But even back then, "All That Glitters" is one of the most controversial programming of that time, even light-years more than his "All In The Family".

But it was brilliant, it was inspired. It was very short lived but again...the talent! Linda Gray, Gary Sandy, etc. Now that DVD and Blue Ray is alive and well, I hope audiences can take another look at this. I'm not sure if it will "hold up through the years" with HD, etc. but the theme and genius of the concept is there.

And I am still waiting to see "that show" and "that acceptance" in which female executives and CEO's run the country ...


To say this show was ahead of its time is a gross understatement (as others in this forum have already noted). It ran as an independent show, after Mary Hartman Mary Hartman in many markets, which put it on between 11:30 and midnight in Vermont where I saw it. That it has never been available in any form on video is a crime (although I have a few other candidates for that particular crime). Lois Nettleton, Jessica Walter, and Gary Sandy were outstanding in their portrayals, although my favorite remains Chuck McCann as a harried house-husband. Of all the male actors, he captured his character best. Whether the audience was ready for the show will remain a mystery, since few people ever had the opportunity to see it. But WOULD SOMEBODY PLEASE BRING THIS OUT ON DVD??? Thanks in advance


The introduction went something like...; One mornin' the Lord, she woke up to say, "I feel like I want to be creative today. So by virtue of the power I vested in me, I'll make the heavens, earth, and the deep blue sea. Things that swim, fly, walk, lie, creep and crawl, and to gather together and name them all"...(then something about creating woman)...and from the rib of the Madame came Adam full grown... This is all I can recall. How I wish I could remember the rest, or better yet see it in repeats. I can still hear the tune.

Back in Oklahoma, I would watch this show after Mary Hartman, then go to summer school the next day and laugh about it with my mates. The one character I recall was Madame Abu Bahn, the oil sheikh. The company L.W. Carruthers headed was Globatron. In one episode Dan Kincaid (Gary Sandy) got a new B.M.W., and I vaguely remember the bit about the black man in bed with the white woman. How could I have forgotten Tim Thomerson, Andrea Martin, and Lois Nettleton?

Hilarious as the show was, we at school were very angry that it was suddenly chopped. Why? My mother hated both "Mary Hartman" and "All That Glitters," and unsuccessfully tried to stop me from watching it a few times. Maybe her ilk was the reason it was cancelled.

If everyone here writes to TV Land, they might revive it, that is if anyone there remembers. Like myself at 14, it was campy and ahead of it's time. Those were the days, Mr. Lear, you bloody genius.


Nice to see that there are other fans here, and also people who began to question their own memory or sanity with respect to remembering this show! Man, I now hardly know anyone who saw it, but my then-husband and I were big fans. It didn't air in our region, and we'd use the rabbit-ears and the outside antenna to pull it in from an independent station in a neighboring state.

I had considered myself a feminist for years, but I was amazed at how astute this show was in picking up how completely permeated society is with aspects of gender roles. There was always something in that show that made me do a double-take. Some of life's more offensive moments were shown for what they were and yet simultaneously rendered hilarious when role-reversed: the executive women's nearly unconscious treatment of waiters at the local bar, for example.

Add me to the folks who would so appreciate it if TV Land would air these ("Mary Hartman, Mary Hartman" too!) or if they were on DVD. Gotta love Norman Lear!


I have been trying to find this show in all the "Complete Directory to Prime Time and Network Shows," but failed to find it in there even though I had some of the stars right. I didn't realize it didn't count as a network show. I also tried TV Guide.com's Q & A, but since I couldn't remember the name, all I could do was give my best guest at the actors, and that I remember that the logo was a pink rose. I was thinking either Gary Sandy or David Haskell were in it. Well, they both were. I looked under just about every blonde actress including Lois Nettleton, whom I remembered from "Centenial."

This show should be required viewing in grade school. I was 21 when it came on, and it made me realize how wrong were things that I was so indoctrinated with that I didn't even realize it.


I have the greatest memories of this show. I agree that it was way before its time. I was 13 when the show aired. It used to come on in my area just after the 11:00 news. I used to stay up to watch it, although my parents set a 10:00 bedtime for me because I had to catch a 6:30 bus to school each morning. To avoid the obvious "scheduling conflict," I would place a towel at the bottom of my door to keep the television's light from spilling into to the hallway. I also used to tack a huge beach towel over my window each night, just in case my parents happened to have to go out at night! I watched the show on an old 13" television. The front of the set was equipped with a jack for an earpiece (not a headphone set, but a single earpiece!). I swiped my brother's earpiece from his transistor radio and used it to listen to the show. I remember laughing into my pillow so that no one would hear me! It never bothered me once to have to go to these lengths to watch the show. I never even gave it a second thought! The mornings were tough, but I was always sure to get up without having to be told because I didn't want my parents asking why I was so tired. It was a small price to pay!

I would LOVE to have the complete set of DVDs for this show! Is there any indication that one will ever released?


Remember? It went something like this One morning the Lord, Shewoke up to say, "I feel like i want to be creative today. So by the virtue of the power I invested in me I make the heaven, the earth and the deep blue sea." Things swam by, walked, fly-ed,creep ed and crawled. "Now I'd better make someone to name it all". Yes a human was needed in the neighborhood. So the Lord made woman and it was good. She said "the garden of eden is no place to be alone". So from the rib of the Madam came Adam full grown. As time went by this groom and bride followed the instructions and multiplied. He cooked. She worked.............

That's all I can remember. Can anyone help me find the rest of the words or maybe even the song itself? email me


Satirical soap opera in the vein of "Mary Hartman, Mary Hartman". In this the women are in charge and the men are objectified.

This was controversial when it aired on TV. Norman Lear already had "Mary Hartman..." on the air and figured he could try another show in the same format. Most stations aired this late at night (it didn't show here until 11:30) so this never had a chance. Also there was a transsexual character--a real first for TV. I was only 15 when this aired and found it pretty funny--but obvious. This was basically a one-joke satire--it just put women in the place of men and that was it. All the obvious issues were addressed pretty quickly and then this had nowhere to go. The writing was sharp and they had a great cast but, after the initial controversy, this show quickly died. It would NOT be made today. So--on one hand I enjoyed it. On the other I found it obvious. I wonder if it would hold up today.


I absolutely love Marmalade Boy and I'm so happy they have finally released it to DVD. My anime collection will just have to make room for this MUST HAVE. The characters are unbelievable. You watch them all from young teenager grow into a young adult and better understand the way they feel about others including their parents, fellow students, and newly acquired siblings. The artwork is gorgeous and there is so much plot you'll never get bored. So much drama in one show it should be classified as a soap-opera. All the characters are lovable. If you do watch this be sure to get a box of tissues. I cried so hard! Miki and Yuu are the main characters but the supporting characters only add to it.


This must be the last of the quality BBC dramas yet to be released on DVD. I wonder what the problem is? Maybe the BBC has lost the original tapes - I hope not. Assuming that the tapes do exist still, I would expect the demand is enough now to justify its release on DVD. I would certainly be prepared to pay a premium to obtain it. It's one of those productions that do not date, but evokes the atmosphere of the 1950's to the 1970's as I remember living through it. Considering the number of excellent actors in the series you would think there would be a demand just to be able to see them as they were at the beginning of their careers. So come on BBC - at least let us know if we may hope!!!


It's a pity that this extraordinary piece of ensemble acting is currently unvavailable. It's a bittersweet piece, akin to Peter's Friends or The Big Chill, but more realistic (it's a set of scenes from lives, not a single short-term reunion). The acting is superb. Whoever has the rights: make this series available!


This series was the kind of thing that made TV worth it a quarter century ago. Written by the English novelist Frederick Raphael from his book, it was more than a little autobiographic, and carried the flavour of the 50s and 60s, while avoiding many of the clichés this period evokes.

The TV series was Intelligent, wry, literate, subtle, with brilliant acting.

In post-war England, it followed a group of students at Cambridge, with their hopes, affairs, confrontations with life, and, later, disillusionments and achievements. It's impossible to explain how truly intelligent the writing is; this has to be experienced.

We NEED it on DVD!


None of the British mini-series that found their way across the Atlantic stand as a greater achievement than "The Glittering Prizes." Not "I: Claudius," not "Brideshead Revisited," none of them.

Frederic Raphael's script strikes just the right combination of warmth and acidity with a note of genuineness that we don't always associate with this writer. The performances are uniformly apt. Many of the young cast would go on to solid careers, yet few of them would ever give greater performances than they do here.

Undoubtedly the TV technology of the period may appear quaint, but that certainly hasn't held back "I, Claudius." I have seen this series again since the first American run in 1977, so I'm not relying only on dim memory. The writing and acting still hold up.

So many of these mini-series are really second-rate, sometimes dreary, but that's what average means, average. "The Glittering Prizes" is among a handful of really great pieces of television, and we are waiting impatiently for the BBC to complete excavation of the archives and place this wondrous series before a new generation of viewers.


One would think that the BBC and ITV would be out to milk every last penny from the great TV programmes of the past. The Glittering Prizes ranked along with such greats as I Claudius, Fall of Eagles and Days of Hope. I doubt that the tapes have been lost or discarded. If the BBC could produce the old blotchy 50's recording of George Orwell's 1984 for its anniversary, they have got this one tucked away in their vaults.

The plot reminded me of the Up series, where a group of children are visited every 7 years to examine how they are faring in life. The Glittering Prizes was a work of fiction, but obviously based on real life characters who attended Cambridge in the 1950's and went on to careers, some successful, some not. I will never forget the scene with Tom Conti in his cheap rooms, with "Oh Mein Papa" playing on the radio, or the young boy when asked what kind of car the family had, replied that they had feet. The evocation of the 50's and 60's brought back so many memories. The script was sparkling, the acting superb and the concept predated all the ensemble films and reality shows.

TV has really gone downhill since programmes like this were made. We may have more channels, but the result in mediocrity. Best of all, they were able to get the message across without resorting to gutter language. Like others, I would like to see this on DVD.


Totally engrossing series. Excellent cast, with a young Tom Conti particularly outstanding. Many mini-series have since come and gone, but very few match it in quality or in hauntingly evoking an era. A masterpiece.


One of the best British mini-series ever. I've been trying to buy this series on VHS or DVD for the longest time. It's not available. I'm hoping someone from the BBC will read this and get the ball rolling. The Glittering Prizes is not to be missed. Tom Conti is terrific, but then again, so is the entire cast. It's a wonderful ensemble piece. The screenplay was written by the incredibly witty Frederic Raphael, who adapted it from his novel. Raphael is known for "Darling" and a few other British films from the 60s and 70s. He also wrote most of "Eyes Wide Shut" before Kubrick re-wrote sections of it. The most recent film I've seen written by Raphael is "Coast To Coast" directed by Paul Mazursky and starring Judy Davis and Richard Dreyfuss. "Coast To Coast" was not released in theaters, only on cable. It's available on DVD and is very funny. The Glittering Prizes deserves its chance on DVD, too.


Don't bother to check epinions-they haven't heard of it. The Enoch Powell episode is dated, and as it turns out, fatuous (declaration of interest: some of us are erecting a statue with the epitaph: He was right); same goes for the Rebrick University episode. I recommend FF or eject on both (I haven't checked whether these episodes have any other plot in them..)

Adam seems overly concerned w. religion (maybe this follows Fred's life)-I was at Cambridge at that time & don't recall the slightest mention of the subject, other than mild criticism of the Billy Graham campaign.

Angela Down is so endearing in her 2 episodes that she really deserved star billing. The idea of a racing sculling boat at the Orchard is unthinkable. I don;'t remember seeing many Undergrad gowns (compulsory after dark) - maybe I missed them, or possibly they thought it would confuse American viewers..


Iron Maiden are the absolute best when it comes to performing live, and this DVD proves it. We get a good selection of their newer songs, such as Rainmaker, Dance of Death and Wildest Dreams, mixed in with some of their good old classics, such as Run to the hills, Number of the beast and many more! After more than 25 years since they released their first album, they are still going strong! Bruce keeps the crowd on their feet, singing and clapping through out the performance, making you wish you were actually there!

Special features include several informative documentaries and interviews and other cool extras.

The Boxset included two versions of the concert. One Sterio and another for surround sound. Which should enhance the maiden experience for you.

Go buy it now!!


After the long wait it finally came.. Death On The Road. An audio visual treat filmed on the Dance Of Death tour 2003/04. The package comes with 3 discs. 1 x Extras - Fan interviews (a bit lame, promo videos, photos and a behind the scenes on the road (very good). The other 2 are a stereo and 5.1 version of the gig (a bit pointless in my opinion). Anyway, the actual gig has been put together by Steve Harris again so the edits and cuts are immense... and there are a few black and white crowd shots. A bit of a shame but it doesn't take too much away from the finished product. The set contains a healthy wedge from the 2003 album as well as the trade mark anthems. Lord Of The Flies makes it in as the Blaze era token track.. not bad but it would have been nice to have had a lesser heard classic thrown back in (Powerslave? Wasted Years?).. The stage production for the tour rivalled that of the mighty 7th Tour of a 7th tour back in 88. Castles, Reapers & a couple of Eddie's are the setting for the show. A visual treat for sure. A very good concert DVD is whats on offer. A few flaws in terms of editing in my opinion but its pretty damn good. Is it as good as Rock In Rio? Nearly! The next DVD looks like it'll be the Ullevi Stadium show from 2005. I strongly feel that Steve should hand the editing job over to someone else to get a new feel to it. The TV broadcast version doing the bootleg rounds is bloody good. Needs a bit of tweaking but hold on to most shots for a few seconds at least. That could well be the best new line up Maiden DVD we'll see.


The Band: Iron Maiden The Place: Dublin, Ireland

This Concert Was Filmed As Part Of the DANCE OF DEATH Tour Brought To Us By The Heavy Metal Gods IRON MAIDEN. This Concert Serves Up Many Of Iron Maiden's Hits Like Number Of The Beast, Run To The Hills, Fear Of The Dark, Hallowed Be Thy Name, and Iron Maiden. The Background Changes Matched In Contrast To Each Song Performed, or The Giant Eddie (Iron Maiden's Skull Character) That Makes A Few Appearances, This Concert Is Sure To Make A Fan Out Of You. These Classic Heavy Metal Icons Know How To Put On A GREAT Show, and This DVD Proves How GREAT An Iron Maiden Concert Is.

10/10


Wow, I read on Netflix that the "MTV" style editing was really annoying, but I thought it could't be worse then the "Whtenake: In the Still of the Night" DVD. Boy, was I was I wrong.

Concert disc:

Let me get this out of the way first. The concert itself would have been great. Though Bruce is not at his best as far as sustaining the notes (I have heard bootlegs of this same tour wear he sounds much better) the other players are spot on. The average angle change is about 3x a second. Think about that. It's so bad that there is a warning that the DVD may cause seizures for God's sake. The other problem with all the cuts, is the loss of drama that was intended with this show, particularly the song "Dance of Death".

SPOILER:

Bruce went through a lot of trouble coming up with and realizing the concept that goes along with the song. Elaborate costume changes, dramatic entrances and his dervish dance - all wasted. In fact, when Bruce re-enters the stage and sings, other than in the rear of one camera angle YOU DON'T EVEN SEE HIM. Had I not seen the bonus disc footage of this part from another show I wouldn't have even known it was him and thought he was singing from off-stage. He looks like set dressing in the background.

END SPOILER

If this is to be way of all future concert DVDs I will be forced to stop buying them (luckily I rented this first).

Bonus disc:

Now this is where they get points from me. Like the "History of Iron Maiden" and also the bonus disc that came with "A Matter of Life and Death" there are extensive interviews with the band and others about the making of "Dance of Death" and the touring for said album. These were well done and clips shown on this disc are much better. Some are even from the same show, just not having all the jump-cuts on the first disc - hence more enjoyable. There are even bonus interviews (longer versions) with fans and the "Killer Crew", photo galleries and promo videos for "Rainmaker" and "Wildest Dreams". If you could buy the bonus disc solo or if it came with some other purchase, it's worth getting. I gave it a 4 rating, because the reason you buy a concert DVD is for the concert, and that is what I would rate the first disc. The bonus disc is really about a 9, but the fact that you have to buy it in this set at the moment dramatically reduces it's rating. Maiden is and has been my favorite group for over 20 years, so this isn't a casual review from someone who doesn't appreciate them. And no it isn't the end of the world. I just hope their next concert DVD (Ullevi, Sweden 2005 please - that show was awesome) is much better.


After patiently waiting a year and a half for the corrected DVD release of DOTR, I was excited to buy it because I heard a better DVD was coming out. Even when I heard all the deadly reviews, I still wanted to buy it. Everyone was complaining about the fact that Steve Harris (Maiden bassist) had edited it, so I thought they were kidding me. Unfourtunately, I was wrong. The editing sucked. Here's why.

*SPOILERS AHEAD* Firstly, the camera shots don't even last between 2 to 3 seconds, except for in between songs. What really annoyed me most was "Dance of Death". When Bruce Dickinson re-enters the stage, the dramatic re-entrance is taken away, so that you can't see him! Now had I have not watched the third disc, I would have thought that Bruce was singing from off-stage. I didn't know who the editor was at first, and I thought he/she should be fired. But when I learned that Steve Harris edited it, I was shocked. He did a good job Maiden England, why can't it be the same for this one.

Really I thought it was a good concert, decent set list, I like how they ended with "Run To The Hills", but the editing was just bad. I, Myself, am a Maiden fan, and I will not tolerate such crap. If Steve Harris edits the next DVD, I am not buying it.

*SPOILERS END HERE* The DVD package is worth owning, even if you are a Maiden Fan. but If you want a better version, get the CD version. It's for your own good.


Van Johnson portrays a young World War II veteran who, upon joining a prominent law firm, attempts to avoid scandal stemming from his allergy to alcohol. He forms an alliance with the daughter of the firm's leader, played by Elizabeth Taylor, and their romance is light hearted and moderated with realism. Ensemble playing from the talented cast is top-drawer throughout, with excellent timing ever in evidence. A shadowy sub-plot dealing with racial prejudice (victims: Chinese) is not overdone and is necessary for developing the film's principal theme: the inherent value of performing public service. Playwright Norman Krasna, who wrote, produced and directed this understated comedic drama, keeps matters moving briskly, while allowing scenes to develop properly by emphasizing the sharp dialogue, some of which is startling with its insight. There is good acting aplenty, by the mentioned leads as well as by Leon Ames and Edgar Buchanan; but the honors must go to the veteran English stage performer, Percy Waram, whose delivery is perfection.


It's hard to believe that just 4 years after this ridiculous film, Johnson and Taylor costarred in the memorable "The Last Time I Saw Paris." That was a picture.

The problem with this film is that the sub-plot would have made the ideal plot. A Chinese doctor is refused admission into his apartment due to racism and bigotry. This would have made for a fascinating problem especially in an era when the movies was searching for relevant social problems of the period.

Instead, we are given an inane film where every time Johnson even sips a drink, he goes absolutely bonkers. Come to think of it, this is insulting to people who have drinking problems.

Taylor talks in a voice that was appropriate for "National Velvet" but certainly not 6 years later when she was older.

Any decent acting here is done by veteran pro Leon Ames, as a city official. His one scene stealer towards the end is memorable.


The film has nothing special to offer, except for very very melodious songs by Anu Malik, two beautiful girls (Preity Zinta and Rani Mukerji), who, at that point of time, were reasonably newcomers, and today, both are the top actresses in India. It was nice to watch the film, as an entertainer, and there are some funny scenes. But the film does not have some novel script which can capture you.

Salman makes his part very well. As an actor whose mission in this film is to make people laugh, he knows how to combine this aspect with some emotional expressions, such as that when Preity informs him about the new car the family gifted him, and he feels offended about that.

Preity is very beautiful and there is something irresistible about her on-screen. The role may not have required histrionics from her, but she does her job effectively.

Mukerji gets very little scope and doesn't make any impact. The first three quarters feature her lying on bed, and the remaining one introduces her as a good human being and caring sister, too typical and boring.

Watch it if you are a fan of Salman, Preity and to some extent Rani, and want to have some good two-three hours, but don't watch it if you expect to see a good, or even an average film. 4/10.


A great film. I think everything was good about it, the acting,the songs and the storyline. You PROBABLY THINK THAT I'M always saying good stuff about all the films i comment on because the truth is I don't really have anything bad to say about these films because their just so good.In the film Preity Zinta and Rani Mukherji are like sisters and they both like Salman Khan but Salman Khan likes Preity Zinta. Salman Khan and Rani Mukherji get married and Salman Khan just can,t refuse. Preity Zinta acts as she does not like Salman Khan. Near the end Rani Mukherji finds out that Salman Khan and Preity Zinta like each other she sacrifices her love and stops from Preity Zinta sacrificing her love for her sister and Salman Khan and Preity Zinta get together at the end of the film.


If you hear reviews for this movie, you hear that this movie is really good or terrible. I however thought it was satisfactory. The movie is fun to watch, and a must see for Salman, Rani and Preity fans. The movie is such where a person with expectations would have them fulfilled. But the movie isn't anything too special where one can call it memorable. It is a version of While You Were Sleeping and this version works just as well. The movie has slight plot holes but overall it's a good movie. This is the second of three comedy movies I saw of Salman in 2000 with others being DHLJ (1st) and KPNHJ (3rd). He acts not as good as the former but better than the latter. His jokes here are stupid and an embarrassment for him. Despite the comedy scenes, he is still good in the emotional scenes. This is the first of two films with the same trio. In CCCC Preity Zinta overshadowed Rani. Here Rani completely overshadows Preity. Rani looks beautiful and is given a stronger role. Rani has the right amount of emotion and makes Preity look bad. Preity by no means bad. But here I found here to be a little annoying. She does do good acting, but was overshadowed by Rani in looks and acting. The supporting cast was good, but I didn't understand the whole KKHH spoof. Shahrukh Khan's character is confusing, but he is okay I suppose. Now besides Rani, the other best part of the movie was the songs. My favorite song, Piya Piya is nicely shot and puts a perfect smile on your face. The title song is another nice song and nicely shot (Rani looks extremely beautiful). Dil Dil Deewana is fun to watch. Aate Jaate, despite being a wonderful song, was a bit boring. Aisa Pehli Baar Hua Hai was nicely danced, but the song was quite overrated. Being a good movie, the songs do help in the mood of the movie. So for people looking for a good time, watch this movie.


Har Dil Jo Pyar Karega is a nice film. Salman Khan always an excuse to take off his shirt. He was okay but in some scenes he was being silly. Other than that he was fine. Preity Zinta was very good. Rani Mukherjee was good aswell.

It starts off with Raj (Salman Khan) coming from Goa to Mumbai in search of a singing career. He stays with his friend Abba (Neeraj Vohra). One day he saves a bride from being crushed by a train and the girl is called Pooja (Rani Mukherjee) and rushes her to hospital. Her family think he's Pooja's husband, Romi. He goes along with it all. He meets Pooja's best friend who's like a sister to Pooja, Jahnvi. Raj falls for her immediately. The two hang out together and she learns the truth about Raj and learns that Raj is mad about her and she loves him too. The two get together. Pooja comes home and she can't move she can only hear. Later she recovers and also goes along with the plan of him being Romi. She's madly in love with him. Jahnvi learns this and she begs Raj to marry Pooja. What happens? Does Raj marry Pooja? Or does he go off with Jahnvi? Watch to find out.


Har Dil Jo Pyaar Karega has all the ingredients needed to make this movie a hit. A great cast as well as songs.

The movie starts out with Raj (Salman Khan) going to Mumbai from Goa hoping to make it big in the music industry. But he finds out that things aren't as easy as they seem to be and he ends up staying at his friend's place. One night, he witnesses an accident and ends up saving the life of Pooja (Rani Mukherjee). Her family thinks that Raj is Pooja's husband as she left home to marry the guy she loves. Raj is not given a chance to explain but then he realizes that this is the opportunity he's been waiting for because her family was very rich. Pooja ends up in a coma but she can hear and see whatever is going on. Pooja's best friend, Jhanvi (Preity Zinta) comes in from the US after hearing about her accident and she meets Raj. She falls for him but doesn't do anything because she thinks that Raj is Pooja's husband. After she finds out that it is not true, she starts to fall in love with him. In the meantime, Pooja has also started falling in love with Raj and when she wakes up from her coma, she identifies Raj as her husband although that is not true.

The rest of the story deals with how the situation is resolved and who finally gets Raj. It is a pretty good movie, but the first half was too long. There is only one song in there which I really like, and that is 'Piya Piya'. The acting done by both the actresses was excellent! As for Salman, he overdoes it in some scenes and he really should think about getting another dress designer for himself! But, other than that, it is a watchable movie. Fans of Rani and Preity should definitely watch this movie!


This movie is the remake of yet another Hollywood one "While You Were Sleeping".

Raj played by Salman Khan is a singer who is struggling to make it big in Bollywood. He meets a lot of people but no result. One night while coming back to his home he witnesses an accident. Raj goes to find out a girl in wedding Saree. The girl was still breathing. Raj takes her to a hospital. The girl belongs to Oberois a very wealthy family goes to Comma. Can she everything, hear everything, but won't be able to speak or move any part of his body.

Her parents are proud and grateful of Raj and they believe that Raj is Romi i.e., the person for whom Pooja ran away from the house and they accept him as the groom too. Raj reluctantly agrees to this. He thoughts of a plan to fulfill his interest of becoming a singer. That was until he meets Jahnavi, sister of Pooja. He falls in love with Jahnavi. His life changes after that for better of course.

Pooja gets well. Raj marries Jahnavi. And they live happily thereafter.

A lot of peoples were not very happy watching movie, but somehow the movie has impressed me a lot.


i watched this movie and i HAAAVE TO SAY!! that people who haven't watched this movie should buy the DVD.the movie was GREAT 10/10 for me!!the songs were good!!the plot and the love triangle was good!!I wasn't really into Bollywood !! i didn't know who Salman khan and Preity Zinta were!! but i decided to watch the movie and i LOOVE IT!!i saw the movie and i started watching more Bollywood films !!WATCH IT! it's WOORTH WATTCHHING!!decide for yourself!! i thought it was great and you might like it to!!I LOOOOVE this movie SOO MUCH!!Salman and Preity are one of my most FAVOURITE COUPLE!!the story starts off with Salman wanting to become a singer. After a while though he decides things are not going very well he decides to leaves.UUNTILL he saves a young girl from DEATH!!her family is glad and thinks he is her husband!the young girl has a sister(Preity Zinta}!! i would explain the story more in depth but it's better if you watch it!!JUUST watch the movie!! is all i can say!


I have to admit I have NOT seen the movie but I want to comment on it. The last comment really trashed the movie. I have seen several of the songs on the smashing EROS International DVD Chart Toppers and they are fantastic. Really hard driving music and dancing. Even if the rest of the movie would turn out to be garbage, these hot songs would be the magic mushrooms on top of the dung hill. Iwould buy or see this movie for the songs alone. But then its the music and dance that I love about Bollywood movies. And while we are at it - check out Chart Toppers - forty five songs - four hours of Indian MTV with no commercials. Char Tppers from Yas Raj films is another excellent Bollywood musical compilation.


This film is awful in the sense that it is loosely based on 'While You Were Sleeping'. I was expecting more from this film, but was disappointed. In 'While You Were Sleeping', the relationship develop slowly and we fall in love with the characters, but here..it is a total waste up. Particularly, because Salman tried hard to acts funny, but he wasn't able to make quite an impression.There are just too many co-incidental events which makes the film illogical. Trust me, you shouldn't waste your money on this movie


In the realm of "S-M"/"B & D" (i.e. women getting physically restrained and then usually abused in various ways) this can be viewed as a kind of "missing link" between the Irving Klaw/Bettie Page classics of the early to mid 1950's and the gems from House of Milan/TAO in the 1970's and 1980's (the latter still being regarded by yours truly as the exemplar of the genre). Apparently it's part three of a trilogy, but I've just seen the one (which probably won't change). As you probably already know, the alleged story concerns a crime boss named Olga who spends most of her time punishing various female subordinates for various off-screen infractions. It upholds the John Willie/Eneg tradition of the all-female universe, although we do briefly see a couple of quasi-gay male characters, one of whom wears a ship captain's hat and smokes a big cigar---overcompensation? Even by Z-grade budget standards, the faked nature of the abuse performed by Olga is pretty laughable; I especially enjoyed the pulled punches/slaps. (How hard would it have been for the director to have Olga put her hand next to the victim's face, yank it back suddenly, then show that particular footage in reverse?) The "electric chair" also stands out (or sits) in that regard. The reason I give it 2 stars instead of just 1 is due to a few aesthetically pleasing elements; the cinematography is gorgeous old-school black and white (not like today's occasional black and white efforts that look like crap); the outdoor shots of upstate New York are a nice relief from the largely bare-walled interior scenes (it's a nice touch having Olga's hide-out be an abandoned mine, although clearly the rooms seen aren't in a mine); there's a long (and blessedly dialog-free) sequence of one of the victims getting chased through the countryside that almost achieves a kind of pastoral quality, reminiscent of the silent era; most of the women are fairly easy on the eye, especially Olga (who by the way is clearly American despite her foreign-sounding name). Late in the going we see Olga let her hair down and start to undress as she gets ready for bed; unfortunately no auto-eroticism ensues (well it was still 1964 and all that). There's also a scene of some amateurish belly dancing tossed in, for fans of that particular activity. If you're a male who will be watching this for masturbatory purposes (I don't know who else would be watching it, or why else) I would suggest turning the volume all the way down and playing your own "stroke music" on your CD player or whatever you have, unless you're heavily into "Night on Bald Mountain" (and other old library tunes) and lots of self-satirizingly earnest narration a la Walter Winchell on "The Untouchables," e.g. "Olga was now about to achieve a new level of sadism," pronounced "sad-dism." (That line's probably not verbatim, but you get the idea.) Even on just a technical bondage level it's pretty lame (aside from the lady in the strait-jacket with the blindfold and ball gag); soap operas do a more convincing job of binding & gagging. Here's the "spoiler" part: eventually one of the victims becomes Olga's partner ---but do any nice lesbian antics ensue? No way, Jose--bottom line, it's a pretty bare-bones 70 minutes; even describing the "tortures" would make them sound more interesting than they actually play out, one reason I haven't done so...


Rediscovering Lelouch on DVD, not having seen his films since they were aired on TV in the 70s and 80s, I enjoy them even more than expected.

This is not a western, not a love story, not a historical picture... it is all of it and none of it, it is about how lifes cross depending on random changes of fate. If you like mindless action, down-to-earth westerns or tear-jerkers pass your way as you will not have the patience or the "gusto" to watch (just rent any mindless Stallone or Schwarzenegger movie, that should do). If on the other hand you can be moved by the little things of life and you want a real story, with lots of content and brought with great skill, this is definitely for you. This is not an artsy movie, it's a great movie!

Lelouche has a knack of developing his characters over the duration of his movies, so you feel like you are part of the environment and not someone peeking in on what happens or a distant spectator. In "Un autre homme, une autre chance" he bridges the ocean to tell us about a french woman and an American man that could not be more different. The way they both evolve and finally come together through ups and downs, is made very special exactly by the fact it is so common... a reality show without the voyeuristic element that often leaves a bitter after-taste. It is told with such ease and with great performance of the actors.

Definitely one of Lelouche's best movies and a must-see.


I am studying sound design and this movie blew me away. Watched it late night only because of the excellent James C. The most striking thing is when ever there is a violent scene, the director choose to fade out and loose all natural sound and simply play a simple but striking piece of piano. It distances you from the horror of the violence, it seemed to me to be as if I was being sheltered from the full effect. Powerful and poetic this was a revisionist western way ahead of its peers and only to be matched by Clint Eastwood's High plains drifter and Beguiled.


"Un autre homme, une autre chance (1977)"

"Another Man, Another Chance"

This is one of the best films I have seen in years; hard to believe that it was written and directed almost 27 years ago. A lyrical, beautiful and moving film with a storyline so believable, it is as if I were with them, on the dusty roads and the rolling hills and plains, seeing the Great Southwest unfolding before my eyes.

This film is even better if you know some French, but not necessary... The "true to life" historical film has so much meaning on a personal level; it is as if I were "let in" to read someone's private diary, with nothing held back. Such thoughts I wish I had...

Thank you so much, to the director and writer, Claude LeLouch; and to the actors James Caan and Geneviéve Bujold. They are all excellent in every way. I wish I could have "been there" myself at this point in time, and after seeing this film I was able to "live in their painting" for just a little while. I actually watched it two times in a row, it was so beautiful in all ways.

No "blockbuster" needed here; just the storyline of these people's lives. I can't wait to see what other films this fine French director has brought to the screen, as I had never heard of him before. Caan and Bujold are at their finest, as always. Thanks to both of them, as well.

I think I read that this was a true story of the author's grandparents, or greatgrandparents, his grandmother who was French and this was their life. Most interesting of all. We are all immigrants seeking the Promised Land.

With my sincerest and most heartfelt thanks, Catherine Todd


A Frenchman and his wife come to Old West America circa 1870 in search of new lives for themselves, but he is soon killed and she becomes acquainted with a shy, gentle American widower. Director Claude Lelouch whips up an appropriately dusty, windswept scenario, and the film's keenly-observed atmosphere is bracing and real. Unfortunately, the film, in both English and French, is woefully lumbering and overlong, and the promising casting of James Caan and Genevieve Bujold fails to set off sparks. Fascinatingly detailed, with beautiful camera-work and art direction, but the narrative might have stood some tightening. ** from ****


Interesting to read some other reviews here talk of how art plays a role in this film, and how that's a bad or somehow less appealing thing. Maybe it's the genre they see as this not working well. For some, a simpler film may be best. But this film integrates a variety of story lines and looks to take the viewer on a forward and backward ride forcing you to think about what you missed and what is yet to come. With that, it's too complicated, too artsy if you will, for a dumbed down less sophisticated American movie audience. Sad that some miss this, but see the film for yourself and appreciate film making for the art IT IS!!! American film audiences have a lot of work to do! Otherwise, I love the film for the French language and story line in Paris because I love French, France, and Paris!


I saw this movie when I was in the army back in the 1970s. Along with Murder on the Orient Express and Cactus Flower, this is the only other movie I ever walked out of the theater on. My wife came with me to see the movie for something to do. She agreed that it sucked and that we should leave the theater, to do more important things, such as watch the linoleum curl on the kitchen floor. Hey, at least that had some suspense in it. Do yourself a favor, and rent Road Trip or Harold and Kumar instead, they were funny and entertaining, this was artsy stupid crap. Since I have nothing else to say and there is a ten line minimum, I just want to say that this thing stunk.


This was a disappointing film. I thought that with Andy Lau and Rosamund Kwan in the film that it would be decent, but I should have expected to be as crappy as it was since it had Wong Jing in it. The special effects were just not up to par with Hollywood films. In addition, the supporting American cast was awful, as was their dialogue. I also could not get over how bad the English of the Chinese cast sounded. Go watch another film.


Andy Lau, Hsu Qi, Rosomund Kwan, what could go wrong? Let's start with a shallow story, awkward pacing, loads of unmotivated 360 degree jump cuts, inconsistent character super powers, recycled explosion footage, unresolved two dimensional character issues, inconsistencies in alien monsters, and perhaps some of the worst secondary character acting I've seen since Hercules Goes Bananas. The white cast is dubbed over in English, the establishing shot of San Francisco is actually the Hong Kong harbor, and explain to me why aliens that can fly away into space as clouds of CGI vapor would ever need space ships to begin with. On the flip side, though, this film has some elements that made it fun to watch in a very Mystery Science Theater 3000 kind of way. The translation of "ow!" to subtitles that read "terrible pain" was a funny moment in context, and dialogue like "Not only the Chinese know Chinese Kung Fu!" from the head of the secret U.S. alien defense team Double X had me on the floor. And don't forget the line "We've traced his brainwaves!" Oh boy. The loads of CGI monsters and tentacles were fun, and the kid playing the young version of Andy Lau deserves and Eyebrow Acting Oscar. Fans of deep hurting schlock will dig this, everyone else go back and rent Full-time Killer or Love on a Diet or Love Me, Love My Money. Heck, anything else would probably be more healthy for your mind than this, well, maybe not Bio-Dome.


First, I'd like to mention this in defence of the movie. I found the whole science-fiction idea of blue-blooded aliens interesting but the movie was let down by it's poor execution. It could've been much much much much better than this.

Scriptwriting is horribly bad, and the fact that Western actors hired to represent government officials does not even help the movie a single bit. This movie flops like a fish out of the water despite its star-studded cast. If you would like to watch a quality flick that has a quirky storyline, I'd recommend the paranormal thriller Double Vision which was released in the same year.

I'd still recommend this movie for its train wreck factor, just don't put your hopes up high before you watch it. The humour in the movie can be painful to listen, and the sci-fi effects hardly raised an eyebrow. Although one exception was the very short battle scene involving some alien monsters. I was hoping to see more of that.

In short, there's no need for me to berate over the fact that The Wesley's Mysterious File (sic) is a lousy sci-fi movie. I'm still left scratching my head wondering why was there such a huge typo in the English movie title.


The key to enjoying this movie is in your expectations. After seeing cars with guns and a wide array of other BAMF weaponry attached to them in the trailers, I didn't expect Death Race to have much depth. I went in hoping to see the lovechild of the Fast and the Furious and Mad Max, and I saw just that--and I loved it! There are plenty of things in this movie that normally would have annoyed the crap out of me, but giving it a lot of leeway made it a hundred times more enjoyable.

The acting is, dare I say, somewhat decent for a Paul W.S. Anderson film. The actors give the performances they need to give, while still having fun with their roles. The cold, awkward acting that plagued Resident Evil and AVP is kept to a minimum here, if at all present. Jason Statham is the typical tough guy protagonist, while Joan Allen is the usual one-dimensional villain. They play their parts well, as does the rest of the cast.

Death Race is pure escapism. And, oh, is it fun escapism! This is the first Anderson film I've seen that I've been absolutely satisfied with. It never tries to be anything more than what it is and it shows the audience everything they want and expect to see. If you're not into ADD action and gore glorification, this one ain't for you! Otherwise, catch this one in the theater while you still can!


You already know it's a Jason Statham movie, as did I going into it. Also, following Paul W.S. Anderson's career, helped me decide what movie I was going to watch this weekend.

Most Statham movies aren't going to contain any character or plot development. That's just his track record now as an action star. And with a title such as "Death Race," no one in their right mind should expect an epic of Oscar-worthy proportions.

That being said, I really enjoyed this movie. I hate to use the term, but it really was a "no-brainer." It was very predictable. It had cars with machine guns and armor, that's what was shown in the trailers. It could be construed by some as a corny movie. But, it was what I fully expected. There are also some really bad one-liners in the movie. So bad, I just had to laugh a few times during serious scenes. But at 90 minutes, it was just enough time to get the point across.

The beginning was a bit slow, but once the racing started, it never let up. The chasing and racing, and all of the loud gun-fire and explosions make me want this on DVD or BluRay real soon already. It was like a video game made with live actors. If you like a ridiculous amount of explosions and machine gun fire in a movie the typical Statham hero, this is your movie. If you want to be moved by any of gratuitous emotion, skip it.


I'll cut right to the point. Death Race, seems similar to the game twisted metal on Playstation. Yes the characters also use weapons, and cars that the every day consumer tends to drive. Nothing really ground breaking in what I've said so far. This movie doesn't attempt to have any crowd rising epiphanies or such a twisted plot that it doesn't seem to capture us. Although, some of the speeches made by Joan Allen's character are questionable considering she is addressing convicts. Nevertheless, the movie is designed to be a source of car action entertainment.

It is similar to the movie Shoot Em Up with Clive Owen. Purely unrealistic entertainment and that my friends is the beauty of this movie. It's nice to be able to sit in a theater and have a few chuckles, watch some mind boggling car chases/crashes and have a sense of where the story is going.

I went into the movie with little to no expectations of how "good" the movie would be but purely as a source of entertainment, and fascination of "car functioning." If you get a chance to go see it with a group of friends definitely do it! It's not a movie you want to watch alone.


OK let's get something out of the way: this movie is not about introspection of the human soul or whatnot. It's a movie you go see for three basic human needs: sexy sex opposites, cars and stuff blowing up.

The movie doesn't aim at any more than this either. There is a small backstory/revenge episode with the main character but what is really interesting are the set pieces, the action, the unprecedented frenetic car combat that takes place.

Let's be honest here, if you've been a fan of Mad Max, Death Race 2000 and its ilk, there hasn't been much to your taste in the past, oh, 20 years. Death Race remakes the original without any sense of self-righteousness. It gives the audience big explosions, crazy chases, a lot of bullets, sexy damsels and a satisfying end to one wild romp of a movie.

It won't redefine your perception of a good movie, but it may stay with you as one of the most entertaining movie of its genre, if you can call it that. Car Combat movies don't get much better than this and quite frankly, I don't see why they should. They're all about the action after all.

So unless you terribly mind turning your brains off to enjoy the show once in a while, chances are you'll have a blast watching Death Race. So for what it's worth, I recommend it.


This movie is basically a action-movie at its finest. It severally lacks depth and story but compensates that with its action. It surprised me (even for a Paul WS Anderson movie) how mindnumbing it is, but it never leaves you bored and thats why this movie is better then the original Death Race 2000 in my humble opinion. Although that isn't really saying that much since this movie really doesn't have much in common with Death Race 2000 other then the title.

Jason Statham is perfectly casted as the actionhero. The movie also lends a few nice video game-like aspects but Paul WS Anderson knows how to handle such things, and really sets himself apart with this movie from directing-failures like Uwe Boll.

Overall there isn't really much else to say. The ending is great so I'm not going to spoil it, just see it for yourself. If you are a action-fan you will not be disappointed. Don't expect too much storyline though.


It is a future time and prisons are now run by private companies for profit because the economy went to hell. Hmmmmm. --And this future time is not far from now either.

This is a better than average action-entertainment or "popcorn movie". The concept is one we've seen a couple times of late about the ruthless greedy villain who manipulates a bunch of people into participating in some dangerous game or sport for internet viewing and profit. In this instance, a man is framed for the murder of his wife so that he will go to prison and participate in a "death race".

This movie is one of the best of it's kind: action-entertainment. And to be fair folks, should be judged by that standard. The acting and the action is very good. It seems more like a guy-flick to me, maybe not. There is a good looking latina in it who plays our hero's driving partner. Her acting abilities surprised me because at first glance she seemed like she was just going to be "eye candy". She also got behind the wheel and was impressive. I'm thinking that all she needs is a little martial arts training and for someone in Hollywood to give her a chance and she could be a really good kick-ass heroine. (Who doesn't like women in snug outfits beating people up?)

The ending also surprised me because it was--shall we say, "impersonal". I don't want to go into what that means and spoil it for you. Suffice to say that movies usually don't end that way. At first I was a bit disappointed, but then I said "why not?" --Do things a little different for a change. Anyway, put this one at the top of your "to see" and DVD list. No one is pretending and intending that it's art (in the "snooty" sense), it's just pure entertainment. Love, Boloxxxi.


i like a good action film and this is what it is! its a bloke flick.the tough hero,the action,the violence,the good looking babes,the car stunts.overall a great time for guys.any man who appreciates action will love it.stroll on the great leave the brain at the door action flick! bout time they made more like they did in the 80s.jason statham is along there with the likes of Dwayne Johnston aka the rock,mark whalberg and vin diesel providing he sticks to what hes good at(killing bad guys and delivering bad lines)"no more lame comedy please vin" reminds me of those good action flicks you used to get when action stars were action stars.not trying to change what they are good at. been a fan of director Paul w.s anderson and statham for a while so keep up the good work guys.if you like blokes action films you wont be disappointed.


My observation listed at the end here, may be a spoiler, but not really sure about that as I could be imagining something that wasn't really there. How's that for a save? I found this film to be a variation on The Longest Yard as much as it is similar in plot to The Running Man. Then again, the respective story lines to those films are pretty much the same. It doesn't much matter though, as this really is fun visit to a theater. There are few action/adventure movies made these days with an original theme. It's a moot point being that this is a re-telling of the original film of which I also enjoyed. What no one here has mentioned is Frankenstein. I believe the voice of Frank (pre-opening crash) is that of the original Frankenstein - David Carradine. He's not listed in the credits, but then again...no one is listed. A fun little homage if I'm right about that voice.


No, it's not a dramatic masterpiece, but it is a hard driving thrill ride and the most enjoyed movie I've seen at a theatre in months, maybe over a year. While the plot is a bit "out there", once the movie gets going it sucks you in and you mostly forget about that. Plus, the ending was great and the visuals were right up in your face which was great and really exciting to watch.

It was not the type of movie I would usually go see but I went because it was adapted by P.T. Anderson (still think he was robbed) and because I always enjoy seeing J. Statham beat up on people-heh. I really had a blast throughout except for the rap music I had to endure on occasion (personal pet peeve). I gave it a 10 because of the enjoyment factor. Very, very well done.

Now if I could just get the movie theatre to stop playing crappy pop music while I wait for the previews. :-/


Excellent action movie. Joan Allen gives a tremendous performance. Jason Stratham is great. Good story, to the point, uncomplicated. Special effects do not get in the way of the story. Production design is consistent with sense of foreboding and danger that permeates the movie. Most characters are two-dimensional but for this kind of movie, it's okay. The movie is overtly violent, but not gratuitously so. The movie has an interesting and upbeat ending and serves as metaphor for the individual's vulnerability to manipulation. The production crew exercised creativity in casting Ms. Allen in a role that is unusual for her and she once again proves her more than ample theatrical talents. Kudos to Ms. Allen!


john ford have said that "The Fugitive " was his only perfect film . The film was not a commercial success and the critics write bad thing about it . Never mind . This movie is a song of beauty , a study about the catholic faith that can survive against the worst conditions ( an atheist government). See you "the fugitive ", a truly great movie .

fernando alonso barahona author of "Cecil B. de Mille ", "LAs obras maestras del cine ", "Antropología del cine " ....