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imdb-20966
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We don't know why this extraordinary film was never made available officially on DVD... Anthony Quinn's performance alone makes this a must-see. There are relatively few films in which an actor identifies so profoundly with his character, a phenomenon always unique for us, moviegoers.<br /><br />But Quinn's powerful portrayal of an innocent Romanian, literally dragged out of his house and everyday life by forces he cannot comprehend, is only part of what makes this film great. The script is based on a book published in Paris by a Romanian priest who fled the Communist take-over of his country, and the film succeeds to go deep into a little known area of East-European history. Told as a succession of Kafka-esquire twists of fate, the misadventures of Johann Moritz (told openly and honestly, without any of the political correctness currently so precious in Hollywood) are in fact a eulogy for the lost innocence of the Romanian people... it is devilishly ironic that this eulogy is signed by a French director, working with the American money of an Italian producer, and overseeing a multinational cast fronted by an extraordinary Mexican-born thespian.<br /><br />I've seen mentions of VCDs of this film in various Asian internet stores, and I was fortunate to take possession of a digital recording of this film, broadcast on the British version of TCM. But it's a shame that "The 25th Hour" isn't anywhere on the future DVD release map of MGM studios.
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imdb-20967
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I have seen this movie maybe a 100 times, never grow tired of it.I saw this movie the first time when i was 7 years old, and it has left a mark in my memories since then. Its a enchanting love story that brings the sun out in most people, even in the darkest times. I think that this is a "must see" movie and one of Anthony Quinn's best performance ever. I just wish that the TV-channels would send this movie more often. It has inspired me in a good way and surly will do that to many others. If there is any actor i wanted to meet, it would have been Anthony Quinn. There will never be a like of him on the silver screens,,, ever. Wish that Anthony Quinn was still alive. May god bless his soul.
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imdb-20968
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I caught up with this movie on TV after 30 years or more. Several aspects of the film stood out even when viewing it so many years after it was made.<br /><br />The story by the little known C Virgil Georghiu is remarkable, almost resembling a Tolstoy-like story of a man buffeted by a cosmic scheme that he cannot comprehend. Compare this film with better-known contemporary works such as Spelberg's "Schindler's List" and you begin to realize the trauma of the World War II should be seen against the larger canvas of racism beyond the simplistic Nazi notion of Aryan vs Jews. This film touches on the Hungarians dislike for the Romanians, the Romanians dislike of the Russians and so on..even touching on the Jews' questionable relationships with their Christian Romanian friends, while under stress.<br /><br />As I have not read the book, it is difficult to see how much has been changed by the director and screenplay writers. For instance, it is interesting to study the Romanian peasant's view of emigrating to USA with the view of making money only to return to Romania and invest his earnings there. <br /><br />In my opinion, the character of Johann Moritz was probably one of the finest roles played by Anthony Quinn ranking alongside his work in "La Strada","Zorba the Greek" and "Barabbas". <br /><br />The finest and most memorable sequence in the film is the final one with Anthony Quinn and Virna Lisi trying to smile. The father carrying a daughter born out his wife's rape by Russians is a story in itself but the director is able to show the reconciliation by a simple gesture--the act of carrying the child without slipping into melodramatic footage.<br /><br />Today after the death of Princess Diana we often remark about the insensitive paparazzi. The final sequence is an indictment of the paparazzi and the insensitive media (director Verneuil also makes a similar comment during the court scene as the cameramen get ready to pounce on Moritz).<br /><br />The interaction between Church and State was so beautifully summed up in the orthodox priest's laconic statement "I pray to God that He guides those who have power to use them well." <br /><br />Some of the brief shots, such as those of a secretary of a minister doodling while listening to a petition--said so much in so little footage. The direction was so impressive that the editing takes a back seat. <br /><br />Finally what struck me most was the exquisite rich texture of colors provided by the cameraman Andreas Winding--from the brilliant credit sequences to the end. I recalled that he was the cameraman of another favorite French film of mine called "Ramparts of Clay" directed by Jean-Louis Bertucelli. I have not seen such use of colors in a long while save for the David Lean epics.<br /><br />There were flaws: I wish Virna Lisi's character was more fleshed out. I could never quite understand the Serge Reggiani character--the only intellectual in the entire film. The railroad station scene at the end seems to be lifted out of Sergio Leone westerns. Finally, the film was essentially built around a love story, that unfortunately takes a back seat.<br /><br />To sum up this film impressed me in more departments than one. The story is relevant today as it was when it was made.
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imdb-20969
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I stumbled upon this movie whilst flipping channels on the teevee late one night. It has continued to hold my interest some twenty years later, because of the important real-life lesson it teaches us about the dark side of human nature. And although it tells a true story that takes place in WWII, it is amazingly apropos to the ugly things happening in Europe today.<br /><br />If you thought "ethnic cleansing" as it's called today, has anything to do with race or ethnicity, you'll think differently after viewing this story.<br /><br />I guess I'd been pretty naive in thinking that evil follows any prescribed set of rules. Evil is as evil does.<br /><br />This movie teaches a valuable lesson, and I recommend it especially to e.g. church groups or civil rights organizations.<br /><br />I don't expect it will be too easy to find and rent, but I'd really like to see it again, because there is one amazing scene in it which gives a totally unintentional yet interesting glimpse of the banal intricacies of "race expertise". In this scene, the protaganist, who was taken prisoner by the Nazis at the beginning of the war, is "discovered" by an SS race authority, and ushered into a room. There the two play a sort of guessing game, where the SS officer is able to determine where our hero (Anthony Quinn's character) came from -- and where his ancestors came from. Well "come to find out" that Quinn's character isn't a member of an "inferior" race after all, but to the contrary, he's a perfect, archtypical Aryan! Which doesn't mean a whole lot to Quinn's character, who is more interested in talking about the towns, rivers and mountain ranges that the SS guy had just been naming... Nevertheless, being a perfect Aryan archetype has its perks. Among other things, he gets to leave his job in a slave labor factory where he wears striped rags, and into a slave modeling job where he gets to wear tailored Nazi uniforms. Yeah, it's a better gig for sure for a guy who always did appreciate wearing nice clothes... until the Allied armies arrive, and recognize his face from magazine covers.<br /><br />
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imdb-20970
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This movie ... I saw it 15 years ago and in the last years couldn't remember it any more, name or anything else, just it was about a Romanian country man played superbly by Anthony Quinn. The impression I got from this drama will be eternal. Finally I found the name of the movie, I hope I will be able to buy it. And honestly this movie worth 10 Oscars. Ten times BRAVO. I was quite young when I first saw the movie. I asked my friends if they heard about this story but nobody would know anything about Anthony Quinn playing the role of a Romanian peasant. I remember when a German officer came and saw Anthony and told him he was a good "breed" but in fact the German was cheating on him. For few bucks you won't get rich in case you buy the movie but you will be rich if you have it.
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imdb-20971
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living in Romania, i was almost stunned by the very realistic setting for the scenes and the great care paid to local details by the director. The performance of Anthony Queen is absolutely great, and the rest of the cast does a great job supporting him. The movie does take a little knowledge of the east European context in order to be fully enjoyed, but it remains otherwise a great performance with some memorable lines. the ending is maybe a bit too melodramatic, but that's actually the way people are in this part of the world I believe the screenplay is great, because it presents the horrors of the 2nd WW in a most original manner - no blood, no battlefields. Still, lives are shattered, and the smiles you get every now and then throughout the movie are quickly killed by the war realities touching the characters.
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imdb-20972
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I was wrapped to see many other people also enjoyed this film. First watched it when I was in my early teens and then again several times late at night a few times after. Then sadly, no more. I'm now nearly 49 and so wish it could be made available on DVD. Why not? The best Anthony Quinn role, no one could have been more suited for the part or parts he plays - I've mentioned it to other film buffs of similar age and alas, no one I know recalls it. As the daughter of a generation that went through WWII and its aftermath (and myself deeply fascinated by what that generation endured) I guess this film at the time gave me a wonderful cinematic insight into some of the heartbreaking issues of the day. For classic final scenes this movie is a stand out.
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imdb-20973
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This is a finely crafted movie with moving sequences, humor, and best of all a love story. Anthony Quinn is wonderfully casted and after seeing several of his movies, this has to be categorized as one of his best performances, besides Zorba. The movie makes you really wonder if its filmed in Romania, which apparently is not the case. It is sure to fool even native Romanians, with its authentic-like landscape, costume, and ways of life. According to IMDb it is actually shot in France and Yugoslavia, hmmm. The story is compelling, making you want to watch the entire movie over, to see if you missed something. It provoked me into researching to find out if this is a truth based movie, but to my disappointment, it is a novel based film, seemingly fiction. It seems a bit far fetched to have happened for real, but one never knows.... The one problem with this film, is that it doesn't seem to cast any Romanian actors, and it is a film about a Romanian character. There are probably many Romanian fill-ins in the beginning, but maybe not, it is filmed elsewhere. The author of the book was Romanian, at least thats all fine and dandy - overall a masterpiece in cinematography.
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imdb-20974
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Anthony Quinn was a legend of 20th century in cinema by his great roles obtained this movie about a policeman innovated a false guilt for Toni to rape his beauty wife (Lisi) but he failed in this trap because he faced the strength of Lisi but he succeeded in his trap which was prepared by him for Toni that he put his name in the list of Jewish people in Romania and he transported from country to another in east Europe.<br /><br />This movie was directed in 1967 at the time of Arab -Isreeli war in 1967 (Six days war) as an evidence of harmful works from Jewish people which were caused by Jewish people not only in Europe but also in the rest continents.<br /><br />Jewish people were a great cause of French revolution in 1789 , the Pelchfik revolution in Russia 1917, the Turmoil of different countries in any time.<br /><br />Pearl Buck wrote a novel (Peony) in 1948 at the time of occupied Palasteine in 1948 about Chinese Jewish people and their problems they faced in China because of their bad instruments they used in these countries as keys of crisis.
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imdb-20975
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I watched this film early 70's.It is the best film I have ever watched And I will never forget it as long as I live. I hate wars. I hate wars. I hate wars. I wonder why we humans still let wars happen. Do you? Do you know why all these wars go on and on and on? innocent people get killed, even today, for stupid and unreal rezone ? I watched this film early 70's.It is the best film I have ever watched And I will never forget it as long as I live. I hate wars. I hate wars. I hate wars. I wonder why we humans still let wars happen. Do you? Do you know why all these wars go on and on and on? innocent people get killed, even today, for stupid and unreal rezone ? I watched this film early 70's.It is the best film I have ever watched And I will never forget it as long as I live. I hate wars. I hate wars. I hate wars. I wonder why we humans still let wars happen. Do you? Do you know why all these wars go on and on and on? innocent people get killed, even today, for stupid and unreal rezone ?
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imdb-20976
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I saw this movie years ago and I never forgot it. The theme is very timely. It was on TCM this morning and I am wondering why this wonderful film is not on VHS or DVD. I have searched extensively for this movie but cannot find it. I believe that if enough people request it, the movie will ultimately be put on DVD. It amazes me that such a stunning performance from Quinn and such a powerful plot is not yet available to the public. The fact that ethnic cleansing exists today in many parts of the world makes this film a must see for teachers and students alike. This film is a great teaching tool from the past yet in many ways as contemporary as "Crash". From previous comments I can see that this film as made deep impressions on everyone. Again, too bad it is not available for sale.
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imdb-20977
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Anthony Quinn is a master at capturing our heart and sympathy. He portrays a Romanian peasant with a below average IQ, harassed by his wife to do more. It's WWII and the Nazis have taken over his country. Soon he finds himself digging entrenchments hoping to benefit himself in his wife's eyes. The Nazis have different ideas. Through the next years we watch events unfold through his naive eyes, but all he wants to do is go home. His manipulations and ill luck just get him in further hot water. Finally, through no fault of his own, we see his picture on the cover of "Der Spiegel" as the perfect Aryan. The war ends and the allies put him on trial for war crimes. But all our peasant wants to do is return home to his wife.
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imdb-20978
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There are many, many older movies that deserve to be transferred to the DVD format. This is surely one of them. An Anthony Quinn triumph! Scores of movies portray the victims of Nazi atrocities before and during the war, but, I don't think any of them have delved into the psyche of the victim and predator as well as this this one has. Anthony Quinn was truly a man for all seasons. He had the ability to portray the humblest of creatures devoid of any human vises to a creature of extreme animalism and pull it off as believable to the audiences who watched with no afterthought of what they had just witnessed! Truly one of our greatest artists. He is missed.
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imdb-20979
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the 25th hour was a movie i just chanced upon.tuning in late at night, this movie kept my fascination throughout the entire film.tony quin is this poor unsuspecting guy who just wanted to fall in love with a woman,and by simple jealousy , goes on this incredible journey--terrific movie,and a hidden treasure.
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imdb-20980
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I first saw this movie in Papua New Guinea in 1967 and have remembered it since, although I have never seen it since that first time.<br /><br />Just how easily good people's lives can be destroyed by the pure evil that existed then and still does is a memory that will haunt me forever.<br /><br />The movie is funny and immensely sad at the same time and the role played by Anthony quinn is superb.<br /><br />This movie should be in all college studies about man's inhumanity to man.
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imdb-20981
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It has past almost 25 years since I saw this movie. I would consider this film as an all time classic in a drama category. Anthony Queen gives one of the most wonderful performances ever. In a matter of minutes he takes you from laugh to tears. This movie represents a splendid picture of how humanity changed after the II World War. How a great part of that generation and the forthcoming lost its innocence. It has taken me long time to find this film by its name "the 25th hour". This type of films are not a moneymakers but they are for sure a treasure for some. I am very surprise why this movie is not used for the media in a broaden way in order for more people to enjoy this picture.
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imdb-20982
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You know those films that are blatantly awful but you can't help but love them? Well that's what Evil Ed is, possibly the best awful film in the world. The sound is rubbish, the dubbing is crap, the screenplay is nonsense and the special effects are pap. However, I can't help but love this film dearly and I have recommended it to at least 50 people over the years. Sam Campbell (or the guy who plays him) should be featured on the Actor's Studio series as he is that memorable. Possibly the greatest movie villain not named Tony Montana. Seriously, if you don't expect a lot then you won't be disappointed. Keep a light-hearted approach to watching this film and you'll soon rate it a ten afterwards.
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imdb-20983
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The box at my video store is why I rented this one. It looked cool from the guys face axed in half so of course I had to give it a try. I was pleasantly surprised when I actually watched it being an "Evil Dead" fan. The Swedish makers must of been fans as well as they included lots of references in this masterpiece. A criminal tries to break into the house Evil Ed was editing the movies that ultimately drive him insane in and says "groovy" as he looks at his weapon quite like Bruce Campbell does when he finishes his chainsaw hand in Evil Dead 2. There is also many posters of that movie scattered around the house and office in the movie. They don't just spoof Evil Dead, as there is a Gremlin style puppet monster that cusses at Ed in his refrigerator. My personal favorite is when he chases his wife around the house and says "I'm coming to get you Barbra" which in case you did'nt know is Barbra's brothers main line in "Night of the Living Dead". This movie pretty much has it all good plot, cool characters, funny stuff (Gremlin puppet),scary stuff (demon doctor), excellent effects (exploding head) and a fair amount of female nudity. I only gave it a 9 because its kind of slow before Ed goes insane but its well worth the wait. So if you liked "Evil Dead 2" or any of the other movies I mentioned above you gotta rent and watch it with a freind, and when your done try "Brain Dead" because I hear it is similiar to this masterpiece. <br /><br />
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imdb-20984
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Ed (coincidentally an editor) is hired to cut horror films down to be favorable in Europe (where standards are much more rigorous). But he finds the films very mind-destroying and starts going a little bit mad. Okay, "a little bit" might be an understatement.<br /><br />Let me just say this first of all: best. opening. scene. ever. A man in an office who blows up his head with a grenade. His boss then says -- with a straight face -- "you're fired". The entire film does not keep up this level of intensity, but it certainly tries.<br /><br />Take the shotgun scenes, the decapitation, the clips from "Lost Limbs" (which my friend Jason wishes were a real film). The writer of this film thought up the idea of a woman who gets raped by a beaver and then immediately after gets shot in the face with a bazooka. That is something you won't find in any other movie (at least, I'm pretty doubtful you will).<br /><br />This film's biggest flaw is the quality. The picture isn't as crisp as a 1997 film should be, and the sound could be touched up (though it's not bad). I thought I was watching a 1980s film. Although, that gave it a bit of a boost in my mind -- the film also had the 1980s style of writing and directing in it: a sense of fun and giving the audience a little something extra over the top. I do miss those days.<br /><br />I wish I had more to say, though at the moment I cannot think of anything strong enough to praise this film. I do think you ought to see this. You've seen the box in your video store with the ax splitting the head... maybe you've passed it up a few times. Maybe you thought it would be cheesy. Pick it up. Savor it.
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imdb-20985
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Evil Ed is a Swedish film about a man named Ed (of course)and his collapse into total madness after editing a series of B horror films known as "The Loose Limbs" series. Ed becomes so mad that he thinks he's seeing demons and monsters but in reality they are people he knows and people that are close to him, such as his wife and daughter.<br /><br />I first saw this movie back in 1998 and was baffled by what I had seen. To this day, this movie I consider to be one of the darkest comedies out there. As the movie is almost slapstick funny with its gore scenes there are still a few creepy moments.<br /><br />This is a cool flick but don't expect anything marvelous. It's simply just a fun movie that is good to show some of your friends for some laughs. 8/10 stars
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imdb-20986
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Oh my god. Obviously, when you rent or buy this, you're not expecting to see a documentary on the mating habits of small rodents in their natural habitats. You're expecting a visual feast of blood and gore and and maybe even a scare or two. well, for those who are as sick and twisted as myself, you won't find many scares, but you'll come very close to urinating all over yourself in laughter. the catch phrases in this movie will stay with you and your friends forever. The first time i showed this to my friends and colleagues was over 3 years ago, but still we laugh our asses off and use the catch phrases. it's as addictive and funny as Sam Raimi's The Evil Dead II: Dead By Dawn and Peter Jackson's Dead Alive/Braindead. From the opening scene's absolutely ridiculous dialog, to the Splatter and Gore Department's finest works, to the wondrous abilities of Ed the film cutter, you will laugh and laugh again. As far as the visual feast of blood and gore, oh yeah, they've got it. And they're pretty damn good at it... "The neck-bone's connected to the head-bone..." This film also may have done the best nightmare/hallucination/totally effing nuts scene i have ever seen. and that one's not mean to be funny, but man is it well done (and creepy.) Overall, to anyone who is not against a bunch of blood and a damn good time, IF YOU EVER SEE THIS MOVIE GET IT!!!! it's on Netflix, i know that for sure.
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imdb-20987
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First off, to rent or watch this film you are expecting something in the B-horror range. What this film delivers for the astute fan of this genre is quite a hilarious romp via nordic flavor. At times reminding me of the humor of Jackson's Dead Alive and others of a Stuart Gordon flick this little find should have most chuckling throughout. <br /><br />The f/x reach a few highs of truly spooky (the first time Ed meets his nemesis) but generally have the feel that this film was put together by a f/x team that decided to use any and all props at their disposal from other films...gremlins, devils, slasher films, etc. to pretty good effect and worked in thru the use of hallucinations. <br /><br />The gem of the film is the humor. The gore works most of the time but more for laughs. At its heart its a parody and a fun one at that.
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imdb-20988
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I honestly didn't think at first that this movie would make me laugh like hell and admire the great gore effects, boy was I wrong! From the very beginning to the very end the film showed some great gore effects accompanied by spoofs from other titles like "Evil Dead" and "Gremlins". This movie could be compared to Peter Jackson's works of art, though this movie isn't as gory as "Braindead", but I sure wait these guys'll make another splatter movie.
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imdb-20989
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(Spoilers warning) I cannot say enough good things about this movie. It is a great horror comedy/spoof that does everything right for a change. The humor is great and ranges from funny to so-funny-you'll-cry funny. In one scene, Ed goes edit-crazy and deletes a big scene. When his boss is looking at Ed's edit, he yells out: "Where in the fu%# is my beaver-rape scene?!?!" Hysterical. There are also many other great, humorous & memorable quotes and moments throughout: Ed yells out "Don't you fu#$ing look at me!!!" while punching some poor schmuck repeatedly in the face. Very funny stuff. The plot of the movie itself is so ridiculous that it's priceless: Ed is a mild-mannered everyday guy that gets moved over to the horror-film editing department, and after a while goes nuts, sees monsters, and attacks people while quoting the horror movies that he has edited. This movie has it all and is simply hilarious. The DVD only costs about $7, and is a great bargain as it is the unrated widescreen cut. I own a lot of DVD's, most of which cost a lot more money than this one, but not many are as great as this movie. My Evil Ed DVD is one of the highlights of my collection and i would beat someone with a telephone receiver if they tried to steal it. Evil Ed oozes style and quality -- something that Hollywood filmmakers need to majorly learn. Evil Ed is a rare gem, and i would like to thank everyone involved in making this wonderful movie -- you did everything right, and i love Evil Ed! 10 out of 10!!!
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imdb-20990
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On monday, earlier this week, sometime in July, I happened to be under the influence of the sweet leaf, and me being a horror fan, wanted to see something scary. I was thinking of The Ammityville Horror 2, but I got something way better. I was at my friend's house, and he had the VHS Evil Ed. No cover or anything, he didn't even see the whole thing himself, but he told me it was about "A guy who goes crazy and kills a lot of people." Well, this movie was very shocking,I've never seen the actual brutal nature of sadistic violence until this movie, It buries Ted Bundy and Ed Gein both! It is pretty funny too, with references to The Evil Dead trilogy( and plus the Evil Dead 2 poster is everywhere in the movie!) The movie is about Edward, a obsessive-compulsive, nice guy, who happens to be a film editor. He is then lent to another department in the building, and he is sent to the posh yet violent world of Sam Campbell, the Splatter and Gore department. Sam Campbell, Eddy's new boss, is telling Eddy about the big break on his movies, the gruesome Loose Limbs series, and he needs Eddy to make the movie somewhat less violent so they can be shown all over Europe. Eddy has his regrets soon, as the images and scenes that are displayed to him from the lonely suburban house he is sent to work in, and then, what happens from there is truly nightmarish. Imagine yourself in his place! The acting is great, the overdubbing is little funny (Sam Campbell's voice is often found funny, same with the other actors). However, the overdubbing job was done pretty good, I give this movie a 10/10, and it's a good introduction to the Gore sub-genre to Horror. Very good, Nightmarish, bloody.......You just have to see it for yourself.<br /><br />quote from movie: "Where in the f**k is my Beaver rape scene?!"
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imdb-20991
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The filming is cheesy. Some of the actors overact. Some of the actions are unexplained and unexplainable. But...<br /><br />This movie is in the mode of the psychological dramas of the 50s.<br /><br />It is a morality play. Similar to the movie in which a "method" actor becomes the evil character he portrays on stage, Ed is forced to watch slasher movies because he is the film editor. It gives him a nervous breakdown which leads to a complete psychotic break.<br /><br />
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imdb-20992
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You got to love this movie! I mean, what other Swedish splatter movie could be so evil, bizarre and totally cruel...The whole movie is stuffed with some kind of weird humor, like: The old cencoreguy just blows his head off and the boss just wipes the blood off his glasses and says with a mean voice: - Your fired!!! wouppie!!!
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imdb-20993
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Well, first of all - i am a big fanatic of horror movies, but however - I am pretty sick of all those damn American horror movies. They are all about the same thing - blood and violence. It's not even creepy. Well, it's nothin wrong with the blood and all that - doesn't even bother me - but that's not what makes a movie creepy! That's why I find this movie entertaining - it's fun to see a satire which is making fun of the koncept "main horror USA". American splatter/gore-movies, they are not suppose to be creepy, only funny. That's OK. But when they're suppose to be "creepy", it mostly gets pathetic. However, there are a few great american horror movies (Poltergeist, Psycho, Birds), but in the end it's all the same thing. That's why this movie came as a relief. Evil Ed is not just a cult movie - it's a classic! I can't wait untill master director Anders Jacobsson makes another goddamn splatter movie! Untill than I have to watch Evil Ed again - and again - and again! But I don't care - it is such an outstanding movie!
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imdb-20994
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The year 1983 saw a strange phenomenon; two rival Bond films. "Octopussy", starring Roger Moore, was part of the official Cubby Broccoli Bond franchise. "Never Say Never Again", made by a rival producer, is, apart from the awful "Casino Royale", the only Bond movie which does not form part of that franchise. Its big attraction was that it brought back the original Bond, Sean Connery; its title reputedly derived from Connery's remark after "Diamonds Are Forever" that he would never again play the role. Some have complained that Connery was, at 53, too old for the role, but he was in fact three years younger than his successor Moore, who not only made "Octopussy" in the same year but went on to make one further Bond film, "A View to a Kill", two years later.<br /><br />The film owes its existence to the settlement of a lawsuit about the film rights to Ian Fleming's work. It is perhaps unfortunate that the terms of the settlement included a clause that the new film had to be a remake of "Thunderball", as that was perhaps not the greatest of the Connery Bonds. (A remake of "Dr No" or "Goldfinger" might have worked better). The plot is much the same as that of the earlier film; the terrorist organisation SPECTRE, acting together with a megalomaniac tycoon named Largo, have stolen two American nuclear warheads and are attempting to hold the world's governments to ransom by threatening to detonate them unless they receive a vast sum of money. It falls to Bond, of course, to save the world by tracking down the missing missiles.<br /><br />The film is fortunate in that it has not just one but two of the most beautiful Bond girls of all, Barbara Carrera as the seductive but lethal Fatima Blush and Kim Basinger as Largo's girlfriend Domino who defects to Bond's side after learning of her lover's evil plans. A number of the Bond films have a plot that hangs upon the hero's ability to win over the villain's mistress or female accomplice- there are similar developments, for example, in "Goldfinger", "Live and Let Die" and "The Living Daylights". In the official series, Bond's ally is normally regarded as the female lead, but here Carrera, playing the villainess, is billed above Basinger, who was a relatively unknown actress at the time. Basinger, of course, has gone on to become one of Hollywood's biggest stars, whereas Carrera is one of a number of Bond girls who have somewhat faded from view.<br /><br />Of the villains, Max von Sydow makes an effective Blofeld, the head of SPECTRE, but Klaus Maria Brandauer seemed too bland and nonthreatening as Largo, except perhaps during the "Domination" game, a more sophisticated variant on those violent computer games such as "Space Invaders" that were so popular in the early eighties. Brandauer can be an excellent actor in his native German, in films such as "Mephisto" and "Oberst Redl", but he does not comes across so expressively in English.<br /><br />One of the film's features is that it both follows the normal Bond formula and, at times, departs from it. There is the standard world-in-peril plot, chase sequences, a series of exotic locations, glamorous women, sinister villains and a specially written theme song based on the film's title. There is, however, no extended pre-credits sequence, and we see some familiar characters in a new light. For example, Bond's boss M becomes a languid, supercilious aristocrat, his American colleague Felix Leiter is shown as black for the only time, and the scientist Q is portrayed by Alec McCowen as a disillusioned cynic with (despite his characteristically upper-class Christian name of Algernon) a distinctly working-class accent. There is also an amusing cameo from Rowan Atkinson as a bumbling British diplomat. Although Connery was perhaps not quite a good here as he was in some of his earlier films in the role, this ringing the changes on the familiar theme makes this one of the more memorable Bonds. 7/10 <br /><br />A goof. Rowan Atkinson's character states that he is from the British Embassy in Nassau. As, however, the Bahamas is a Commonwealth country, Britain would have a High Commission in its capital, not an Embassy.
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imdb-20995
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In 1965 producer Kevin McLory -who owns a part of the Bond cinematic rights- associate with EON Productions (Harry Saltzman and Albert Broccoli) for making "Thunderball", the fourth film of the 007 franchise. The star is Sean Connery, of course.<br /><br />In 1982 McLory wins a legal battle and can produce an "independent" Bond film. "Never say never again" (NSNA) is one of the two "unofficial" 007 films made outside EON (the other is the 1967 comedy spoof "Casino Royale"). NSNA is a remake of "Thunderball" and stars the original Bond, Sean Connery -who comes back to the role after many years of absence.<br /><br />The film is released some months after "Octopussy" with Roger Moore, the 13th episode of the EON series. At the time press calls it "War of the Bonds"... Both films are a big success in 1983, even if "Octopussy" earns more money at the box office.<br /><br />NSNA is a luxurious film made by excellent technicians -director Irvin Kershner who led "The Empire strikes back", Douglas Slocombe -cinematographer of "Raiders of the lost Ark"-, and screenwriter Lorenzo Semple Jr -who wrote "The three days of the Condor"- among others...<br /><br />The cast is excellent with Connery, a then relatively unknown Kim Basinger, Barbara Carrera, Klaus Maria Brandauer, Max Von Sydow, Edward Fox...<br /><br />Although all that the film remains inferior to the original "Thunderball". It lacks many fundamental ingredients for being a real Bond movie: there's not the traditional gun barrel sequence, there's not the "James Bond theme", M and Q are not played by the traditional actors... It's a copyright reason: EON only is allowed to use these elements. Briefly, NSNA lacks the classic cinematic 007 atmosphere.<br /><br />On the other hand the film is exciting and enjoyable. Brandauer is a very good villain and the women (Basinger and Carrera) are sensual and gorgeous. But the main highlight is Sean Connery! He's once again wonderful in the role, he's older but looks fitter and nicer here than in "Diamonds are forever", his last performance in the role of the British super-spy before NSNA.
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imdb-20996
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Only Connery could bring that particular style with a line like that
Fatima crashes into Bond's arms when she water-skis up to the super agent in Nassau and apologizes, 'Oh, how reckless of me. I made you all wet.' The super agent replies, 'Yes, but my martini is still dry.'<br /><br />Barbara Carrera makes a great villain, stealing the show as SPECTRE executioner Fatima Blush
Fatima is number 12 in the SPECTRE chain of command, and is a gorgeous assassin who takes intense sensations of pleasure in killing
<br /><br />Fatima assumes all the deadly characteristics of Fiona, proving to be one of Bond's toughest adversaries
She is a victim of her vanity
She's good at what she does, and wants the world to know it
But her vanity is her downfall
Using every possible approach to eliminate 007, Fatima is a wild and cunning woman who makes love to the man she is about to kill
<br /><br />Austrian actor Klaus-María Brandauer (Largo) does not make a very formidable opponent for 007
Referred to as number one in the SPECTRE chain of command, Largo resides in the Bahamas, and travels aboard his super yacht, the Flying Saucer
<br /><br />Max Von Sydow becomes the fourth actor to appear as SPECTRE chief Ernst Stavro Blofeld, once more plotting to put the world at ransom
<br /><br />Kim Basinger takes the part once owned by the lovely French actress Claudine Auger
She is Domino, the mistress of Largo, who soon falls deeply in love with her rescuer
<br /><br />Black actor Bernie Casey becomes the sixth actor to play CIA agent Felix Leiter after Jack Lord, Cec Linder, Rik Van Nutter, Norman Burton, and David Hedison...<br /><br />Edward Fox portrays the new, unsympathetic 'M.' Pamela Salem is the third actress to play Miss Moneypenny. Lois Maxwell was the first and Barbara Bouchet was the second.<br /><br />Valerie Leon is the sexy lady in the Bahamas who fished 007 out of the blue water and saved his life by making love to him in her own room
Valerie was the Sardinian hotel receptionist in 'The Spy Who loved Me' when Bond and Anya arrive seeking Stromberg
<br /><br />Prunella Gee is Shrublands physical therapist Patricia
Saskia Cohen Tanugi is Nicole, Bond's Secret Service contact in the South of France
<br /><br />Gavan O'Herlihy is Jack Petachi, the U.S. Air Force communications officer who duplicates the President of the United States' 'eye print' and arms two cruise missiles with nuclear warheads
<br /><br />Rowan Atkinson is the bumbling foreign officer Nigel Small-Fawcett; and Alec McCowen is Algernon, the armorer who provides 007 some formidable items
<br /><br />If you like to see Connery playing a tense battle of wills, disguised as a masseur, attacked by robot-controlled sharks, giving away a considerable amount of money for a tango dance, thrown into a medieval dungeon, don't miss this second of only two "unofficial" James Bond films
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imdb-20997
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When I first saw this on tape, about 10 years after it had been released, I thought it was one of the better James Bond movies. However, after seeing it again around the turn of the century, I was disappointed.<br /><br />I think it's a bit overrated only because critics were so happy to see Sean Connery end his 12-year hiatus from playing Bond that they didn't dare criticize the film. I guess what disappointed me was the ending. After investing two hours into the film, you expect a less-hokey, more satisfying ending. And, it may be nitpicking, but I was disappointed in not seeing the regular actors in the supporting roles such as Miss Moneypenny, Q, Felix Leiter, etc.<br /><br />On the positive side, there was plenty of unique action scenes, particularly early on, and the two villains were interesting. I thought Klaus Maria Brandauer was the more intriguing of the two because he was so low-key and looked the "nice guy next door." He wasn't your normal Bond villain.<br /><br />This had plenty of "skin," for a PG movie, especially with Kim Basinger starring, never being an actress known for hiding her figure. The language was very tame, but most Bond movies are pretty good in that department.<br /><br />All in all, it's a "fair" Bond and nothing else. Just because Connery is in it, it doesn't mean it's automatically good. Roger Moore and Pierce Brosnan have proved they could play the role well, too.
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imdb-20998
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I've always liked Sean Connery, but as James Bond I've always favored Roger Moore. Still it was Connery who set the Bond standard and while he had by 1983 established himself as something other than James Bond, the money must have been irresistible for him to make one more appearance as 007 and save the world from the evil designs of Spectre.<br /><br />And what designs they are in Never Say Never Again. SPECTRE with the help of a foolish young Air Force officer who happens to be Kim Bassinger's brother stole two nuclear missiles during a war games exercise and now SPECTRE headed by Blofeld, played here by Max Von Sydow is threatening blackmail of the world.<br /><br />Von Sydow's operations guy is Klaus Maria Brandauer who is also courting Bassinger and is a bit on the crazy side. And he's got a female assassin working for him in Barbara Carrera who makes Angelina Jolie as Nora Croft look like Mrs. Butterworth.<br /><br />But before Sean Connery can even get started he's got to deal with a new 'M' running things at British Intelligence. Edward Fox thinks Connery is old fashioned in his methods and costs the British taxpayers too much money with his violent ways. I really did enjoy Fox's performance, he's like the great grandson of Colonel Blimp.<br /><br />I also enjoyed Carrera, she's something to look at and quite resourceful in her methods. When she's scuba diving with Connery in the Bahamas, note how she puts Mr. Shark on 007's case.<br /><br />Will Connery do James Bond again? He was widely quoted as saying who would they cast him as at this point, Roger Moore's father? But I think Connery would still be formidable in a wheelchair.
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imdb-20999
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This is an excellent James Bond movie. Although it is not part of the original and more famous series, and it is a standalone film, it is very well done. Enticing Sean Connery to return to the role he made famous was a stroke of genius, as was titling the movie in a way that references his past vow to not play Bond again. Connery was as great as he was in his earlier 007 appearances. The script is outstanding, as are the photography and the performances. It's the earliest movie I recall with Kim Basinger, who became much more famous after this film; Barbara Carrera was excellent; and Klaus Maria Brandauer was absolutely perfect as the main villain. The frequent references to the aging of Bond and the changing times and attitudes of the British secret service were most humorous. The 007 gadgets equaled those of the other Bond films. The only thing missing was the famous 007 music theme, which, of course, could not be used by this competing production. It was rather amazing to me to be able to see two excellent James Bond movies released in the same year, this one and Octopussy with Roger Moore. An interesting aspect of the film is an emphasis on video games and computer graphics. The early 80's were the first heyday of such things, and the use of them in this film made it a very contemporary movie. The film is actually a different version of Thunderball, updated with newer technology. Regardless of the repeated theme, there are sufficient differences to make it most entertaining. I will watch this one frequently.
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imdb-21000
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In 1983 two Bond movies was made, one was the official Bond movie Octopussy starring Roger Moore who starred as James Bond for the first time in Live and Let Die and the other was the unofficial Bond movie Never Say Never Again starring Sean Connery who played the role as James Bond for the first time in Dr. No, that film was also the first 007 James Bond movie to be made. Never Say Never Again is called unofficial because the company that made the other James Bond movies didn't make this one. Never Say Never Again is also a remake of the 1965 007 movie Thunderball, there are several differences in Never Say Never Again that lets you know it wasn't made by EON. One thing is that the opening is different, there's no gun barrel sequence and no pre-credit sequence, another difference is the music score. Some things in this movie does feel like a James Bond movie like the gadgets and cars, plus James Bond always getting it on with the ladies and the film does have an opening credits song. Sean Connery still does a great job playing Bond, the acting from the other stars is also great. <br /><br />Never Say Never Again is a good film that's just has entertaining as the official James Bond films. Check this out. 10/10
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imdb-21001
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You don't review James Bond movies, you evaluate them, rate them according to how well they meet expectations. There are certain things one has come to expect, even demand of a Bond film and each individual effort either delivers or it doesn't. So, here are ten elements that make a Bond film a Bond film. And even though NEVER SAY NEVER AGAIN is not technically part of the official Bond filmography, the mere presence of Sean Connery returning as 007 makes it something more than merely an honorary member of the series. Anyway, here's how it rates on a scale of 1 to 10: <br /><br />Title: NEVER SAY NEVER AGAIN: The clever title has no apparent link to the actual storyline, but is instead an in-joke reference to Sean Connery's vow to never play OO7 again after having been lured back once before for DIAMONDS ARE FOREVER. Whatever the case, it is a catchy title. 8 points.<br /><br />Pre-Credit Teaser: Perhaps trying to avoid any obvious parallels to the official EON series of Bond films, there is no Teaser; the opening scenes are just shown behind the credits. And even that is disappointing: yet another "oh-no, Bond has been killed" fakeout. 4 points.<br /><br />Opening Credits: Other than a screen full of tiny 007's, they didn't even bother trying to jazz up the credits with graphics or split screens or interesting camera angles. 1 points.<br /><br />Theme Song: As written by Michel LeGrand and sung by Lani Hall "Never Say Never Again" would make for a perfectly pleasant part of a particularly long elevator ride. As a Bond theme, it's merely okay. 6 points.<br /><br />"Bond, James Bond": Appropriately, since this film sees Connery being lured back into service as Bond after a decade's hiatus, the story begins with 007 facing the question as to whether Bond/Connery is still up to the job. Happily, Connery more than proves himself ready for Bondage again. Though he is a bit grayer, sporting a bit more girth and wearing a slightly more obvious toupee, he seems to have no trouble slipping back into action. All in all, it is one of Connery's best, and most relaxed, turns as the character. 9 points.<br /><br />Bond Babes: Even in the best of the Bond films, the female characters aren't given much dimension; they exist largely as necessary props for Bond's use. Future Oscar-winner Kim Basinger is granted a great deal of leeway in creating her character of Domino Petachi and the film benefits from this. She does a nice job -- and she's not bad to look at either. 8 points.<br /><br />Bond Villain: The reports of his death being obviously exaggerated, Blofeld is back -- at least, for the moment -- showing he has more lives than his prized pussycat. One-time Jesus portrayer-turned-stereotypical villain, Max von Sydow isn't given a lot to do in the role, but is a silky presence nonetheless. But he is overshadowed by a wonderful performance by Klaus Maria Brandauer as Maximilian Largo. After a string of banal Bond villains, it is so refreshing for Brandauer to gave a performance that is both subtle, yet colorfully evil. Funny without being campy, ruthless without seeming cartoonish; his Largo ranks right up there with Auric Goldfinger as one of Bond's best villains. 10 points.<br /><br />Bond Baddies: Fatima Blush! What can I say? As played with all the bold style of a particularly flamboyant drag queen, Barbara Carrera breezes through the film, displaying a mix of self-amused evil and more than a tad of pure psychotic insanity. Bond has crossed paths with a variety of femmes fatales, most of whom have been so easily disposed of that they existed more as amusing eye candy than as characters. But few dared to exhibit such a flare for the dramatic or such fierce determination. Even her untimely demise is spectacular, even by Bondian standards. 10 points.<br /><br />Sinister Plot: As a remake of sorts of THUNDERBALL, the film does seem a bit been-there-done-that: nuclear missiles are stolen and major real estate will go kaboom if all the countries of the world don't pay a multi-kazillion dollar ransom. But at least producer Kevin McClory was lucky enough to find himself forced to remake one of the weakest Bond adventures. By comparisons, this effort blows THUNDERBALL out of the water. And despite the absence of many Bondian trademarks, the film succeeds on its own. 9 points.<br /><br />Production values: The film starts out with an uneasy style, like a TV movie trying to be more than it can. But as the story progress, the film gains momentum and a sense of purpose, making it a superior adventure. 8 points. <br /><br />Bonus Points: There are several odd changes that sets this Bond film apart from the official series. Miss Moneypenny is hardly acknowledged; as played by Edward Fox, "M" is a cranky old grouch with no respect for the "Double Os," a foreshadowing of how Judi Dench would later play the part; and "Q" suddenly has a cockney accent and is all buddy-buddy with Bond. And there is a curious sense of nostalgia throughout the film, such as replacing Bond's Astin-Martin with a vintage Packard and a tango dance number that is cleverly inserted into the story. And a big rescue near the end is on horseback, an homage to THE RAIDERS OF THE LOST ARK, which was itself a tribute to the Bond films. 5 points.<br /><br />Summary: NEVER SAY NEVER AGAIN is a mixed bag. In the really important areas, it more than holds it own thanks to hero Connery, villain Brandauer, assassin Carrera and damsel-in-distress Basinger. But the devil is in the details; as seemingly unimportant as the opening credits, theme song and such seem, the film is lacking because of their absence. It all comes off as a faux Bond film; a very good substitute, but a substitute nonetheless.<br /><br />Bond-o-meter Rating: 78 points out of 100.
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imdb-21002
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As the '70's drew to a close, rumours began to fly in the entertainment industry about the possible return of Sean Connery to the role he had made famous back in 1962 - James Bond.<br /><br />Cubby Broccoli was asked on location in Brazil during the making of 'Moonraker' by the B.B.C.'s Barry Norman how he viewed the prospect. Understandably, the producer was reluctant to commit himself to an opinion.<br /><br />When 'Moonraker' opened, Bond fans were outraged by what they perceived to be a cheapening of the character, and the jumping onto the 'Star Wars' bandwagon much as 'Live & Let Die' had done with the blaxploitation craze a few years earlier. Many publicly vocalised their hope that Connery would return, if only to show Eon how a real Bond movie should look.<br /><br />Years of legal battles followed. The original script, entitled 'James Bond Of The Secret Service' ( later retitled 'Warhead' ) was written by Kevin McClory, Len Deighton, and Connery, was never filmed, and remains one of the great unmade movie blockbusters.<br /><br />A new script, closer to the 'Thunderball' storyline, was commissioned. It was written by Lorenzo Semple Junior, best known as the man who put the camp into 'Batman'. He had also written 'The Parallax View', one of the decade's finest conspiracy thrillers. Feeling the script needed a British touch, Connery brought in Dick Clement and Ian La Frenais, writers of hit British sitcoms 'The Likely Lads' and 'Porridge'. The witty title was suggested by Connery's wife Micheline. <br /><br />'Never Say Never Again' opened just before Christmas 1983 to a shower of critical praise; normally sensible critics were so ecstatic at Connery's return they ignored all other aspects of the film. Many used it to viciously attack the Roger Moore series, particularly that year's 'Octopussy'. In truth, 'Octopussy' is superior in every respect. 'Never' lacks the excitement and spectacle one associates with Bond, at times it looks like a made-for-T.V. movie. The story had been done before and better in 1965's 'Thunderball', hence 'Never' was always going to come off second best. It was also hampered by not being part of the official series, meaning that Monty Norman's 'James Bond Theme' and Maurice Binder's gun-barrel logo could not be used. <br /><br />As Bond, Connery is magnificent, effortlessly stepping back into his most famous role. Playing Bond as an older, wiser agent worked. Barbara Carrera landed her best movie role as villainous 'Fatima Blush', a lady whose love for murder is such she dances after ( so she thinks ) killing Bond. Kim Basinger smolders as 'Domino'. As S.P.E.C.T.R.E. agent 'Maximillian Largo', Klaus Maria Brandauer gives a chilling performance. A major disappointment though is Max Von Sydow as 'Blofeld'. The posters gave the impression he would be a major character, in fact he appears only in a few scenes. With a stronger script, he could have been one of the all-time great Bond villains. <br /><br />'Never' promised to be a throwback to the early Eon Bonds such as 'From Russia With Love', but did not deliver. The gadgets were there, but were used almost apologetically. Bond's rocket-firing motorcycle was a tired gimmick even in the '60's. The film tried to compete with Eon's Bonds in terms of humour. Bond saving himself by throwing his own urine sample into an assassin's face is a farcical a moment as any you will find in 'Moonraker'. But the nadir comes with the introduction of Rowan Atkinson as bumbling Foreign Office official 'Nigel Small-Fawcett'. He gives a performance so staggeringly awful you wonder if he thought he was in a Footlights revue. <br /><br />Michel Legrand's music is horrible, the man seems to never to have seen a Bond film in his life. <br /><br />Though the film was a financial success, viewed years later it stands as the weakest Bond of the '80's. Connery himself was disappointed with it, and not did act in a movie again for some years.<br /><br />1983 was a good year for 007 maniacs, in addition to the Connery and Moore movies, George Lazenby did a delightful cameo in the made-for-T.V. 'Return Of The Man From U.N.C.L.E.: The Fifteen Years Later Affair'.
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imdb-21003
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Yes, it's Sean Connery playing Bond again, looking more alive and into his part than any time since the first time they made this film, in 1965 when it was called "Thunderball". But the tongue is so firmly in cheek one wonders if Connery isn't employing a few observed tricks from his friend and more humorous successor, Roger Moore.<br /><br />Moore is my favorite Bond, but Connery makes a strong case for himself in this unusual outing. The only serious Bond film not made under the aegis of the classic Eon Bond series, "Never Say Never Again" is an irreverent return to the well. Soft on action, it's nevertheless strong on character and clever dialogue.<br /><br />Bond, it's made clear right away, is a man in disfavor. No matter how many times he has saved the world, his new boss thinks little of his fat lifestyle. "Too many free radicals, that's your problem...Caused by eating too much red meat, white bread, too many martinis." "Then I shall cut out the white bread, sir," Bond smartly replies.<br /><br />An early fight sequence in a spa represents the movie's high point action-wise, with Bond and an attacker fighting their way through a kitchen, a bedroom, and a laboratory before Bond finally douses his opponent, ironically with no small help from those free radicals. Humor is liberally applied in the film, rather more cleverly than most of Moore's outings, though Connery seems to be having more fun sending himself up as a result of Moore's less egotistic example.<br /><br />Was it because he was making a good chunk of the gross? Or was it working for less stingy producers? Whatever it is, the screenplay serves his laid-back style well, and the result is richer and more entertaining than Connery's prior two Eon Bond outings, "You Only Live Twice" and "Diamonds Are Forever".<br /><br />The 1980s were not a good decade for Bond, whether it was Connery, Moore, or Timothy Dalton. Leg warmers, video games, and ugly sports cars are all in evidence, and the Bianca Jagger sunglasses Klaus Maria Brandauer is seen wearing in his first scene do him no favors. Forget first impressions. Brandauer's role as the chief villain, Maximilian Largo, is one of the best in any Bond film, with Brandauer enjoyably playing up his character's menace and mania. At one point, he allows Bond free roam of his situation room, with a martini to boot, and his dancing eyes and mad, engaging grin make for compelling company throughout.<br /><br />The best thing in this film, other than Connery, are the Bond girls, shot with more attention to personality than normal in Bond films, a testament to cinematographer Douglas Slocombe and director Irvin Kirshner. Barbara Carrera was nominated for a Golden Globe for her role as the villainess Fatima Blush, every bit as crazy as Largo and even nicer to look at. She doesn't last the whole movie; you almost need her gone in order to focus on the others.<br /><br />Kim Basinger's breasts and buttocks should have had their own agents for the screen time they get in this film, but I'm not complaining. Basinger's a rare beauty who in this early role as Largo's mistress mixes incredible hotitude with a childlike vulnerability that brings out the Bond in me, and many others I suspect. (Her lips and cheekbones are pretty sweet, too.)<br /><br />It's not a well-constructed film. It's a knockoff of a better Bond movie with a sloppy storyline, a terrible score, and a flat ending. But it does have Connery, proving his was the definitive take on cinema's definitive secret agent, even if he steals a page or two from my 007, Mr. Moore. The end result is entertaining enough, so I'm not complaining.
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imdb-21004
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"Empire Strikes Back" director Irvin Kershner's "Never Say Never Again," a remake of the 1965 James Bond movie "Thunderball," doesn't surpasses the Terence Young original, but this non-Harry Saltzman & Albert R. Broccoli film is well worth watching if you call yourself a 007 aficionado. Nevertheless, despite its shortage of clever gadgets and the lack of a vibrant musical score, "Never Say Never Again" rates as an above-average, suspenseful doomsday thriller with top-flight performances by a seasoned cast including Sean Connery, Kim Basinger, Klaus Maria Brandauer, Max Von Sydow, Barbara Carrera, Edward Fox, Bernie Casey, Alec McCowen, and Rowan Atkinson. The film bristles with surprises galore from the invigorating title credits sequence throughout its generally exciting but lengthy 134 minutes. Unlike the franchise James Bond sagas with their breath-taking moments of spectacle, "Never Say Never Again" provides few of these scenes because of its prohibitive budget. Indeed, the film features only three gadgets: an explosive ball-point pen, a wristwatch with a laser, and a souped-up motorcycle. Aside from the flavorful Lani Hall opening theme song, "Ice Station Zebra" composer Michel Legrand's orchestral music score leaves much to be desired. Legrand replicates none of those snappy, jazz cues that made John Barry's music for the regular Bond franchise so memorable. All in all, "Never Say Never Again" seems to fit more into the first two Bond movies"Dr. No" and "From Russia With Love"and "On Her Majesty's Secret Service" in terms of its more down to earth approach to the subject matter.<br /><br />"Never Say Never Again" presents Sean Connery's James Bond as an older 007 who has seen his day and has been taken off active service to teach. Ironically, Roger Moore was a year older than Connery and Moore's Bond movies treated 007 as an active, young guy. Sean Connery seems to be responsible for making 007 a more mature secret agent and a number of changes take place in the Lorenzo Semple screenplay that emphasize Bond's age. Initially, Connery had lobbied to play Bond without a hairpiece, but mercifully wiser minds prevailed and Connery sports a hairpiece. He looks tanned and fit and appears in better condition than he did twelve years earlier when he was rushed into "Diamonds Are Forever" at the last moment to replace John Gavin. Connery had been working on another movie and had gained weight for the role that he was unable to remove in time for "Diamonds Are Forever." At 52, Connery still has a youthful vigor here despite the contrived demands of the script.<br /><br />The action unfolds with 007 single-handedly trying to rescue a kidnapped woman on a remote desert island. He dispatches several guards armed with machine guns and frees the woman, only to have her stab him with a knife in the side when he isn't looking. It seems that this entire sequence was an exercise designed by M (Edward Fox of "Day of the Jackal") to test Bond's ability. The new M doesn't share his predecessor's use of field agents. M decides that Bond needs to clean out his system of all 'free radicals' and has 007 packed off to Shrublands. While at the country clinic, Bond notices suspicious activity between a nurse and a patient and gets noticed watching them. The nurse is none other than SPECTRE assassin Fatima Blush (Barbara Carrera of "The Island of Dr. Moreau") and she is in charge of making sure that nobody sees USAF officer Jack Petachi (Gavan O'Herlihy of "Superman 3"). Petachi is part of a SPECTRE plan by millionaire businessman Maximilian Largo (Klaus Maria Brandauer of "Out of Africa") to black the world powers by stealing two nuclear warheads. The villains implant a duplicate eyeball into Captain Petachi who has access to the highly sophisticated computers and can order the arming of weapons. After he steals the weapons for SPECTRE, Fatima Blush runs him off the road by tossing her pet snake in his lap and then attaches an explosive to his wrecked car and blows him up. Indeed, the first part of "Never Say Never Again," apart from the SPECTRE planning conference, belong to Fatima as she supervises Petachi's stay at the clinic and then repeatedly tries to kill Bond, one at sea with sharks and later in a motel suite with an explosives device.<br /><br />Eventually, Bond meets the beautiful blond Domino (Kim Basinger of "Mother Lode") and sneaks into Largo's charity banquet at a Monte Carlo casino where the two face off in an elaborate video game called 'Domination' to see who will rule the world. Bond bests him and Largo hates him doubly now because 007 is his only rival to Domino and a thorn in his side that not even Fatima seems to be able to remove. Bond and Fatima have it out after a motorcycle chase when he returns the favor and blows her up. Their earlier encounter in the Bahamas when she attached a device to lure a shark after him is pretty lame. Like in the original "Thunderball," the villains recover the hijacked nuclear warheads at sea, but just the warheads themselves.<br /><br />Bond flies to the Bahamas where he meets his diplomatic liaison, Nigel Small-Fawcett (no lesser than Rowan Atkinson of "Mr. Bean" fame, who is worried that Bond may kill somebody and ruin the island paradise. Of course, Nigel Small-Fawcett serves as the film's source of comic relief. The C.I.A. sends Felix Leiter (Bernie Casey of "Guns of the Magnificent Seven") to back up Bond. This is the first time that an African-American portrayed Leiter. Bond encounters his share of problems, involving saving Domino from Arab slavers, while Leiter and he save the world. "Never Say Never Again" is a richly respectable James Bond thriller with many neat touches, but it never generates the air of danger that the franchise Bond films have. Indeed, "Never Say Never Again" looks like a dignified Masterpiece Theatre take on 007.
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imdb-21005
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1983 was "the battle of the Bonds". That year both Roger Moore and Sean Connery starred in two separate James Bond film, the former (Octopussy) was produced by the "official" makers of the Bond films while the later (Never Say Never Again) was produced "unofficially" by a group led by Kevin McClory who held the film rights to Thunderball. Surprisingly enough is the "unofficial" film that is better despite the obvious flaw of and the fact that Never Say Never Again is a remake of Thunderball.<br /><br />Never Say Never Again has the distinction of sporting one of the best casts ever assembled for a Bond film. It all starts with Sean Connery, returning to the play Bond for the first time since 1971's Diamonds Are Forever. Connery might be older then he was then but he looks better here then he did in Diamonds Are Forever. The Bond of Never Say Never Again is the sleek and dangerous shark of Dr. No or From Russia With Love, just a few years older. Connery's delivery of one liners and dialogue is as dead on as it ever was. The one downside to Connery's age is his believability, especially when it comes to the ladies of the film. Let's face it even Connery, despite being in top physical shape, looks as odd as Moore when he is bedding women half his age. Yet despite this believability issue, Never Say Never Again shows Connery in one of his better Bond performances and a definite improvement on his two earlier Bond performances.<br /><br />Kim Bassinger plays Domino in one of her early film roles. Bassinger plays the role with considerable confidence for a relative newcomer and she makes the character believable. Bassinger holds her own against her co-stars and has considerable chemistry with them as well. In fact she may well outshine her Thunderball counter-part played by Claudine Auger.<br /><br />Then there's the villain, Maximilian Largo played by Klaus Maria Brandauer. Brandauer's Largo is everything a James Bond film villain should be: suave, charming, evil and above all believable none the less. Brandauer makes the role realistic and chooses not to fall into the trap many other Bond villains have fallen into by going over the top. Brandauer plays Largo with a silent menace and charisma unseen in many adversaries of 007.<br /><br />The excellent cast extends into the supporting cast as well. Barbara Carrera makes a fine henchwoman in Fatima Blush and the screen lights up when she appears. Max Von Sydow a nice appearance as Blofeld, though his appearance is more akin to a cameo. Rowan Atkinson makes an appearance as Bond's bumbling contact that makes for some of the best scenes in the film. With all that the highlight of the supporting cast comes from the MI6 staff from Edward Fox's M who makes for a great contrast to Bernard Lee, Pamela Salem who make s affine Moneypenny and the icing on the cake with Alec McCowen's wonderful Q. The supporting cast has a couple of misfires though in the form of Bernie Casey as Felix Leiter and Gavin O'Herlihy as Jack Petachi who both seem to lack credibility in their respective roles. Otherwise this film sports one of the best casts ever assembled for a Bond film.<br /><br />On top of an excellent cast the film has several other essential ingredients. From the opening Central America sequence to the fight at Shrublands to the underwater sequences and motorbike chase, this is a film where the action sequences are not only great but service the plot as well for the most part. The film also sports good special effects in terms of cruise missile models, explosions, and all the things we expect from a Bond film. Irvin Kershner, then fresh off doing The Empire Strikes Back, brings a tight sense of direction to the film especially in sequences like the substation of nuclear warheads and the subsequent theft of the cruise missiles.<br /><br />Yet this film is far from perfect. Never Say Never Again is easily one of the most dated of the Bond films with its heavy use of 1980's computer sand video games. While technology dates any film after a time, this film's heavy reliance on it, especially in the hijacking of the cruise missiles and the Domination sequence makes the film look incredibly dated some quarter of a century after its release. The script also tends to suffer from predictability due to the very fact it's a remake of Thunderball.<br /><br />Yet for its predictability the script for Never Say Never Again is pretty good. The script sports good dialogue scenes, not a single cringe worthy one liner (how many of the Roger Moore era scripts can you say that about?), some humorous situations, and yet is watchable and tense for the most part. Once you look past he fact that it's a remake, there's quite a lot of good things in the script for the film.<br /><br />Music is in fact the biggest weakness of the film. Due to the "unofficial" status of the film, the James Bond Theme could not be used. That said this could have shown with the right composer that a Bond score without it could work. Unfortunately Michael Legrand's score is far from adequate. Legrand's score is totally out of place in a Bond film and there is only of or two places where it actually works. To make matters worse the film is also lumbered with one of the worst title sequences ever to grace a James Bond film.<br /><br />Despite being heavily dated, somewhat predicable, and having a bad score Never Say Never Again is still a good Bond film. With one of the best casts of any Bond film, good action sequences, good special effects, good direction, and some terrific dialogue, this film proves that "unofficial" isn't a bad thing. In fact it is is better then Octopussy and the winner of "the battle of the Bonds".
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imdb-21006
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If you can watch a Bond film from 1983 that isn't as good as Octopussy and still enjoy it.<br /><br />If you can accept production values which aren't that much above the level of a TV movie.<br /><br />If you can look at Sean Connery with wrinkles on his forehead beneath an obvious toupée and still see James Bond.<br /><br />If you can get past an inexperienced Basinger, a weaker Largo and a jolly Q.<br /><br />If you can learn to love an idiosyncratic score, not up there with Barry on his worst day.<br /><br />If you don't believe the hyperbolic reviews that it was greeted with on release.<br /><br />If you can meet a poker battle and a video game face off and enjoy them both the same.<br /><br />Yours is Never Say Never Again and everything that's in it.<br /><br />And, what is more, you'll probably enjoy it, my son!
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imdb-21007
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There are lot of similarities between Never Say Never Again and Thunderball not only on Sean Connery but also the story and plot. except the actors all other are same like hijacking Atomic bombs, asking for ransom, trafficking nukes in a ship, etc only difference are place of occurrence in thunder ball plot it is in Bahamas in Never Say Never Again it is over North Africa. And in thunder ball the NATO / RAF itself loads the nukes into plane and in Never Say Never Again it is changed by an "rouge arm of the Axe" and air dropped over US and stolen in Caribbean. Almost 99% is same.If anybody wants to dispute this they are most welcome.
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imdb-21008
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Background info - The movies Octopussy & Never Say Never Again were both made the same year, 1983, and so naturally people compare them. Moore vs. Connery. Bond vs. Bond.<br /><br />I've heard many people claiming that the "official movie" Octopussy is far superior. Well, I just watched Octopussy. Bond is riding an airplane at 100 miles an hour (impossible---the wind would blow him off), using his feet to force the plane to ground, and then jumping off at some 60 miles an hour (again impossible---try jumping out of your car---you'd end up with a shattered body). How is that octopussy scene supposed to be "good" in any sense of the word? Suddenly Bond has super-human strength & a titanium body. And he does all these stunts at the ancient age of 56??? Complete crap. Unbelievable. Farse.<br /><br />---> Now let's contrast the above scene with Connery's "unofficial" Never Say Never Again: It doesn't have the same polish due to its independent film status (less money), but at least you can believe that Connery is a real spy in real danger.<br /><br />The movie starts off with Bond showing his age (he is 50 after all) and being sent off for recuperation. Entirely believable. But of course, there's no such thing as a "day off" for a world-famous spy, and Bond quickly finds himself a target, even inside the hospital. From that point the story spins off into another adventure, with Bond trying to locate his attempted killers and ultimately foiling an attempt to steal nuclear weapons.<br /><br />As usual Sean Connery did a brilliant job, and avoids the over-the-top/unbelievable stunts. This movie feels like a natural successor to Connery's last film, 1971's Diamonds Are Forever... the old style of Bond... before the franchise got silly.<br /><br />Highyly recommended.
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imdb-21009
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Like most people out there who have watched James Bond 007 movies. Most people NEVER knew that Thunderball was originally the FIRST 007 Movie to be released, but after Ian Fleming, wrote the story with kevin mcclory and jack whittingham. The 2 other authors took Ian Fleming to court and WON THE CASE providing evidence that ian fleming took the ideas of SPECTRE(Special Executive In CounterIntelligence Terrorism Revenge Extortion). So rather than making Thunderball they(fleming,broccoli,saltzman) went on to make Dr NO.<br /><br />This movie had the best of the best, From getting sean connery to come back one more time, he was paid over 5,000,000 for NSNA. Irvin Kershner and Sean Connery had problems on the set, that much is true. But overall this movie was up there i think with(Thunderball, Licence To Kill, Dr No) those are my favorite from the bond series. David Dryer was hired for Special Photographic Effects, he was working at the time on Bladerunner beFORE NEVER SAY NEVER AGAIN. The 100 million dollar yacht makes the disco volante, look like a canoe. This movie starred the best Villian in a bond movie just behind dr no. Klaus Maria Brandeau held together this neurotic business like calm manner, with a little wit to his authority over bond. Barbara Carrera was excellent as fatima blush.<br /><br />The Music was better than every score that didnt contain John Barry doing the backround score music in most bond films. Michel Legrand is not big in the usa compared to over in europe, he has played with miles davis and many other GREAT jazz musicians over the years. Its a little bland at times but the 007 theme that happens around 3 or 4 times in the Movie NEVER SAY NEVER AGAIN IS so Cool, i like it more than the original.<br /><br />007 is back One More Time<br /><br />Timothy Dalton explained it right i thought, YOU CANT RELATE TO A SUPERMAN OR A SUPERHERO, he or she has to be human and have feelings. He was by far the BEST SERIOUS TRUE TO FLEMINGS VERSION OF BOND. But Sean Connery proves he can still do the role that made him and others to follow, i bet at 75 now he could still pull off a villian role in a MCCLORY 007 movie if one ever surfaces.<br /><br />
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imdb-21010
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Let me depart from many comments I've read here, and say that this film ranks as one of the five best Bonds, along with On Her Majesty's Secret Service, From Russia With Love, Licence To Kill, and For Your Eyes Only (the ONLY time Roger Moore actually played the role of Bond, instead of futzing around). Of course, Sean Connery pulls the whole thing together -- as co-writer, co-producer, and in his best performance since From Russia With Love. He is fit, energetic, and obviously enjoying himself. His acting is mature, confident, and laced with the right amount of humour. This is in contrast to his mechanical performance in Thunderball, his sleepwalking through You Only Live Twice, and his jowly, paunchy romp through that cartoon known as Diamonds Are Forever!<br /><br />This is an imaginative reworking of Thunderball, without having the sets and machines overwhelming the characters and plot. This cast is far superior, as well. Klaus Maria Brandauer brings his unique style to the role of Largo, without relying on an eyepatch, SPECTRE ring or a boring uniform. Kim Basinger is athletic and lovely, Barbara Carrera is dynamic, and for once, we have a great Felix Leiter in Bernie Casey. The depictions of M and Q are original, and the addition of the bumbling agent Small-Fawcett is fun without lapsing into slapstick.<br /><br />Director Irvin Kershner makes good use of his locations (the Bahamas and the French Riviera) without losing sight of his actors. Although close inspection reveals some mediocre special effects and lapses in continuity, Kershner keeps the film moving at a good pace, unlike Thunderball (which even its director, Terence Young, did not like). Obviously fans will miss the gun-barrel trademark and the 007 theme music, but they are, after all, owned by Eon Productions.<br /><br />Michel LeGrand may not have composed the most memorable score, but it captures the atmosphere of the locations without being overly intrusive. Not surprisingly, his best moments are in the south of France, with his French love song (at the health spa) being particularly attractive. And tell me, how many really remember the music for Moonraker? I personally would rather forget Man With the Golden Gun and A View To a Kill!<br /><br />The Eon folks can sneer at this film if they like. (Yes, Octopussy made more money.) At least Connery's mature 007 didn't swing through the jungle emitting a Tarzan yell. He did not frolic with a Bengal tiger, nor did he fight off "Indian" snake charmers with a tennis racket. Despite Eon's desperate efforts to stop this production, Kevin McClory and the late Jack Schwartzman put together a fine film, one that I think Ian Fleming would have appreciated.<br /><br />If, however, you would rather see James Bond get kicked in the shins by a dwarf, engage in another tiresome struggle with "Jaws", jump into bed with Grace Jones, or lead a slapstick firetruck chase through San Francisco, this is NOT the film for you!
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imdb-21011
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People criticize NSNA because it is a low-point in Bond god Sean Connery's career, and because it is unofficial. ***MAY CONTAIN SPOILERS* First of all, this movie is better then any other bond film featuring any other actor then Connery, all sub par wannabes in my book. Sean Connery is the only real Bond, no one comes even close to his toughness, good looks and sex appeal. Yes, this movie is a low point in Connery's Bond career, but it is still the definet best bond film of the 80's. Sean Connery is the only Bond actor who is good at an older age. he did not become a baggy mess like Moore, but kept his good looks and toughness, but gaining some gray hair. So what? hes still the only real 007, and he is as cool, and tough as ever. Sean Connery is the one and only 007. And this movie is definitly worth seeing, no matter what anyone says. No gun-barrel opening, but you can't have everything, can you? great theme song, though.
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imdb-21012
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Although Never Say Never Again (NSNA) has a weak sound track, it is far superior to its competition at the time, "Octopussy." Never Say Never Again is an updated and improved version of Thunderball (Connery's least popular bond flick). NSNA is rich with clever dialogue, wit, smarts, sex appeal, and one of the best and most convincing bad guys in the entire Bond series. In addition, NSNA features a very talented young and beautiful Kim Basinger. British comedy fans will also recognize the actor (Attwood), known as, "Mr. Bean." I wouldn't trade any of the Moore pictures for this one. However the earlier Connery/Bond efforts (with the exception of "Thunderball,") are superior.<br /><br />
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imdb-21013
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I'm sick and tired of people complaining that Never Say Never Again is just a weak remake of Thunderball. Yes, that movie's influence is unmistakable, but the tremendous and almost universal inferiority of re-made films is reserved for such thoughtless and unintelligent films like the 1998 re-make of Psycho. While it's true that the opening theme of the twelfth (and Connery's last) Bond film is one of the worst of the entire series, the film itself still manages to stand on its own, despite many other weaknesses. Besides that, even the weak title song is made to blend pretty nicely with the closing dialogue in the film.<br /><br />Sure, Sean Connery was getting a little on in age when this movie was filmed (at least by James Bond standards), but there is plenty of evidence in the narrative that makes it clear that this was not exactly unknown to the filmmakers. James Bond is near retirement before he is handed his assignment, having spent most of recent time teaching, not doing, and there is even the tongue in cheek insistence from M that he pay more attention to his health, dieting and training and getting more exercise and whatnot. Besides, this is James Bond, remember? This guy is supposed to be some kind of super human, and all of his fans are getting all upset because he's got some gray hairs. When this guy retires at the end of the film, M sends poor `Small-Fawcett' (in a hilarious cameo from Rowan Atkinson) to tell Bond that without him, he worries about the safety of the free world, and all of you people can't get over the fact that he's not a sprightly young man anymore. Come on, Sean Connery could STILL play James Bond just as good as he ever could, or at least better than anyone else ever has been able to.<br /><br />The majority of the film deals with the elaborate plan to steal nuclear missiles and hold the world hostage (as Dr. Evil would say, `Oh hell, let's just do what we always do
'), so there's clearly not much new there, but this is one of the Bond films that had the better one liners. There's the amusing scene where Bond is asked for a urine sample `If you could just fill this beaker for me
' `From here?' There are a lot of good one-liners, but the sexual innuendos aimed at Mr. Bond are especially prevalent in this installment. But then later he happens to throw that very urine sample into a villain's face, making him scream as if his face were burning off. Not a very good attempt at comic relief, especially since this guy had been kicking Bond's ass with some sort of super-spring device that could cut through pretty much anything. And of course, Kim Basinger stars in this film as one of the best Bond girls of the entire series.<br /><br />It's no secret that Never Say Never Again has dated badly, and one of the things that has dated the worst is the special effects with the one exception of the flying missiles, which were obviously fake but still impressive for 1982. The colored contact lens at the beginning of the film was totally without effect, and the laser watch was one of the worst things in the entire movie, second only to those damn sharks. Evidently, Fatima Blush put some sort of device on his scuba tank that attracted sharks (granted, they did have weird guiding mechanisms of their own), in a scene that more than likely inspired the classic line, `I have one simple request. And that is to have sharks with FRICKIN' laser beams attached to their heads!' And then, of course, there is the exploding hotel room scene which was redone in an episode of The Simpsons, and which was obviously followed by another obligatory and overly casual one-liner from James.<br /><br />The domination video game created by Largo, the film's villain, is an especially memorable scene, and the film also boasts what is probably the best motorcycle chase in the entire series (far to superior to the laughable one in Tomorrow Never Dies). But despite many strengths, the film's weaknesses are left clearer in the audience's mind at the end of the film due in large part to the anticlimactic underwater conclusion (one of the more obvious parts borrowed from Thunderball, and inferiorly recreated). Never mind the fact that Largo revealed some crucial information to Bond as he left him in the tower alive (Dr. Evil's brilliance, once again, `I'll just leave him there without actually witnessing his death and just assume everything went to plan. What?'), the climax of what is expected to be a fast-paced action film should never take place in a muted underwater atmosphere. <br /><br />All in all, Never Say Never Again ranks very highly on the James Bond scale, and Connery's wink at the end of the film (as well as the two closing lines) suggested at the time that he may still return for another turn as Bond. Clearly, this is no longer very likely, so we can only hope.
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imdb-21014
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Many have disparaged Never Say Never Again because it is not an official Bond movie. Nevertheless, it is manifest that the producers adhered to the fruitful Bond formula. Although the film does not have a pre-credit sequence, it is clear that the training exercise at the commencement of the film is meant to be the introductory scene. It would have been impossible for EON to stop the producers from including a pre-credit and title sequence, albeit without the gun-barrel introduction.<br /><br />Sean Connery is on fine form as the immortal secret agent and this film is certainly better than Dr No, Thunderball, You Only Live Twice and Diamonds Are Forever. Although, NSNA is meant to be a remake of Thunderball, it is a vast improvement. 007 spends more time on terra firma and a more diverse range of exotic locations are included in the film. <br /><br />There is some resplendent acting in this movie. Barbara Carrera is impeccable as the bizarre Fatima Blush. One of the best scenes in the film is the coup de grace between Bond and Fatima in Nice, which is preceded by a dynamic motorcycle chase through the city. Klaus Maria Brandauer plays the psychotic Largo and Max Von Sydow is free of the melodrama that other actors portraying Blofeld have indulged in.<br /><br />NSNA tends to centre on Connery rather than the character of Bond. At the commencement it is stated that Bond is ageing and has been out of action. This seems to refer to the 12 year hiatus in Connery's portrayal of Bond. Bond promises "never again" to work in the Secret Service; an allusion to Connery's portrayal of Bond. It appears that the producers were trying to hurt the official Bond franchise. <br /><br />Nevertheless, this film is definitely worth watching. This is the last time that Sean Connery played James Bond, but his performance convinced me that perhaps he should have never have said "never again".
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imdb-21015
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Yes, let's get this out of the way before we begin: *This is the one that Sean Connery returned to in 1983 after the stint we had of Roger Moore. *It's Connery's last film. *And YES it's a (kind of) remake of Thunderball, but more of a film inspired by it. If all you Bond purists out there think I'm gonna get controversial, you're right. Bond is one of the greatest movie series ever, but that doesn't mean that a series should go on forever. This, I think, is one of two films where they could've done themselves a huge favour and ended the Bond saga. Not offended yet? Then I'll continue... Hey, if you're thinking I'm indifferent about Bond flicks, you're wrong. I grew up with my Mum being OBSESSED with them. Any spare moment, Bond and his antics would be on the TV. Bond rules, and 'Never Say Never Again' (directed by Irvin 'Empire Strikes Back' Kershner) is one of the best. It may not be 'Goldfinger' or 'From Russia...' and may not have been done by the same production house as all the others (which I hear is why they refuse to accept it was ever made!?), but still stands head and shoulders above the recent Brosnan outings... (if you haven't spat at the screen, read on). CHARACTERIZATION!!!!! Something so many blockbuster films forget about these days, but something which is essential to telling a good story. 'Never' played a superb hand by treating 007 like he had been ageing since 'Dr. No'. He's 'getting on a bit' and so has to do things like go to a health farm - a direct order from 'M' (!). Yeah, if you haven't seen this film, I won't give too much away with the plot because A) Loads happens and B) Obviously, I want YOU to see it for yourselves. Don't be put off by my 'old Bond' revelation, Connery still get plenty of superb set pieces to charge, swim, punch, speed, smash, and snog his way through. The man is a legend, and this film is one of his most enjoyable outings as Bond. High tech gadgets galore, some great villains, and an excellent supporting cast (including a fantastic cameo by Rowan Atkinson) lift this movie high above audience expectation.<br /><br />This could've been the last Bond film ever, and it would've been a party to remember. Playing the secret agent as someone nearing retirement was refreshing stroke of genius - the last scene wraps things up perfectly for the series.... ...but still we had more, and then more, and more still, and one more Moore. Still, if you fancy finding out what "Fatima Blush" is all about, get this film. Then you can at least pretend 007 spent his last moments as a wisecracking secret agent, in the arms of Kim Basinger, and smirking at Mr. Bean. (P.S. * That other film that I think could've finished it all off? The gritty 'License to Kill'
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imdb-21016
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I've seen 'NSNA' just after I've seen all Roger Moore-films and I must say that it felt so good to see Connery again. He proves for all times that he is the one and only Bond.<br /><br />The film itself isn't really a masterpiece but it is really worth watching. The jokes sit much better here, the effects are funny and interesting, Connery is Connery and Brandauer is really a good villain. But von Sydow is just wasted and the score is not often good and there are a few scenes that seem pretty unnecessary.<br /><br />7/10 \ 2.5/4 \ 3+ (1+ - 6-)
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imdb-21017
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I like both this version of DORIAN GRAY and the MGM version. Both add a little girl early in the story who grows up to have an association with Dorian (this is not in the original book), and that is my only complaint. I especially like Angela Lansbury as Sybil Vane and George Sanders as Harry in the MGM version, but Shane Briant as Dorian in the TV-version is much better looking (I think) and far more ruthless than Hurd Hatfield in the MGM version: I think Briant is more true to the novel's Dorian. In the end, this is a very good adaptation of the novel (it even hints at Dorian's liaison's with men, as does Wylde, which could not be done in the MGM version).
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imdb-21018
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I first saw this one when it was first shown, so I'm not too objective about it. It really managed to scare me, partly because it was so late at night, but partly because of that whole feeling from a videotaped suspense story (the same thing that helped Dark Shadows itself). And the casting was so right. I hardly know Shane Briant from anything else, so it might not be so right to call HIM "well-cast," but to me, he IS Dorian Gray. And as far as the other male actors, the one who fit his part so well was Nigel Davenport (who's so good at "larger than life" characters) as Sir Henry. And John Karlen, a sort of Dan Curtis "repertory player" at the time, because of Dark Shadows. As one poster points out, this version manages to include the involvements with men, in a fairly subtle way. The scene where Dorian recites a list of men's names to John Karlen's character, as a way of blackmailing him, and the look on Karlen's face, were very well-done. (If that scene were done now, it would probably be done in a TOO OBVIOUS way, and be bad by comparison.) I saw it when "Dorian Gray" was barely a name to me, let alone more, so even more than the famous 1945 version (which is rightly famous), this is THE version to me.
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imdb-21019
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The famous French detective Henri Cassin takes his first vacation in 11 years in St. Margot where he meets Nanette, the daughter of the vacation spot proprietors. Despite Nanette being promised to childhood sweetheart Leon, Henri and Nanette fall in love and decide to marry, despite Nanette's father objecting due to Henri's age. On the day of their wedding, Leon returns and Nanette runs after him. Nothing is heard of the two until both are found dead, and Henri swears he won't rest until he can find the killer. The only clue Henri has to work with is a footprint found by Leon, but he is also getting written warnings that others will die soon. Soon Nanette's mother is found dead and Henri has no idea as to the identity of the killer. Thinking himself a failure he returns to Paris, then he realizes (and fears) that the killer can be only one person, even though none of his colleagues can believe his explanation. Out of the ordinary murder mystery that doesn't really follow the formula in other of the genre by Columbia or other B studios. Credit to that certainly goes to director Lewis who does manage to turn this into a noirish film despite the setting of the film, also aided by the use of good camera-work and lighting. Geray turns in a very good performance in probably his only lead and the rest of the cast is able to carry their performance. Rating, 8.
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imdb-21020
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So Dark The Night poses a tough challenge: It's very hard to write about it in any detail without ruining it for those who haven't yet seen it. Since it remains quite obscure, that includes just about everybody. The movie will strike those familiar with its director Joseph H. Lewis' better known titles in the noir cycle Gun Crazy, The Big Combo, even My Name Is Julia Ross, which in its brevity it resembles as an odd choice.<br /><br />For starters, the bucolic French countryside serves as its setting. Steven Geray, a middle-aged detective with the Surété in Paris, sets out for a vacation in the village of Ste. Margot (or maybe Margaux). Quite unexpectedly, he finds himself falling in love with the inkeepers' daughter (Micheline Cheirel), even though she's betrothed to a rough-hewn local farmer. But the siren song of life in Paris is hard to resist, so she agrees to marry him, despite the disparity in their ages, which inevitably becomes the talk of the town. <br /><br />But on the night of their engagement party, she fails to return to the inn. Soon, a hunchback finds her body by the river. Her jealous, jilted lover is the logical suspect, but he, too, is found dead. Then anonymous notes threaten more deaths, which come to pass. For the first time in his career, the bereaved Geray finds himself stumped....<br /><br />A particularly weak script all but does the movie in; it plays like bad Cornell Woolrich crossed with The Murder of Roger Ackroyd. But Lewis does this creaky vehicle proud. He takes his time near the beginning, but then the story and the storytelling gain momentum (alas, just about the time the script breaks an axle). Burnett Guffey lighted and photographed the film, with an intriguing leitmotif of peering out of and peeping into windows; there's also an effective score by Hugo Friedhofer, who supplied aural menace to many noirs. A good deal of talent has been lavished on So Dark The Night, but at the end it boils down to not much more than a gimmick and not a very good gimmick at that. It's a one-trick pony of a movie.<br /><br />
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imdb-21021
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Don't forget the lover on the side!! She is a 'hottie', Karen Parsons is delicious, she is wonderful, in acting and beauty and style. It's just his Job! HO, well now here is a show that the writing slugs you in the gut and while your doubled over, kicks you in the butt! In quoting Peter's wife,(The Associate/ writer/ Producer) she said when they were watching the 'previews' for up coming 'new' shows at an ABC network party, she looked at her husband after the preview for 'the Job' played and said, "This doesn't look like anything else that is on this network. You guys are in trouble." Meaning, it 'looks' very good! But it's not looking like the regular 'shiny happy people sitcom' fare or over-hair-styled drama that they (ABC) are regularly comfortable putting on the 'Air". From the time I saw this, after the first episode finished, I made sure that I didn't miss that time slot next week. I was instantly addicted to "The Job" Cutting wit and cynicism, outrageous situations, and laughter rolling writers makes this series a Hit!! <br /><br />Then I felt anger and a feeling of being let down, that the show just sailed off the air. I wondered what executive, made that decision to tear down a major comedy cornerstone for their network?<br /><br />I talked to other people about it some knowing, some not, but I know that the stupid network didn't promote this hard enough, or I should say visually enough. If they had it would have run at least 3-5 seasons, maybe even six. I just believe that knowing network short comings and being overly subscribing to one 'formula' or another that they missed the boat with this one. There was so much room for expansion, it had barely just begun. The situations were funny and serious, fast and sometimes slow, though not much it kept a good pace. some years later, I finally found it on DVD new for $50.00. To me it would be worth $1,000.00 to have this in my entertainment library. I watched in amazement as I went through both seasons again for the third time on DVD and the ending 'Betrayal' episode, was going into a total serious drama segment with them uncovering a murder victim, it was better than most of the drama 'victim Unit' and 'cop' shows on the air now!!! They went into the scenes as serious as a heart attack and as believable, did so as if not even skipping a beat. Just like it was meant to be serious, I am so impressed with the 'versatile ways' that Tolan and Leary shared in the story-lines and scripts.<br /><br />In another outrage of the 'entertainment week' I learned that the beautiful wardrobe, of silk ties and expensive suits with pressed shirts and ultra stylish footwear...was all sold to the movie made for cable "In the cut" (2003) for only four hundred dollars, thats it!!!! I'm sick. Did you see what they all wear for each show?? A good over coat alone could run that much. <br /><br />This was Denis Leary at some of his finest. I recommend this great cop 'dramedy' for East-coasters or wherever you are in this country. I even heard that people from Ireland were joking with Leary the 'Bathroom' episode, repeating lines back to him from that one, because they saw it over there. (****) A Superbly intuitive, comedic New York Leary/Tolan cop Show.
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imdb-21022
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Denis Leary can indeed be funny and clever at times and is always likable, but this takes the cake! This show showed Leary's genius.<br /><br />The Job is set in New York. Leary plays Mike McNeil, a hard-nosed detective who is married, has a occasional drug problem, and has a girlfriend. McNeil has serious attitude. So much he's dripping in it. The precinct is filled with funny, interesting and likable characters besides McNeil. An excellent cast too. All of the episodes in this show are really funny and are addictive. The one liners in this show are everywhere. You'll be in stitches after hearing them and still laugh about them a few minutes after and then some. The cases the precinct deals with are something else to stripper nuns, a bathroom hostage situation, and more are over the top. This show was too good. Could have grown legs to last many more seasons. <br /><br />The Last Word: A great, fantastic show. I miss this show dearly. All episodes of this show are great. You get even belly-laughs...a lot. ABC made a huge mistake by giving this the ax. Too bad Leary did not revive the show for cable TV. Still, I give this show one of my highest of recommendations. Truly a one of a kind show.
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imdb-21023
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This type of show is not supposed to happen on television. This is the type of edginess usually reserved for independent film. This is what only HBO is supposed to do. Fact is that Denis Leary has managed to come up with one of the best television shows ever, easily joining the ranks of THE SOPRANOS, OZ, ED etc.. Kudos the gang at ABC for showing that NYPD Blue was not a fluke, and to Mr. Leary and his gang for creating a truly unique viewing experience. My only complaint is that the show is not long enough ... an hour would make it better, but I can't wait for the next episode!
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imdb-21024
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My wife wanted to see this movie and I grudgingly went along. I have never been a big fan of the biopic - believing that cinema is more exciting when it isn't structured in non-fiction. Beyond that, although I like Ray Charles' music just fine, I don't consider myself a fan of him or his music.<br /><br />I expected to either suffer or coast through this movie.<br /><br />I was wrong.<br /><br />This is an engaging story told in a classic cinematic style. The realism is in the nuances - the tilt of a character's head after a dramatic moment or the look in their eyes while they sing. I literally discovered myself involved in this movie during the course of viewing it.<br /><br />Jaime Foxx, of which much has been said, heads a cast of immaculate re-creators of not just a time, but an ERA, a LIFE that never really existed to those of us under forty. This movie sinks the audience into time without the gimmicks and grand sweeping panoramas of Titanic or other period pieces of that ilk. This movie doesn't present you with the 50's and 60's music scene, it takes you there.<br /><br />This is a movie about Ray Charles, but your appreciate of it should not be limited to the story of his life. This is the kind of movie, like Saving Private Ryan or Schindler's List, that does what a movie should do - bring you to another place, another time.
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imdb-21025
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If someone had nudged me about 15 minutes into 'Ray' and asked what I thought of Jamie Foxx in the title role, it would have been time for a blank stare. After all, what is this (fictitious) person talking' about? That wasn't Jamie Foxx up on the big screen. That was Ray Charles. This is one of the best performances by anybody in recent years. Like the soundtrack, Jamie as Ray is flat-out brilliant.<br /><br />The blind Genius of Soul (who took a revolutionary step of mixing gospel with R&B) died during production. The movie about his troubled life is good, not great. Taylor Hackford's direction and James L. White's script follow the well-worn biopic outline. Super-talented youngster battles adversity, achieves greatness while also self-destructing, then picks himself up out of the gutter for a happy ending. The film shows Charles' flaws (heroin abuse, chronic womanizing, persistent bastard-fathering) even as it sucks you in with his beautiful music.<br /><br />Kerry Washington and Regina King play the main women in Ray's life, one his long-suffering wife and the other his longtime mistress. Both actresses match Foxx stride for stride. What takes him to a different level, though, is his deep understanding and uncanny impersonation of the great musician. The entire cast is effective, especially Sharon Warren as his headstrong mother and Curtis Armstrong as a music exec. Hackford's stars are likely to be rewarded with trophies and---better yet---more starring roles.<br /><br />I was not a Ray Charles aficionado before 'Ray'. Apparently, the film has left out a lot (as do all biopics), but this picture functions as both an old-fashioned crowd pleaser AND a dark investigation of a brilliant/troubled man. For those who whine that Foxx doesn't actually sing (as if that somehow diminishes his performance), take a hike. No mere actor can sing like Mr. Charles anyway. You can't have everything. What the talented star does in this picture is about as close to "everything" as we'll probably see for a while.
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imdb-21026
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First of all, it is sheer joy to hear the legend perform such wonderful and timeless music. This movie and soundtrack is a tour de force. Ray Charles is unique and amazing. I truly adored the film as it was inspiring and entertaining throughout. <br /><br />Jamie Foxx has become one of the premiere actors in Hollywood as is clearly shown in Ray and he should get an Oscar for this role, it is unprecedented. In fact, everyone who worked on this film should receive accolades. I really liked Kerry Washington who played the exceptional wife...Ray Charles obviously married well. Regina King is a fine actress as well as the extraordinary Sharon Warren who plays a struggling young mother.<br /><br />In all honesty, I'd say this whole project was providentially arranged. The entire cast was perfect, great screenplay and awesome settings...major props to the director Taylor Hackford and crew for doing such a splendid job in bringing the life of Ray Charles to the screen so flawlessly. This is my picture of the year, certainly one of the best biographical films ever made.
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imdb-21027
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This is one of the best movies I have seen in years. I took me to a new time and place. It was as though I was right there with Ray through his many trials and triumphs. Jamie Foxx transformed himself into Ray. During the movie he was Ray. Also, Kerry Washington, Sharon Robinson and Regina King were superb. The movie was well cast and directed, the music was fantastic.<br /><br />I've seen the movie four (4) times with different people and the last time was just as enjoyable as the first time. I will buy the DVD as soon as it is released. This is a movie that will viewed over and over for years to come.<br /><br />Thank you for a great experience.
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imdb-21028
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This movie has inspired me to be a better person. In life you don't know who you will run across and sometimes our prejudice will cause us to prejudge a person wrongly. I have learned to give a person the benefit of the doubt because of this movie. I also learned that tough love can build a stronger person. Now I want to know where to find the movie soundtrack. There are songs in this soundtrack I have been trying to get for years. May I comment on the acting for a second. Jamie Fox was outstanding. The man has risen to be the actor of actors. Also the performance of Regina King was awesome. If I can get a woman to look at me the way she looked at Ray...I can only dream. I plucked down $18.00 for this movie and I don't have a lot of money but I am willing to see this movie again and again. This movie touched me.
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imdb-21029
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Taylor Hackford wanted to make this movie for 15 years, and finally found Jamie Foxx to play the title role. Foxx is amazing in his portrayal of Ray Charles. From an interview I saw with Foxx, he met Charles several times and the two of them also played piano together (Foxx had piano lessons as a young child and actually played piano in all his scenes). I didn't see Charles live until his later years, so it was great to get a perspective on how his career developed. I hope Foxx gets nominated for the Best Actor Oscar as he certainly deserves it. The music, also, is incredible - it really showcases the breadth of Charles' music, from country to blues, and everything in between. The movie also gives an unblemished account of Ray Charles' life, from the many women he had relationships with to his drug habit and the consequences of that.
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imdb-21030
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Let's get the flaw out of the way right off the top - the movie should have been much longer. Ray Charles was a brilliant, fascinating man who lead a complex, challenging life. There was simply no way to fit it all - or even touch on it all - in a standard length movie. Given that, the makers of this film did an admirable (and I'm sure quite agonizing) job of putting together a film that could not tell the whole story yet managed to set forth a representative sampling of the man and his music. Ray Charles' strengths were evident throughout the film and his weaknesses were neither amplified nor sugar-coated. We could have wished for another hour chronicling his life after 1980, but I suppose that would have tended to turn the film into an homage and, while it would have also allowed for the resolution of several things that were left hanging at the end, on balance I guess it was better as presented.<br /><br />Now for the big question: what are the criteria for an Oscar? The wife and I have seen untold numbers of films in our years, but we immediately agreed that we have never seen a performance the equal of Jamie Foxx's. The line between actor and character was not blurred - but rather it disappeared completely. We had heard much of the hype before seeing the movie, but this was uncanny. Foxx WAS Ray Charles. You didn't watch the movie with the feeling that you were watching Foxx do an outstanding job of portraying Ray Charles - you watched it somehow believing or understanding that you were watching Ray Charles himself. I don't know how else to put it. We were completely blown away. I'll admit that we haven't seen all of the other performances up for an Oscar this year, but that really doesn't matter. Foxx took this to a whole nuther level, one which we've never witnessed before and doubt that we may ever see again. I can think of no other movie I've ever seen in which a person playing a part so completely and convincingly became the person portrayed. We salute you, Mr. Foxx. We understand that the awarding of an Oscar has to do with much more than the performance, but whether or not you win, we want you to know that you have done something that is in a class absolutely by itself and you should take enormous pride in your unparalleled achievement.<br /><br />P.S. The music was naturally great. I remarked to the wife that if there is one moment in the history of music to which I wish I could have been witness, it would have been the genesis (in Kansas City, wasn't it?) of What'd I Say? The film did a wonderful job with it - just wish I could've been there!
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imdb-21031
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The year 2004 was the year of the biopic with no less than four pictures tackling real events, real people, with varying degrees of critical praise. Of the four pictures to make it to the race to the Oscars in early 2005 (KINSEY, THE AVIATOR, HOTEL RWANDA, and, RAY), RAY became the big winner of the night as the acting award went to Jamie Foxx for his portrayal of R & B genius Ray Charles.<br /><br />And it was well-deserved despite that Leonardo diCaprio came close and Liam Neeson wasn't even nominated. What made Foxx the winner was that the other two were playing relatively obscure eccentrics, Ray Charles was still making music right up until his death in 2004 and by then there wasn't a soul who didn't know at least one song that Charles' had penned. It did help that Jamie Foxx rose well above the movie -- itself as a whole somewhat weak and often looking like it wouldn't be out of place as a TV biopic -- and his portrayal is detailed as it's ferocious. He has the delicate assignment which is to embody a person down to nuances, and once the crisis of Ray's addiction to heroin hits a head, Foxx pulls out all the stops and it isn't hard to imagine the real Ray actually going through such a painful ordeal.<br /><br />The low point of the film is how it spends a little too much time in detailing Ray's relationship with women. Like THE AVIATOR, Taylor Hackford wishes to establish that Ray had this turbulent life, a product of his own demons and his entry into success at a time when being black and successful brought a huge amount of baggage. Of the women, the only one to succeed bringing real life is Sharen Warren as Ray's mother. Hers is a difficult role since she is alone on screen with the child actor playing young Ray but her facial and body language is gut-wrenching, especially at the moment she must relinquish her maternity to have Ray find his way around the house. Such intensity of emotion, to stand there and watch your blind son crawl across a room and having to force him to have this rude awakening into independence. A beautiful performance, and one which should have been acknowledged.<br /><br />A fantastic counterpoint to RAY is the featured music. Anyone who knows R & B will enjoy the early recordings of Ray's radio hits as much as his later ones which would bring him to the forefront of popular music, and Jamie Foxx virtually steals the show as he performs the songs as Ray. That alone will live on even when the movie in itself is little more than a stiff biopic. I would have, though, loved it if they would have used his last Adult Contemporary hit from 1993, "Sing my Song for You" in the closing credits. After all, it is Ray Charles, a performer who had a fierce dedication to his art.
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imdb-21032
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Jamie Foxx does a fine job of impersonating the famous blues/soul/country singer Ray Charles. To the film's credit, it shows both the good and the bad regarding Charles' character and the choices he made, both personally and professionally.<br /><br />This is a slick-looking film that provides you with a rich feel of the periods in which the story takes place. Not only does it look good, it sounds good. I only wish there was more music in here. When it's inserted, it's fabulous but there isn't enough of it. <br /><br />Assuming, at least for review purposes, that the story was true, I was impressed and disappointed with Charles, meaning the story left some memorable impressions since I'm writing this 16 months after viewing it. Main impressions include:<br /><br />GOOD - Re-living Ray's immense talent and his foresight to step out and take chances musically, such as going "country" for awhile. The man had supreme confidence in himself but didn't come across as arrogant about it. Also memorable was showing him beating his heroin addiction - with no help! That's just amazing.<br /><br />BAD - I also remember through this film how easily hooked Ray got in the first place and disappointed he was so unfaithful to his wife. A really sad comment was that his wife was more upset with him for missing his kid's Little League games than she was for all the cheating he was doing on her, even fathering a child with a member of his singing group.<br /><br />The only negative I had with the filmmakers was the overemphasis of his problems being blamed on one early childhood event, the accidental death of his brother. That tragedy was used as cop-out for all Ray's misdoings as an adult, which is another example of a culture in which people refuse to take responsibility for their actions.<br /><br />Note: There is an extended version with the DVD but word has it that it is so poorly edited that it's not worth watching, so stick with the "theatrical version."
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imdb-21033
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Jamie Foxx leads a brilliant cast in this powerful voyage through the life of the blind, emotionally troubled, African American genius of pop jazz, Mr. Ray Charles. Though the entire cast performs wonderfully, Mr. Foxx earned more than simply an Oscar. If it were possible to nominate an actor in consecutive years, I would consider doing so for Mr. Foxx. Foxx doesn't just play Charles, he re-creates him. CJ Sanders and Sharon Warren also deserve special mention for their portrayal of Ray's mother (the inspiration of his life) and young Ray. These two provided the strongest support in the film.<br /><br />The dramas of Charles' struggles with guilt, the death of his younger brother and mother, blindness, discrimination, addiction, and success, are neatly woven into the tapestries of his music. The music is beautiful, the script is, as far as I can tell, perfect, and the acting is nothing short of legendary.<br /><br />The directorial method of the film warrants discussion. Taylor Hackford - a director I am generally ambivalent about - had to choose what aspects of the larger-than-life and complex life story of Mr. Charles would tell his story most honestly, dramatically, and understandably. Though some disagree (seemingly wanting a documentary instead of a dramatized biopic) I believe he selected his themes admirably. A big part of the success of this film is its consistent focus on a few persistent themes in Charles' life - his profound love and respect for his mother, his need to be loved and accepted, his addiction and guilt complex, his musical genius, and his deep-seated fear of responsibility for others. Charles is depicted as a man struggling valiantly against an army of personal demons. I learned more than I could have imagined about one of the men I used to listen to on my old turntable with my dad in his livingroom on Sunday nights while football games were on the TV. And nothing was sugar-coated in "Ray." The themes are carried forward with power and human dignity. These themes create a unifying drama which span the length of his long and illuminated life. The power of these themes, the strong script and directing, the music, and the acting make this one of the most enjoyable and evocative biographical films I have seen.<br /><br />Recommended for everyone.
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imdb-21034
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'Ray' lives on<br /><br />Ray Dir- Taylor Hackford Cast- Jamie Foxx, Kerry Washington, Regina King, Clifton Powell, Curtis Armstrong and Sharon Warren. Written by- Taylor Hackford and James L. White. Rating- ***<br /><br />"Hit the road Jack, and don't come back
no more, no more, no more, NO MORE!" Who would've thought that this immortal line that has almost become a remedial mantra for broken relationships in popular culture was conceived over a lovers' brawl! Ray Charles was a genius. And if there was one thing that he knew, breathed and lived for; it was music. So in a lifetime that comprised acute poverty, a desperate struggle with darkness, guilt, drugs and painful affairs; Ray still found moments when inspiration hit him out of nowhere and words and notes took their own shape to form an instant eternal classic! <br /><br />There are some lives that deserve to be transformed on the silver screen. Ray Charles's life was one of them. It almost comes as a shock to learn that this project had no studio-backing until it was completed! And that backing probably came after the initial screenings where Jamie Foxx's performance was lauded and predicted as a surefire Oscar winner in hushed voices. Jamie Foxx as Ray almost convinces us that it is indeed Ray Charles performing on screen and not an actor impersonating! From the crooked all-knowing smile to the bent gait of not so much a handicapped but a man dancing through his demons, Foxx captures every essence of the actual Ray Charles. Ray was a complicated man. He never demanded sympathy and very rarely showed it himself. An astute businessman, he ensured his success at any cost, sometimes at the price of losing his loved ones. He never apologized for his philandering ways and always maintained that he loved his family, which we are convinced he did. He liked sex; it was as simple as that! But beneath all, there also existed a Ray that was afraid of darkness. Imagine the horrors of a blind man afraid of darkness! His fear was because of his guilt. Ray was convinced that he was the reason for his brother's death, and his whole life was spent trying to redeem himself. Ray was a maverick who fused gospel with jazz, an unheard blasphemous practice in the 50's. But his intentions weren't to instigate. He was simply practicing the only way he knew of getting close to God!<br /><br />It is hard to capture such an eventful life as that of Ray, and that is perhaps where the movie fails. We are never really allowed to get close to Ray as a person. We know him only as much as we see him. His relationships, especially with Margie Hendricks(Regina King), aren't explored in detail. And the script barely passes over Della Bea(Kerry Washington), Ray's wife, who everyone knows was a rock by his side. And the biggest blunder of all is the rushed, almost abrupt climax. It's as if the director suddenly realized he was out of stock and called for a pack-up! Nonetheless, 'Ray' is definitely recommended for a flawless performance from Jamie Foxx and an able stellar ensemble. The songs and age create a sense of nostalgia, and we get a genuine feeling that the film is made with sincerity. <br /><br />- Abhishek Bandekar<br /><br />Note- 'Ray' is nominated in six categories at this year's Academy Awards, including Best Picture, Best Director and Best Actor(Jamie Foxx).<br /><br />Rating- ***<br /><br />* Poor ** Average *** Good **** Very Good ***** Excellent<br /><br />19th February, 2005
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imdb-21035
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A couple of days ago I saw the awesome "House of Sand and Fog" and I was impressed with the amazing performance of Ben Kingsley in the lead role. I decided to see "Ray", trying to understand how and why Ben Kingsley did not win the Oscar of Best Lead Actor. After watching Jamie Foxx in the role of Ray Charles, I agree with the Academy: he really deserved to be awarded. I like Ray Charles, I was not his fan, but it is amazing the resemblance of Jamie Foxx with him. The film is completely supported by Jamie Foxx, who participates of most of the shootings, and his movements on stage looks like as if he was a reincarnation of Ray Charles. With regard to the story, I saw the extended version on DVD, too long but also very pleasant, with many beautiful songs and scenes showing mainly a junkie Ray Charles. My greatest surprise was to find that Ray Charles was heroine addicted, and how he treated his own family. The presentation of his childhood through fragmented flashbacks was the boring part of the movie. My vote is nine.<br /><br />Title (Brazil): "Ray"
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imdb-21036
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Jamie Foxx was the epitome of Ray Charles. After a few moments you stop seeing a film and see a biography played by the great man himself. Ray Charles was truly a genius of music and the movie excellently depicted that. No one has ever or will ever write, play, or record music like this musical giant. When he passed the flesh, the world lost one of it's greatest American heroes. As far as the movie, the fact that Jamie Foxx received a classical music scholarship to college and could play like Ray was an asset to the director. What could be better than that? You don't have to have a "double" play piano and then try to split the screen from someone else's hands to Jamie's face. It worked beautifully. I loved the fact that it also picked up how difficult Ray was. He wasn't always a nice man. You didn't also root for him. He was a drug addict, a womanizer, and sometimes just plain hard-headed. But I guess that's what made him genius so I can't fault him for that. I pick Jamie for Best Actor!
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imdb-21037
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I saw Ray when it first came out. Why? Partly, because of the advertising hype, secondly because I just loved the heck outa Ray Charles's music. But not being around when his biggest things in music and his life happened, I wanted to learn more about the man's life. And in this film, I did. His addiction to drugs was something I didn't know, and the film let us know.<br /><br />But here's the thing, while this was a decent autobiographical film...I cannot say it was a "great" film. I've seen "Malcolm X" and was blown away. Same with "What's Love Got To Do With It" and "Bird". The performances of each of those films was outstanding. I wasn't just drawn into the main characters in those films - who did incredible jobs - but to those around them as well. That helps make a picture to me.<br /><br />I felt that at some parts of this film was shallow and heavy handed for emotional appeal. And yes, I'll admit at certain parts of the film I almost fell asleep. And the film was too long. And the film left out several "other" important details of Ray Charles life that would have made the film flow better. The film got "choppy" to me in certain parts. And the film seemed to end with a whimper, not a bang - certain parts, including the ending played like a tacked on "Lifetime" cable network movie to me. I expect more outa cinema.<br /><br />So -- where does my ambivalence come in? With Jamie Foxx's performance. Overall, he did -- okay. Not Denzel Washington's Malcolm X or Angela Bassett's Tina Turner's spectacular, but...okay.<br /><br />Sorry folks, but to me, there were several points in the film where I saw Jamie Foxx's interpretation of Ray Charles, and in others - thanks to the wonderful camera angles and lighting - he "looked" like Ray Charles. But I paid attention to the ... acting. An actor has to make you believe he IS the character he is playing. Not make a caricature of the character. Did I believe Jamie Foxx was Ray on the screen? Sometimes yes -- sometimes no.<br /><br />Did Jamie Foxx deserve a Golden Globe? You betcha. Does he deserve an Oscar...? Depends on who's he's up against. He's got a few major competitors there, and he might just edge them out. But then again...maybe not. If Jamie Foxx doesn't win, I will not stand up and say "he was robbed". I wont particularly feel that he had been.<br /><br />This was a decent film with decent performances and a decent story. A "great" autobiographical film of the late Ray Charles? No. Somewhere out there, I feel there IS a great film about Ray Charles just waiting to be made, and an actor that will blow you completely away in doing so.
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imdb-21038
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Let's not beat about the bush here, Taylor Hackford's undoubtedly slick movie has little to make it stand out from the biopic genre other than Jamie Foxx's exceptional, career-making performance. Remember the year they handed the special effects Oscar to the Terminator 2 boffins, uncontested? They should do the same with this year's Best Actor gong.<br /><br />That Ray Charles' story is worthy of filming is not in dispute. Indeed, the many flashbacks to his traumatic childhood are well-handled and judiciously used. But for a life so unique, the film seems incredibly formulaic and familiar. It follows the 'history of a flawed genius' template almost to the letter: hardship and exploitation, women and drugs, recording wrangles, band squabbles, rehab, yeah yeah yeah. And surely there was more humour in his life than we're treated to here?<br /><br />I appreciate Charles' music yet where neatly-cut medleys would have kept the story rolling, Hackford indulges himself with near-full-length renditions of too many songs - in gin joints, in the recording studio, in concert halls, infinitum. Narratively, and for non-devotees, they begin to act like a cinematic brake. This may seem like harsh judgement on a music biopic but with a catalogue as extensive as Ray's, we need a taste not the whole dish. Otherwise, we'd buy the albums.<br /><br />Intrigued as I was, I glanced at my watch more than once. So for all Foxx's brilliance, maybe Ray would have been better served as an HBO two-parter?
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imdb-21039
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Ray is interesting in parts, and technically it's very well made, but Ray is often sluggish, and forgets some important details about Ray's life. All the movie shows us is parts where he's in his prime, and most successful, which is good, it's just I wanted to see some bits about his older life too. Jamie Fox mimics Ray Charles to a t, at times it's absolutely uncanny. I have to say, Jamie is the reason I got through this movie. The 1st half is a lot better then the 2nd. It's more interesting, it has more Oomph, and it's nowhere near as sluggish as the 2nd. I wasn't a big fan of Ray Charles to begin with to be honest, so I really didn't have any expectations for the film, what so ever. Ray's biggest problem had to be the over length. This could've been cut very easily, with more relevant scenes, other then the ones they used. I found the early part of Ray's life when he was just starting to get successful, the most interesting. He was humble back then, and somewhat a gentleman. And while the film may have over exaggerated his actions, he got a bit too full of himself for me to care.<br /><br />Performance. Jamie Fox gives a performance for the ages as Ray. He looks like Ray, talks like Ray, acts like Ray. He even sings like Ray!. This is much more then an impression, I truly believed he WAS, Ray Charles. He was the heart of the film, and without his presence, this film would've been a complete and utter bore.<br /><br />Bottom Line. Ray is interesting at times, dreadfully dull at others. When all was said and done, I was disappointed by how routine it seemed at times. Just because it's a bibliographical film, Doesen't mean it's automatically Oscar worthy. Jamie Fox deserved his Oscar, but the movie is above average at best. Worth a watch, but if I were you, I'd keep my expectations at a rather comfortable level.<br /><br />7/10
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imdb-21040
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Jamie Foxx did an incredible job playing Ray Charles. I loved this movie because every so often there would be a flashback scene and then to the current movie. When Ray Charles was little, he went blind and his mother didn't baby him. She was a strong woman who didn't treat him any different because he was blind. She made him do things on his own and that really pushed him to become a great musician later on in life. His mother also sent him to school as well. Then when Ray Charles became a man, he could stand up for himself and take care of himself but there was a downfall into narcotics, sex and betrayal. When I am discouraged about something I can just think of this movie and it will inspire me.
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imdb-21041
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Like almost everyone, I am familiar with the music of Ray Charles. Who hasn't heard "Georgia ON My Mind" and "The Mess-Around" and some of the other marvelous songs featured in this movie. But about the life of Ray Charles I was sadly ignorant until watching this. I have to say that Jamie Foxx brought Ray Charles to life brilliantly. His performance was powerful, right down to the mannerisms and voice inflections. The movie also offered a no-holds-barred account of some of the trials and tribulations Charles dealt with over the course of his life, and with some demons from the past that haunted him well into adulthood. Perhaps the most powerful scene in the movie was the heroin withdrawal scene, which was painfully realistic. The movie portrays Charles' growing awareness of and involvement with the civil rights movement, culminating in his refusal to play before a segregated audience in Georgia, which led to a ban on him performing in the state. His drug addiction and extra marital affairs are also well documented. The movie revolves around a plea from his mother when he was a child: don't let anyone or anything turn you into a cripple." The point is that drugs did just that, and to honour his mother's memory, he had to beat them. There's not much here about his later life and career after breaking his heroin habit but up to that point, this is really powerful stuff. 9/10
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imdb-21042
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Jamie Foxx absolutely IS Ray Charles. His performance is simply genius. He owns the film, just as Spacek owned "Coal Miner's Daughter" and Quaid owned "Great Balls of Fire." In fact, it's hard to remember that the part of Ray Charles is being acted, and not played by the man himself. Ray Charles is legendary. He is well-established as a musician and the music is deep, complex, and innovative ~ even more innovative than I realized before watching this movie. The film should make new fans of a young audience who might come into it knowing little about his music. Ray Charles' life provided excellent biographical material for the film, which goes well beyond being just another movie about a musician. I confess that I knew very little about the man's life until I saw this film. I came out of it being impressed with Ray Charles' courage, strength, and innovation as man and musician.
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imdb-21043
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I am so glad when i watch in every time the movie of (Ray) for the Sidney pottier of the 21st century (Jamie Foxx) who played this role as an evidence of his brilliant ability as an actor to take his position beside great actors in Hollywood by his golden supporting for the strong abilities of afro American actors all over the times and periods by his eternal work as an evidence for the eternity of Ray Charles as a grand prove for their legend appearance in every time by their success for winning Oscar prize as (best actor for leading role) an (best mixing sound) between fact and cinematic scenes upon Ray and Jamie as a mixing between two copies of Ray (ray of the past) and (ray of 2004 acted in the person of Jamie Foxx).It was nice from the director to choose those songs to be adapted with dramatical scenes in the accidents of film to enter for the atmosphere of success in legend corn with legend movies in Hollywood since 1893 till now and his cleverness of choosing Sharon Warrne in the role of Ray ,s mother that she succeeded in this role by brilliant analysis for the core of her character that Ray,s mother was the turning point for him upon her grew up to be independent on himself to take his place in this world and to be icon in his talent as (Nat king Cole , Louis Armstrong , Duke Ellington) and at the end of this film by receiving his honorable report from Gerogia and their decision to take his song (Georgia on my mind) the national anthem for this state he made his promise for his mother to be alive until now by his legend songs and brilliant life.
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imdb-21044
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A lecture over the life of the tormented magician named Ray Charles. His pulses on the piano made fire music and his nostalgic voice created exciting, cool tunes. Each barrier that Ray was facing never kept him down, and he found his way all over conflicts. A real lesson. A great team of producers help recreate the era and armed with great costumes, hairs and settings one will follow Ray's story believing its true, direct filming! An icy music freezes and goosebumps the audience with clever sound editing. But, the most important part of the movie is Jamie Foxx. His acting is really superb, the most diamond polished acting ever seen. He lives his role. He is the Ray of Light.
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imdb-21045
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Ray Charles Robinson (Jamie Foxx) is a extremely talented pianist and singer as well. Ray is an smart man as well. Ray started his career in the late 1940's before he finds his distinctive style. Ray is certainly popular at the night clubs with his music. Things changes, when he meets an ambitious music producer (Curtis Armstrong). Who knows Ray got what it takes to be an strong performer and he also meets an woman (Kerry Washington), he loves as well & marries along the way. Ray's album becomes an hit, when he mixes soul music and gospel together. Which makes Ray an Controversial man during in the 1950's to the 1960's. Ray has love for all kind of music, including Country. But Ray isn't always the perfect man as he seems to be. Since he had plenty of failed relationship with other woman, while he's married. But he also had to battle with racism, people who double-crossed him, his music ideals and of course, his drug addiction. Which it made Ray's life extremely difficult for him and as well for battling the tragedy of his childhood. Which Ray always blamed himself for.<br /><br />Directed by Oscar-Winner:Taylor Hackford (Against All Odds, Devil's Advocate, Dolores Claiborne) made an fascinating true-life story of the always interesting of the late "Ray Charles". Foxx won an Oscar for his touching performance of the late entertainer. Foxx brings heart and soul in the film and humour as well. But this film has plenty of rich performances by an top cast including:Regina King, Clifton Powell, Bokeem Woodbine, Aunjaune Ellis, Warwick Davis, Terrence Howard and Sharon Warren as Ray's mother. This is probably THE best film of Hackford's career to date. The film has plenty of song of Charles's best music as well.<br /><br />DVD has an sharp Pan & Scan (1.33:1) transfer and an excellent Dolby Digital 5.1 Surround Sound. Disc 1 has an informative commentary by the director and the DVD also has the original theatrical cut and extended version as well. But u are better watching the theatrical version instead, because the bonus footage is in bad shape at times and u have to click on a logo if you want to see these Deleted Scenes. Disc 2 has deleted scenes with optional commentary by the director (Which is seen in the Extended Version), featurettes and more. But the featurettes are disappointingly short for this DVD. Since the movie is extraordinary good. This film was nominated four Oscars including Best Costume Designs, Best Director, Best Editing and Best Picture. This is an amazing true-life story well told but of course, Charles' life was even more controversial and outrageous than the final film. Still, it's pretty damn close. Screenplay by James L. White. From an Story by White and director:Hackford. Oscar-Winner for Best Sound. Don't miss it. (**** ½/*****).
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imdb-21046
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Brilliant Biographic FILM
..<br /><br />Well this certainly is one of my very fav. Biographic movie. This movie came as a Total Surprise to me. I had been avoiding this movie for a very very Long time. Now that was because I am not a fan of Jamie Foxx. I still am not a Big Fan of him But I sure am a FAN now.<br /><br />Well He deserved every BIT of that Oscar. His performance is one of the BEST performances I have seen in a Long Long time. He is truly Sensational!<br /><br />Well the narration, or the Flow of the story is Brilliant for a Biographical movie. I am a DRAMA fan so I wasn't bored at all.<br /><br />I was way too much surprised to have being liking the movie so much that I did not see any flaws in the movie. I think there isn't any flaw in the movie. Maybe some Events errors But hey who Cares?<br /><br />The performance by the woman who plays ray's Mother was also really GOOD. And well Kerry Washington
she has so much Potential.. if given the right role She might just be the Next Oscar winner.<br /><br />Well the Story of them movie was so EMOTIONAL so TOUCHING.. I Cried
I Cried very Badly
<br /><br />I don't give a damn if the things were mad- up or not cuz this movie mad me cry
And that's a lot for me!<br /><br />All in all a SUPERB FILM
. One of the very best of this century!<br /><br />10/10
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imdb-21047
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This is the true story of the great pianist and jazz singer/legend Ray Charles (Oscar, BAFTA and Golden Globe winning Jamie Foxx). He was born in a poor African American-town, and he went blind at 7 years old, but with his skills of touch and hearing, this is what would later in life would lead him to stardom. By the 1960's he had accomplished his dream, and selling records in millions, and leading the charts with songs and albums. But the story also showed his downfalls, including the separation from his wife and child, because of his affair with a band member , his drug and alcohol use, and going to prison because of this. Also starring Regina King as Margie Hendricks, Kerry Washington as Della Bea Robinson, Clifton Powell as Jeff Brown, Harry J. Lennix as Joe Adams, Bokeem Woodbine as Fathead Newman, Aunjanue Ellis as Mary Ann Fisher, Sharon Warren as Aretha Robinson, C.J. Sanders as Young Ray Robinson, Curtis Armstrong as Ahmet Ertegun and Richard Schiff as Jerry Wexler. It is a great story with a great singer impression, the songs, including Hit the Road Jack, are the highlights. It won the Oscar for Best Sound Mixing, and it was nominated for Best Costume Design, Best Director for Taylor Hackford, Best Editing and Best Motion Picture of the Year, it won the BAFTA for Best Sound, and it was nominated for the Anthony Asquith Award for Film Music for Craig Armstrong and Best Original Screenplay, and it was nominated the Golden Globe for Best Motion Picture - Musical or Comedy. It was number 99 on 100 Years, 100 Cheers. Very good!
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imdb-21048
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Recent years have seen a number of biopics of famous singers, and "Ray", the story of Ray Charles, has much in common with "Walk the Line" which was made the following year and told the story of Johnny Cash. Cash and Charles were near-exact contemporaries, both being born in the early thirties and dying in 2003/04. Both grew up in poverty in the American Deep South. Both lost a brother in an accident during childhood. Both achieved success in the 1950s. Both experienced problems in their marriages, and both were addicted to drugs. All these matters are emphasised in both films. There are also similarities with Ron Howard's "A Beautiful Mind". Although that film was about a mathematician rather than a musician, it, like both "Ray" and "Walk the Line", stressed the part played by its subject's wife in helping her husband to overcome his problems.<br /><br />Ray Charles was born to a single mother in a poor black community in Georgia in 1930. (His original name was Raymond Charles Robinson, but when he was starting his career as a musician he dropped his surname to avoid confusion with the boxer Sugar Ray Robinson). In some ways Charles had an even harder time than did Cash, having to cope with two additional disadvantages in the shape of his blindness and of the racism which affected all black Americans, especially in the South, during his lifetime. Charles had a particularly traumatic childhood, witnessing the death of his younger brother George in a drowning accident and going blind about a year or two later. He appears to have been haunted by nightmares and feelings of guilt over George's death throughout his life.<br /><br />The first half of the film is rather slow moving and is a standard rags-to-riches showbiz biopic, telling the story of how the young Charles is taught to play the piano, becomes a nightclub performer and then rises to fame as a major artist, falling in love along the way with the beautiful Della Bea. The best scenes in this part of the film are the flashbacks to Charles's childhood. There is an effective recurrent image of coloured glass bottles hanging from a tree in front of his house; perhaps this was one of his few visual memories of his life before he went blind. There is also a memorable scene in which the teenaged Charles shames a prejudiced bus driver into letting him on the bus by pretending to have lost his sight on Omaha beach (In reality he would only have been thirteen at the time of the Normandy landings).<br /><br />The second half of the film becomes more interesting as it moves into more controversial territory, focusing on Charles's drug addiction, the problems in his marriage caused by his affair with Margie Hendricks, one of his backing singers, and his battles against racism. In the early sixties Charles caused a sensation by refusing to play in front of a racially segregated audience in Georgia (although, contrary to what is stated in the film, this did not result in his being banned from performing in the state). He also fought against racial divides within the music industry itself, performing not only traditionally "black" styles of music such as gospel and rhythm and blues, but also traditionally "white" ones such as country and western (regarded by many black Americans as the music of choice of the redneck community).<br /><br />As Peter Bradshaw, film critic of "The Guardian", noted "Ray" is a sunny film which diplomatically turns away from the darker side of things. It omits any mention of such matters as the death of Charles's beloved mother Aretha during his teenage years, his brief marriage to Eileen Williams in the early fifties and his eventual divorce from Della Bea in 1977. It also plays down the extent of his womanising and the number of his illegitimate children. There are similarities here with "A Beautiful Mind" which also omitted a number of controversial details about its subject's personal life, including a divorce.<br /><br />Fans of Ray Charles will no doubt enjoy the film for the music, but it is worth watching even for those who do not know much about him, chiefly on account of Jamie Foxx's Oscar-winning performance in the title role, reproducing Charles's mannerisms so exactly that we think we actually are watching a blind man, even though Foxx himself is sighted. (Unlike Joaquin Phoenix in "Walk the Line", however, Foxx did not do his own singing- doubtless Charles's distinctive singing voice was too difficult to reproduce). He receives good support from some of the other performers, particularly Sharon Warren as Aretha and Kerry Washington as Della Bea. The film is uneven and overlong, but nevertheless rewarding. 7/10
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imdb-21049
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I agree that this film was spectacular. The way in which Jamie Foxx captured, not only the impression of Ray Charles, but the essence of Ray Charles really made the film. His life made a great story and it is good that it is finally being told. I also found a great interview with Jamie Foxx about this role by Ernie Manouse from InnerVIEWS on KUHT, Houston Channel 8. The link is http: //video.google.com/ videoplay?docid=-3001837218936089620&q =innerviews+ jamie+foxx&hl=en . I encourage everyone to check it out, as it gives in depth looks into what went into his role and his personal feelings about Ray Charles. The only problem I might cite with the film is that the shotting style was rather bland at times, but in the end I think it helped make the story more realistic and keep the focus on the person, Ray Charles, rather than the film Ray.
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imdb-21050
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A masterful performance by Jamie Foxx is just one of the highlights of "Ray," a 2004 film also starring Kerry Washington, Regina King, Curtis Armstrong, Richard Schiff, Sharon Warren, Patrick Bachau, and many others, all giving excellent support to the film.<br /><br />The film has several main focuses: the first is Charles' childhood - the drowning of his brother George which haunted him for years, the glaucoma that blinded him, and the strength taught him by his mother - don't bend, don't break, don't ever be a cripple. She eventually sends him to a special school where Charles' gift of music is discovered. The next focus is Charles' artistic evolution as a Nat King Cole-like singer, to his arrangements of gospel music, his foray into country music, and the unique sound that became Ray Charles. The third focus is Charles' personal life - his marriage to Bea, his many affairs, his heroin addiction and eventual rehabilitation.<br /><br />Because Charles lived a packed 74 years, there's a lot skipped. Though Charles was orphaned while in his teens, the death of his beloved mother, his rock, isn't in the film. While he is shown on the chitlin circuit and refusing to play in segregated clubs, his near-starvation as a musician isn't covered. At one point, he found a jar of jelly and attempted to eat it, but the jar broke. He was that down and out. Bea is shown with him when the State of Georgia, which banned him, adopts "Georgia on My Mind" as their theme song in 1979 and welcomes Charles back to his native state, yet he and Bea were divorced in 1977 which isn't mentioned. She probably was there, however. Also, she wasn't his only wife - he was married once before he met her; that marriage isn't covered. In the movie, we're told of one illegitimate child - there were 12. It would have been impossible to get all of that and more into a film.<br /><br />What isn't skipped is his glorious music, which seems to go on constantly throughout the film, continually reinforcing his genius and artistry.<br /><br />Charles' story is compelling and holds the audience's interest throughout. Those who scoff at it as a made-for-TV movie don't give it the credit it deserves. Taylor Hackford's direction gives "Ray" a good pace, and the movie has a lot of atmosphere and evokes the various decades beautifully.<br /><br />As Ray, Jamie Foxx inhabits the character and makes one forget he's a comedian playing a part. Foxx wore prosthetics, did his own piano playing, and spent a great deal of time with Charles preparing for the role. He nails him, but it's not an impersonation - he's a flesh and blood man with hallucinations of standing in water and finding his brother's body; a man full of denial about his addiction, hating the word junkie and believing he's not hooked; and he's in denial about his home life, thinking that his wife doesn't know about his various affairs and illegitimate children (in the movie, child); and a man taken terrible advantage of early in his career because of his blindness who refuses to be walked on later on. He demands to be paid in $1 bills so they can be counted; when he discovers he's a gravy train for a club owner and her partner and was nearly cheated out of a record deal, he makes his own deal and leaves his job.<br /><br />One doesn't so much marvel at Foxx's performance as accept him as Ray from the first time he appears on camera.<br /><br />This is an excellent biography, which, like "Walk the Line" is punctuated with the fantastic music of the artist. Whether or not you're a Ray Charles fan, "Ray" is something to experience.
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imdb-21051
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Ray is one of those movies that makes you pause. You actually think about what you heard or think about what you read about this man and it doesn't even come close. During my first viewing of Ray I forgot I was watching a movie I felt like a peeping tom watching this man's life thru a window. This movie is so compelling it drags you in and it involves your every emotion you go thru a emotional roller-coaster ride and when it's over you don't want to do it again so soon because it has that kind of emotional punch that other movies are lacking. Jamie Foxx deserved his Oscar and quite rightfully so his performance is spectacular and it should be held up as the standard for anybody wanting to do a bio pic anytime soon. This movie is as good as it's subject both deserved the titles classic and legend.
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imdb-21052
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I'm not saying anything new when I say that "Ray" was magnificent. As I proceed to laud this movie I have to mention something that sets it apart from other films. Very rarely is a film made entirely by the actor(s). "Ray" quite simply was made by Jamie Foxx. Without the wonderful performance of Jamie Foxx, "Ray" would just be another interesting and informative biopic. I always thought Foxx was funny, stemming from his days with "In Livin' Color" and "The Jamie Foxx Show", and I also knew that he was talented, as he used his own show ("The Jamie Foxx Show") to show off his musical talents. But never did I imagine that he could pull off a role like this. I don't know much about acting and what they go through to get into character or other things like that, but what I saw from Jamie Foxx was extremely impressive. He wrapped himself into that role and made us see Ray Charles rather than an actor portraying Ray Charles. The story of "Ray" was great yes, but it was given life by Jamie Foxx.
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imdb-21053
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The very first talking picture has returned from oblivion, and now you can hear it and see it! In autumn of 1894, at the Edison lab complex in West Orange, New Jersey, Thomas Edison's associate William Dickson tried to combine two existing technologies (the phonograph and the kinetoscope) to record sound and image together. In the event, Dickson was unable to synchronise the playback of sound and image, so this experimental film was never released to paying audiences ... and consequently (unlike many silent films which Dickson made for Edison at this time) it has no official title. The silent image (recorded at 40 fps) has been in the Library of Congress for years, known to film historians as a mute curiosity. It was also known that the 'soundtrack' had been recorded on one of the crude wax cylinders languishing at the Edison National Historic Site ... although nobody knew which one.<br /><br />But now that's changed. Recently, curators located the wax cylinder, which had broken into several pieces. These were reassembled: a playback was obtained, and the sound was digitised. Hollywood's veteran soundtrack editor Walter Murch cleaned up the background noise and tweaked the digitisation to make it synch with the film image, which Murch had digitally compressed to 30 fps. Sound and image are synchronised at last!<br /><br />The film begins with an offscreen man's voice calling: 'The rest of you fellows ready? Go ahead!' (The unseen speaker remains unidentified, but was probably Dickson's assistant Fred Ott.) On screen, Dickson plays a violin into an immense funnel mounted on a tripod (one of Edison's sound-recording devices) while alongside him, in full view of the camera, two male lab assistants embrace each other for some quick ballroom dancing to the tempo of Dickson's music.<br /><br />The film lasts barely 17 seconds: just long enough for us to marvel at this crude technology before being provoked to laughter at the sight of two men waltzing in each other's arms. Speaking of which, here's a WARNING: a well-known but extremely inaccurate reference book ('The Celluloid Closet', by the late Vito Russo) includes a frame enlargement from this movie and identifies it as 'The Gay Brothers'. That's incorrect. 'The Gay Brothers' is an entirely different movie, made by Dickson at the Edison lab during this same period. 'The Gay Brothers' never had a soundtrack: it's a brief fiction film about two brothers who are NOT 'gay' in the sense Russo meant it. The deceased Mr Russo, for his own reasons, wanted us to perceive Dickson's experimental sound film (arguably the first movie musical!) as an artefact of 19th-century homoeroticism. (Hmm, what is it about gay men and musicals?) Sorry, but there's just no such content here.<br /><br />This vitally important film deserves a rating of 10 out of 10. I've often maintained that no 'lost' movie should ever be considered irretrievable unless it was deliberately destroyed: I'm delighted to report that this film is finally available to audiences as its producer intended it, more than a century after it was filmed!
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imdb-21054
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It was on a day in 1891 when Scottish inventor William K.L. Dickson surprised his boss, Thomas Alva Edison with his remarkable work in the development of motion pictures. After many experiments, Dickson was now able to capture scenes of real life with his camera, and reproduce them through his invention, the Kinetoscope, as if a fragment of time were preserved in celluloid. Soon, Dickson's Kinetoscope would become an enormous success as a new way of entertainment, with many people eager to pay the nickel that was charged to be able to watch people dancing, or acrobats performing stunts through the "peepshow" of the Kinetoscope. However, the invention wasn't complete, in order for it to capture on film the real life as we know it, sound was needed on the movies. So Dickson kept experimenting and this short experiment, Kinetophone's first film, was the result.<br /><br />In this experiment, codenamed simply as "Dickson Experimental Sound Film", director William K.L. Dickson stands in front of a recording cone for a wax cylinder (earliest method of recording sound), with his violin on hands, playing a song named "Song of the Cabin Boy". The idea was to record the song into the cylinder at the same time that the camera was recording his movements. In order to show that this was a motion picture, two of Edison's "Black Maria" laboratory decided to do a little dance in front of the camera. Unlike what author Vito Russo claimed in his book, "The Celluloid Closet", this little dance had nothing to do with homosexuality as it obviously is a reference to the environment of loneliness of the lab, akin to the lonely sailors to whom the "Song of the Cabin Boy" was dedicated to (the title Russo suggests, "The Gay Brothers", is actually anachronistic as "gay" had no homosexual connotation in the late 1890s).<br /><br />Sadly, Dickson was unable to achieve the desired effect, and the Kinetophone never could really produce the synchronized audio with images. While he had the cylinder with the sound and the celluloid with the images, the synchronization of the two elements was not exactly effective, and the sudden appearance of Auguste and Louis Lumière's Cinématographe prompted Edison's team to focus on projecting systems and eventually Dickson left the company. Fortunately, in 1998 Dickson's cylinder with the movie's sound was rebuilt and film editor Walter Murch made a restoration of the experiment as it was intended. Finally, "Dickson Experimental Sound Film" could be heard with synchronized sound, just as its creative inventor had intended. While it was not a successful attempt, this outstanding film is a testament of the enormous genius of the father of Kinetoscope. 8/10
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imdb-21055
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This is a pretty interesting experiment to watch. It's the first ever, still existing attempt, to unite sight with sound. It features two men dancing to a violin player (possibly William K.L. Dickson himself), who is standing next to an Edison recording cylinder, that is capturing the sound.<br /><br />The sound and images were not linked together as one yet. And it wasn't until recently that the sound and image have been added technically together. It's probably the reason why people hesitate to call this movie the first ever sound picture.<br /><br />The movie is made by William K.L. Dickson, a assistant to Thomas Edison himself who ordered him to come up with a way to unite pictures and sound. The answer he provided was the Kinetophone, a Kinetoscope (basicly a large wooden box with a peephole in it, so people could watch the moving images) with a cylinder phonograph inside of it, for the sound. This is the first, that we know off, surviving movie-experiments that feature this technique. All of the later movies using this same technique were shot as silent movies and sound effects were recorded later and separately. So the Kinephone was not an attempt to synchronize sound and images but more an attempt to have images accompanied by sound. In some cases, people could even choose from three sound cylinders, featuring 3 different orchestral performances to accompany the images. Only 45 Kinetophones were ever made so you could hardly call the Kinephone a success. Also after this experiment, focus went off to other cinema techniques, mainly regarding movie-projectors.<br /><br />So the experiment itself obviously did not become a success, also since it took over 30 more years before the first movies with sound were made and commercially released. They just couldn't yet technically synchronize and put the sound and the images together yet at the time and even if they could and techniques would had been available, it would had been a very expensive job to do so. It therefor really isn't the most influential or historically important movies out of cinematic history but it's very interesting to watch, how people constantly tried to improve the quality and techniques of early cinema and movie-making.<br /><br />8/10
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imdb-21056
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This film is an eery, but interesting film. I will tell you why it is eery later in this review.<br /><br />The film is interesting because it was the first film to ever contain sound. No, it may not be a one hour and forty two minute film, no it may not contain great action scenes, but it is still a wonderful film to me. It sparked a whole knew revolution if you will, of sound movies. This can be a little eery to watch, knowing that everyone in that film are now dead, I can hear the voice of a man in the beginning who no longer walks the Earth visible, and that the sound is cracky and broken.<br /><br />I recommend this video for everyone to watch. This created movies as we know it today!
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imdb-21057
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There have been several books that have cited this as the earliest gay cinema. I don't really see this as all that gay in the homosexual sense but then seeing two men dancing in what has to be the worlds first movie musical does have its attraction. <br /><br />There have been several earlier comments about this film dismissing any homosexual overtones. As to those that are quick to dismiss this film as just being silly and an experiment done late at night after too many drinks... Well I've heard that story before. <br /><br />This film is of interest as an oddity and if folks want to consider it the first gay film so be it. Better this than the depressing 1919 Anders als die Andern.
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imdb-21058
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The fact that this film was shown at London's Barbican suggests to me that the print must have been acceptable enough for such a showing. Now the question is, Why isn't this long lost and important film available in DVD (or even VHS)? A large number of persons in Europe and the USA have for many years hoped to see this film, if for no other reason than the wonderful music written for it by Sergei Prokofiev. What does one have to do to get such a wonderful production as this available for a wider public, not just patrons to the Barbican at London? Having been a devoted listener to Prokofiev's music for many years and aware of this film, PLEASE, someone 'out there' do the right thing and bring it out as a DVD.
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imdb-21059
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I went to see this film out of curiosity, and to settle an argument. The film is now best known from the suite of music Sergei Prokofiev extracted from his incidental music to the film, the Troika movement even turning up in pop arrangements. The general outline of the plot is well known from the sleeve notes on various recordings. A clerk accidentally generates a non-existent Lieutenant Kizhe in a list to be presented to the tsar. The tsar is interested in this person, and rather than tell him he doesn't exist, the courtiers and officers maintain the pretence that he is real. Kizhe is exiled to Siberia, recalled, promoted, married, promoted again, dies, is given a state funeral, revealed as an embezzler and posthumously demoted to the ranks.<br /><br />I had heard conflicting stories about how the clerk invented Kizhe, involving ink blots and sneezes, but I'd heard the film was lost, so there was no way to find out what happens. Then the film turned up at the Barbican in London as part of their Prokofiev festival. For the record, it turned out that all that happens is that the clerk confuses two words whilst writing an order and turns Kuzhe into Kizhe. As the tsar is in a hurry to see the order, there's no time to correct the mistake.<br /><br />Having gone expecting an historical curiosity, I was pleasantly surprised. The film is very funny, and the audience, myself included, laughed continuously. Although most of it is filmed straight, set mostly in the palace, there are a few "trick" shots where multiple images appear on the screen. For instance, the tsar's army is represented by a small group, repeated across the screen. Four identical guards perform perfect drill in perfect unison. Two identical servants scrub the floor.<br /><br />One slight drawback was it was very difficult to work out who everyone was. There were two women who might have been the tsar's daughters, or a daughter and a servant or something else. And very few people were named. But all in all, an enjoyable film and I'm surprised it's not seen more often.
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imdb-21060
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Ever wonder where that episode, "Tuttle," came from in the middle of the first season of M*A*S*H? Well now the cat's out of the bag: they got it from this Soviet film, a satire on how dumb the Tsar is, due to the slip of a pen (rendering the phrase "the Lieutenants, though ..." into "Lieutenant Kizhe" which has no meaning) and nobody being honest or gutsy enough to contradict him and just tell him the truth -- Kizhe doesn't exist and never did. So they make up an imaginary life for him and eventually kill him off. And 40 years later, David Ketchum and Bruce Shelly borrowed this zany plot and gave us essentially the same story, only on the other side of what had become the Cold War, proving that people in high positions can be equally dumb no matter what their loyalties may be!
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imdb-21061
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Saw this movie when it came out and then a couple more times years later. I'm watching it now 20 years later and it's still a very good story. Does it wreak of "lifetime movie network"? Yes, but alas lifetime was not even in existence back then so it needed somehwere to air.<br /><br />The cast was excellent. The story was a little schmaltzy; two women become close friends and unbeknownst to either one friend is having an affair with he other friends husband. She's invited over to the house for a dinner party which is how she discovers that her lover is the husband of her best friend. She is horrified and tries to break off the affair. Shortly afterwards he is tragically killed in a car accident which is devatating for both women. Of course the wife finds out by accident about this affair and wants Holly out of her life now, but their friendship is able to prevail because they need each other.<br /><br />I thought it was a very good story a great cast and perfomrances. I really enjoyed it.
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imdb-21062
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Christine Lahti (Sandy Dunlap) and Mary Tyler Moore (Holly Davis) worked well with soapish material, Ted Danson did his best with a thankless role of Chip Davis The premise of this that the two ladies' friendship, one a seemingly happily married woman and the other a career woman who is aware of her biological clock ticking. I found the relationship that Ted Danson's character had with the single woman played by Christine Lahti's rather sordid. He behaved in a caddish way, yet he left two "widows" pining over him, bawling. I found it revolting when when Sandy told him she wanted to break it off after meeting his wife, he calls her saying he misses her (did he call his wife? There was no sign of that). He behaved like a heel. It perhaps would have made a more interesting film had he not been killed off. Perhaps both ladies would have wised up and dumped him. I liked the friendship between the two ladies but it was spoiled by what they had in common: The Cad of a husband.
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imdb-21063
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Although the premise of the movie involves a major "coincidence," the actors all do a creditable job and look great bringing the story to life. I found myself rooting for the characters played by Mary Tyler Moore and Christine Lahti, empathizing with both, and wanting them to reconcile. Sam Waterston and Ted Danson are fine in their roles as well, doing a decent job with the stereotypical buddy relationship. While the story tends to leap through time, occasionally leaving the audience perhaps a little hungry for missing detail, it still flows and avoids any real confusion. This interesting storyline has all the elements for a good "chick flick."
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imdb-21064
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I normally don't comment on movies on IMDB, but in this case I feel like I should. I love movies, and I want to make them, and this movie is a perfect example of fine filmmaking.<br /><br />This is one of the few movies that I have seen on the small screen (originally seeing it air on AMC, I believe, and then on the DVD I just watched) that made me get that feeling in the pit of my stomach. That little gnawing sensation that the director would hope you feel while watching his thriller.<br /><br />Jack Lemmon's performance is a fine one, and Jane Fonda and Michael Douglas follow. I felt so much empathy of Lemmon, who's character Jack Godell, only wanted people to listen to his warning.<br /><br />But what impresses me most about this film is the lack of a score, and this is also what makes it beautiful to me. Apart from the opening titles there are no background music to increase the tension, because none is needed. And while the credits run, white on black, in silence it drives the point home.<br /><br />I use the movie as an example to anyone who says music makes the movie. I think the movie should make the movie and the music should only amplify that. But for The China Syndrome music is not necessary to get across the realism and the urgency depicted here. The characters portray all of this far better than the music ever could.<br /><br />I highly recommend this movie, it is one of my favorites. If you like movies, you won't be disappointed. If you like movie soundtracks more, you might not want to give this one a go.
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imdb-21065
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Intelligent, nail-biting drama came out of nowhere in 1979 and soon was on the cover of every newspaper in America (when life imitated the film). A nuclear power plant employee in Southern California is threatened by superiors when he decides to go public with the real story behind an accident at the plant. Ostensibly a stuck valve problem, a TV news-crew's film shows that it was an accident verging on disastrous proportions--and worse, that safety conditions are being scrubbed to save millions of dollars, a cover-up that endangers everyone's lives. The movie occasionally gets too technical (especially in the second-half) and could use more human interplay, however the performances by Jack Lemmon, Jane Fonda (as a puff-piece news-woman in the right place at the right time), and Michael Douglas (as a freelance cameraman) are superb. The throwaway bits involving nuclear protesters is both entirely accurate and bitterly satirical, and the news-biz (with its corporate structure and vapid yes-men) is vividly captured. ***1/2 from ****
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