I initially bought this DVD because it had SRK and Aishwarya Rai on the cover and I thought, hey! another film starring Aishu and Shah Rukh, little did I know that Aishwarya would only appear in an item number in the last quarter of the film in a song which she shares with SRK and helps introduce his character who is in the film for about just 15 minutes. Shakti is a film about a mother's love and endurance. It's a film about transformations, ignorance, coming of age, stepping into the know and embracing the harsh realities of life. The item number in which SRK and Aishu appear in has nothing to do with the movie. It's actually a dream sequence that occurs while SRK's drunken character is knocked unconscious by booze. He dreams that Aishwarya Rai is this sexy street girl who shows up at his favourite hangout spot one day, dressed scantily and begins to seduce him. The title of the song is 'Ishq Kamina' (loosely translated as "Love's a bitch!") and it is just plain smoking hot! Don't miss it.


Indian Directors have it tough, They have to compete with movies like "Laggan" where 11 henpecked,Castrated males defend their village and half of them are certifiable idiots. "Devdas", a hapless, fedar- festooned foreign return drinking to oblivion, with characters running in endless corridors oblivious to any one's feelings or sentiments-alas they live in an ornate squalor of red tapestry and pageantry. But to make a good movie, you have to tight-rope walk to appease the frontbenchers who are the quentessential gapers who are mesmerized with Split skirts and Dishum-Dishum fights preferably involving a nitwit "Bollywood" leading actor who is marginally handsome. So you can connect with a director who wants to tell a tale of Leonine village head who in own words "defending his Village" this is considered a violent movie or too masculine for a male audience. There are very few actors who can convey the anger and pathos like Nana Patekar (Narasimhan). Nana Patekar lets you in his courtyard and watch him beret and mock the Politician when his loyal admirers burst in laughter with every word of satire thrown at him, meanwhile his daughter is bathing his Grandson.This is as authentic a scene you can get in rural India. Nana Patekar is the essential actor who belongs to the old school of acting which is a disappearing breed in Hindi Films. The violence depicted is an intricate part of storytelling with Song&Dances thrown in for the gawkers without whom movies won't sell, a sad but true state of affairs. Faster this changes better for "Bollywood". All said and done this is one good Movie.


De Grot is a very good film. The great plot comes from the novel by Tim Krabbé, who also adapted this story for the screen. Some really top-class acting, not only by Van Huêt, but especially by Marcel Hensema, who mostly did TV-work prior to his performance of Axel van de Graaf. The film seems to kick of as a thriller, and sets an excellent mood. Then we start to learn about Egon Wagter and Axel van de Graaf, and the story is revealed bit by bit in a very compelling flash-back structure, which adds to the more romantic aspect and the character-driven drama of the movie. In the end this all culminates into an emotional ending, that will grab audiences by their throats. Make sure you know as little as possible about the plot when you are going to see this movie. A must-see, especially if you liked 'Spoorloos' (The Vanishing's original screen adaptation).


Though structured totally different from the book by Tim Krabbé who wrote the original 'The Vanishing' (Spoorloos) it does have the same overall feel, except for that Koolhoven's style is less business-like and more lyric. The beginning is great, the middle is fine, but the sting is in the end. A surprise emotional ending. As you could read in several magazines there is some sex in the film, but it is done all very beautifully. Never explicit, but with lots of warmth and sometimes even humour. It is a shame American films can't be as open an honoust as this one. Where Dutch films tend to go just over the edge when it comes to this subject, 'De Grot' stays always within the boundaries of good taste. 'De Grot' tells an amazing story stretched over more than 30 years. When you'll leave the cinema you'll be moved. What can we ask more of a film? Anyway, this film even gives more....


'De Grot' is a terrific Dutch thriller, based on the book written by Tim Krabbé. Another of his books, 'Het Gouden Ei' was made into the great Dutch mystery thriller called 'Spoorloos' ('The Vanishing') in 1988. This one is not as good as that thriller (although much better than the American remake also called 'The Vanishing') but there are times it comes close.

Especially the opening moments are terrific. We see a man, later we learn his name is Egon Wagter (Fedja van Huêt), coming from a plane in Thailand. When he picks up his bags it is pretty clear that he is smuggling something across the border. These scenes are perfectly directed, photographed and acted. A kind of suspense is created that you would normally not have in an opening scene like this. Later we see how Egon makes his deal in Thailand with a woman, both stating that they have never done anything like this.

From this point the movie is constantly flashback and flash-forward. We see how Egon, still as a child (here played by Erik van der Horst), befriends a guy named Axel (as a kid played by Benja Bruijning). We learn how they grew up as friends, sort of, and how Axel (as an adult played by Marcel Hensema) became a criminal. Egon in the meanwhile goes to college and settles with a woman. Around this time he sometimes meets Axel but does not really want anything to do with him.

The movie is chronological in a way. It shows Egon and Axel as kids, than as students, young adults, and in their mid-thirties. But from time to time, like I said, the movie goes back to when they were kids and jumps forward again. Every time we see them as kids it explains something that happens when they are adults.

Minor spoilers herein.

The title means 'The Cave', and it is the cave that gives the movie its happy ending, although it is in fact not that happy. Like the beginning, the ending is terrific. The middle part of the movie is entertaining and in a way it distracts our attention of the first scenes, only to come back at that point in the end. It is the editing that gives the movie its happy ending, although we can say the dramatic ending is happy in a way as well.


Tim Krabbe is the praised author of 'Het Gouden Ei', a novel that was put on the screen twice ('Spoorloos' and 'The Vanishing'). One of the Dutch writer's more recent works is 'De Grot', a psychological thriller about two totally different men, Egon and Axel, who meet at a youth camp and, surprising enough, become friends for dear life. Egon is a quiet, somewhat dull person, who spends his time studying and writing geography books. Axel, on the other hand, is a charismatic 'party-animal', a heavy drinking criminal whose everyday's concern is to get a woman into his bedroom. From the moment they meet, Axel has a strong influence on Egon, while the latter envies him because he has a good life without really doing anything (such as reading thick books like Egon); ultimately, Egon is even dragged by Egon into illegal practices himself, which leads to a fatal drug transport in a distant Asian country.

After having read the book last year, I was surprised the critics were quite positive about it. In my opinion, the book suffers especially from the complex structure. While Krabbe presents the story as an absorbing portrait of an uncommon relationship between two people, the plot becomes more of a puzzle: the many episodes are not presented chronologically, so that two successive scenes are seldom in the same episode. Because of this, the story feels surprisingly remote: you often need to know a character's background to really care for him or her. Another complaint was the fact that the main characters, Egon and Axel, are a little stereotypical. Egon IS 'the' dull intellectual, while Axel IS his exact opposite. In real life, such one-dimensional people rarely exist; in books and films, they always seem to be there, taking away a lot of credibility.

Despite all this, the film was a pleasant surprise, being much better than the book. The adaptation excels in its beautiful cinematography, humour and acting: Fedja van Huet (Egon) is one of the few Dutch actors who can make you forget he IS acting (which is, in my opinion, the highest an actor can achieve). The drawbacks of the film, however, are the same as the book's: mainly because the characters are one-dimensional, they are so predictable that it becomes annoying. Guess who wrote the script? Indeed, Krabbe himself. It is obvious that this talented director (that's what the movie makes clear anyway) is hampered by a deficient screenplay. Perhaps Koolhoven should just have chosen a better book.

7/10


This was another World War II message to the soldiers and to the Allies to be careful about spreading rumors. These were called "instructional" cartoons because it was a mixture of serious messages along with a funny-looking main character called "Pvt. Snafu."

All of us have imaginations, along with fears and what-have-you, and that's what happens here as Pvt. Snafu incorrectly adds two and two to something he hears and comes up with "five." You can start panics and all kinds of disasters if you spread enough rumors and enough people believe them. That includes losing confidence in your country and your cause, as pointed out here in this cartoon. A good way to lose a war is demoralize the enemy. That's still being done today.

"We lost the war," declares one big baloney near the end of this cartoon. Amazing how some Americans still haven't learned. This cartoon may be 65 years old but it sure has relevance today. As I write this, there were two terrorist bombings in Europe today and some people still think the "War On Terror" is just a bumper sticker slogan. Amazing.

The writer, the famous "Dr. Suess," uses analogies of "hot air balloon juice" here to present the above message. With Theodore Geisel (his real name) you know the rhymes will be clever.

Nothing hilarious here, but it wasn't meant to be. You have to understand the climate of 1943 and the justified paranoia that was out there during World War II. People forget that war could have easily wound up with the other side winning. It was a tense time


RUMORS is a memorable entry in the wartime series of instructional cartoons starring "Private Snafu." The films were aimed at servicemen and were directed, animated and scored by some of the top talent from Warner Bros.' Termite Terrace, including Friz Freleng, Chuck Jones, and Carl Stalling. The invaluable Mel Blanc supplied the voice for Snafu, and the stories and rhyming narration for many of the films was supplied by Theodor Geisel, i.e. Dr. Seuss. The idea was to convey basic concepts with humor and vivid imagery, using the character of Snafu as a perfect negative example: he was the dope, the little twerp who would do everything you're NOT supposed to do. According to Chuck Jones the scripts had to be approved by Pentagon officials, but Army brass also permitted the animators an unusual amount of freedom concerning language and bawdy jokes, certainly more than theatrical censorship of the time would allow-- all for the greater good, of course.

As the title would indicate, this cartoon is an illustration of the damaging power of rumors. The setting is an Army camp. Private Snafu sits next to another soldier in the latrine (something you won't see in any other Hollywood films of the era) and their casual conversation starts the ball rolling. We observe as an offhand remark about a bombing is misinterpreted, then exaggerated, then turned into an increasingly frightening rumor that sweeps the camp. The imagery is indeed vivid: the brain of one anxious soldier is depicted as a percolating pot, while the fevered speech of another is rendered as steamy hot air, i.e "balloon juice." A soldier "shoots his mouth off," cannon-style, and before you know it actual baloney is flying in every direction. Winged baloney, at that. Panicked soldiers tell each other that the Brooklyn Bridge has been pulverized, Coney Island wiped out, enemy troops have landed on the White House lawn, and the Japanese are in California. The visuals become ever more surreal and nightmarish until at last the camp is quarantined for "Rumor-itis" and Private Snafu has been locked up in a padded cell.

This is a highly effective piece of work. The filmmakers dramatized their theme with wit and startling energy, and the message is still a valid one. In recent years we've seen that catastrophic events (real or imagined) can breed all kinds of wild rumors that spread more rapidly than ever thanks to communication advances. Because the technology has improved, the Private Snafus of our time are able to broadcast their own balloon juice via e-mail, cellphones and blogging. Consequently, RUMORS is a rare example of a wartime educational film whose essential message doesn't feel at all dated; in fact it may be more timely than ever.


Friz Freleng's 'Rumours' is an excellent Private Snafu cartoon that warns against spreading panic-inducing rumours during wartime. Produced, as were all the Snafu shorts, to be shown to military audiences as entertaining instructional films, 'Rumours' is extremely imaginative and crams tons of ideas into its very brief lifespan. When Snafu starts a rumour about a bombing, it escalates into an eventual rumour that America has lost the war. This is illustrated brilliantly by way of a long, rubbery piece of baloney and several strange, fictional creatures who come back to haunt Snafu with ever more terrible news about his country's military. 'Rumours' is inventive, fast paced and funny, all of which help to overshadow the rather laboured, "don't badmouth the military" message. It stands up as one of the best of the Private Snafu shorts.


Once when I was in college and we had an international fair, the Russian section had a Soviet-era poster saying "Ne boltay!", meaning "Don't gossip!". I "translated" it for the "generation" of TV watchers as "Don't be Gladys Kravitz!" (in reference to the nosy neighbor on "Bewitched").

However, when you see the result of gossip in the Pvt. Snafu short "Rumors", you see that it's not quite a laughing matter. In this case, the perpetually witless soldier overhears something about bombing and immediately assumes that the Axis Powers have attacked the United States. So, he tells it to someone, who tells someone else, who tells someone else, and it continues. As in "The Russians Are Coming, the Russians Are Coming", the story gets blown more and more out of proportion each time, so that when it gets back to Snafu...well, you know what I mean! Yes, it's mostly WWII propaganda - complete with a derogatory term for the Japanese - but I have to say that the Pvt. Snafu shorts were actually quite funny. Of course, since they had Dr. Seuss writing and Mel Blanc providing the voices, it's no surprise that these came out rather cool. Worth seeing.


In complete contrast to the opinions of the other review, this film actually was surprisingly good! I reluctantly went to see it and expected to be bored by clichés, obvious jokes and overacting, all of which the trailer had promised.

However, after 5 minutes in I found myself genuinely laughing and enjoying the refreshing acting. With only one 'toilet humour' gag, Over Her Dead Body manages to actually come up with realistically funny scenarios and, without spoiling anything too much, some of the moments involving animals are hilarious.

The staple ingredients of a good film are all there; script, director and actors and compared some other recent attempts at romantic comedy, this film stands tall.

Sure, you aren't going to learn anything or have a spiritual awakening, but if you go with an open mind you will more than likely have a good time!


Over Her Dead Body was a nice little movie.It was decent and entertaining, while still being pretty funny.There were a few cliché's, but I found most stuff fresh.At first I didn't think it was going to be good at all,when it started out.If you can get past the first 20 minutes though,the movie starts getting more interesting.This film wasn't burst out in laughter hilarious,and wasn't OH MY GOSH wonderful.It was just a movie that you can sit down and enjoy for how enjoyable it was.I don't see how this movie was bad.It's rating is just a bit too low.I could've dealt with a 5.5,but a 4.8?Also,giving this movie a 1 is disgraceful.It was pretty good,and there was nothing horrible enough about it to give it a 1,which is what most people gave it.


Look it's Eva Longoria and Paul Rudd in a movie about a dead girlfriend haunting the new girlfriend. It's Gabrielle from Desperate Housewives and the guy who wore "sex Panther cologne" in Anchorman. If you are expecting a Golden Globe nominated movie then you need to rethink how you look at movies. However, if you are willing to suspend reality for 90 minutes and want to watch a funny movie then you've come to the right place. The characters are all funny. They work together very well. The real match up is Paul Rudd and Lake Bell. He's as funny as he was on Friends and she was funny and good looking all at the same time. I went with my wife, she enjoyed it and so did I.


i wasn't a fan of seeing this movie at all, but when my gf called me and said she had a free advanced screening pass i tagged along only for the sake of seeing eva longoria and laughing at jason biggs antics.

overall it was actually better then i expected but not by much. this was like a hybrid of how to lose a guy in 10 days and just like heaven. a typical romantic comedy with its moments i guess. the movie was quite short though (around 85 min.) but it was enough to tell the whole story, build some character development and have a decent happy ending. the whole idea of a ghost haunting its former husband was a interesting plot to follow. eva did a good job of keeping up the sarcasm and paul rudd and the rest of the supporting cast (especially jason biggs) kept the laughs coming at a smooth pace.

overall i liked the movie only because it had a good amount of laughs to keep me going otherwise i would have given this movie a lower rating. hey its a chick flick and i'm reviewing this movie from a guy's persepctive alright, it would be more of a fair fight if females reviewied this movie and gave there thoughts about it.


I watched this on an 8 hour flight and (presumably because of the pressure and the altitude) I actually found it mildly entertaining (emphasis on the "mild").

The actual idea behind the film was brilliant: a woman dies, her fiancé falls in love with someone else, she decided to make sure they don't get together, but eventually she lets them do it. Sadly the actual film wasn't as good. OK, there were a few laughs and the actors all worked well. But from the beginning the plot was about as predictable as the destination of the flight I was on. I think the whole gay-but-not-gay friend part of the story could have been worked a lot better. The talking parrot was a nice idea but to be honest: it wasn't really very funny.

In summary the film was more interesting than staring at the seat in front of me, but it was a close call.


Actually my vote is a 7.5. Anyway, the movie was good, it has those funny parts that make it deserve to see it, don't misunderstand me, is not the funniest movie of the world, and its not even original because its a idea that we have seen before in other movies, but this one has its own taste, a friend of mine told me that this was a film for boyfriends... I think that not exactly but who cares? Also there is another movie that show us almost the same topic, Chris Rock appears in it, the name is Down to Earth, men, that one its a very funny movie, see both if you want and I know that you will agree that Mr. Rock won with his movie. I would liked that the protagonist male character were given to Ashton Kutcher, however, the film is good.


This is a great film.

I agreed to watch a chick flick and some how ended up with this. I had never heard of it or anyone in it (excpet Mike from Friends).

But it is great! Eva, Lake and Paul give amazing performances. The humour is consistently dry and witty.

Paul Rudd pretty much plays the mike character from Friends (which works great). The other characters are stereotypes and the plot is formulaic (I mean we are not talking 'Apocalypse Now' here) But the characters are likable, the story is engaging, the soundtrack, production and direction all work well.

In all a great feel-good film that really deserves a lot more credit than it gets.

Everyone has their own tastes but I really don't understand the one star reviews for this.


This had a good story...it had a nice pace and all characters are developed cool.

I've watched a whole bunch of movies in the last two weeks and this had to be the best one I've seen in the two weeks.

Jason Bigg's character was the best though.

Even though it was small, it was cleverly crafted from the very beginning.

This may be a romantic comedy and I don't like most, but the writing, direction, performing, sound, design overall in all capacity just was really thought out pretty cool.

This film scored pretty high out of all the movie's I've seen lately - and the rest were big budget or better publicized.

Good job in writing.


Ah, I loved this movie. I think it had it all. It made me laugh out loud over a dozen of times. Yes, I am a girl, so I'm writing this from a girl's perspective. I think it's a shame it only scored 5.2 in rating. Too many guys voting? It was far above other romantic comedies. Just because I'm female I don't enjoy all chic flicks, on the contrary I prefer other genres. Romantic comedies tend to be shallow and not as funny as they meant to be. But like I said, this movie had it all, almost, in my opinion. Great script, good one-liners, fine acting. Although Eva Longoria Parker's character reminded very much of Gabrielle from Desperate Housewives, but so what? It was awesome. I will keep this film for rainy days, days when I feel low and need a few laughs.


I took a flyer in renting this movie but I gotta say, it was very, very good. On all fronts: script, cast, director, photography, and high production values, etc. Proves Eva Longoria Parker is head and shoulders in rom/com above bad actors such as Kate Hudson and Jennifer Aniston, who mug and call it acting. Who'da thunk it?

Parker and Isla Fisher are in a class by themselves in this regard and should try to hold out for projects as good as "Over Her Dead Body." Lake Bell is excellent, too, and this is the first time I have seen her. And finally, Paul Rudd gets to shine in a really good movie, instead of lesser films.

A movie like this never gets its dues from close-minded males. It's too bad. As other IMDb reviewers here have noted, there is nothing lame about this gem --no hack writing or acting.

And its depiction of contemporary L.A. and California, in general, makes every scene look bright, beautiful, clean, and otherwise outstanding in every way. Never before has a movie made L.A. look so good. Ah, what a little talent and a lot of caring can do for a movie.

I won't divulge the plot, but as a long-time and hard-core atheist, I was willing to suspend disbelief and buy into the supernatural theme in order to enjoy an excellent and light-hearted piece of entertainment. It reminds me very much of the old "Topper" movies, which were also so enjoyable.

This movie exposes popular, but otherwise hackneyed, movies like "Ghost" for the mediocre and overly sentimental crap fests they are. We already know the public taste leans heavily toward the mediocre. Some of us save our praise for the truly worthy, however.

If you have enjoyed other overlooked gems such as "Into the Night" with Michelle Pfeiffer, Jeff Goldblum and Clu Gulager, "Blind Date" with Bruce Willis and Kim Basinger, "American Dreamer" with JoBeth Williams, "Chances Are" with Robert Downey Jr., Christopher McDonald and Cybil Sheppard, "Making Mr. Right" with John Malkovich, etc., you'll enjoy this.

A first-rate job all around (even if it's kinda hard to believe a straight guy can pretend to be gay for more than five years.) But even that plot device doesn't detract from the movie's overall excellence.


I went into this film thinking it would be a crappy b-rated movie. I came out surprised and very amused. Eva was good, but Lake Bell stole the show. She had amazing comedic timing. The jokes in this film were surprisingly original and really funny with one or two flat jokes in between. The plot was enough to tie it all together, a woman (Eva) dies on her wedding day and comes back to haunt the woman that is going out with her was-to-be husband, its sounds far-fetched but it actually works quite well.

7/10 - Overall its a worthwhile cinema watch, if not get it on DVD when it comes out.


There are few films or movies I consider favorites over the years. The Gospel road was one of them. I watched this as a young teen and would like the opportunity to watch it again. My favorite parts were the fact that

1/Jesus was blond,

2/the last supper was a huge meal,

3/ he liked playing with the children,

4/His death was for all people and for all time.

The movie may not have been theologically sound or high quality acting, but it touched my heart at that time. Besides I am a Johnny Cash fan and it was a brave venture. If it ever comes out on DVD, I will purchase it purely for sentimental reasons.


Johnny and June Carter Cash financed this film which is a traditional rendering of the Gospel stories. The music is great, you get a real feel of what the world of Jesus looked like (I've been there too), and June gets into the part of Mary Magdalene with a passion. Cash's narration is good too.

But....

1. The actor who played Jesus was miscast. 2. There is no edge to the story like Cash puts in some of his faith based music. 3. Because it is uncompelling, I doubt we'll see this ever widely distributed again.

I'd love to buy the CD.

Tom Paine Texas, USA


This is an entertaining look at the Gospel as presented by Johnny Cash (adorned in black, of course) who sings a lot and narrates a bit also. If you like Johnny Cash, this film is quite enjoyable. Also note the blonde depiction of Jesus in this work...just for fun, try to think of five Jewish men who have blonde hair...? Anyway, its a fun presentation of the greatest and most important story of all.


This great movie has failed to register a higher rating than 5!Why not!It is a great portrayal of the life of Christ without the ruthless sensationalism of The Passion of The Christ.Johnny Cash did great things for God which amazingly are shunned and neglected in areas where they should matter most,like our churches.The film itself took less than a month to film as Johnny felt the strong presence of God guiding him through it.Great credit to everyone involved in this overwhelmingly sincere movie which will always be cherished by its fans.At least the Billy Graham crusade rated it highly enough to use it as a prime source of education for new Christians.Thanks Fox for producing it.As Walk the Line proved that it was freakish that this man survived yet alone produced such an underrated masterpiece.Movies are not canonized through popular vote as this production proves! In summary I believe that this film is one of the worlds great documentaries as it is forthright, honestly portrayed and a great witness to the Christian faith!


I just can't understand the negative comments about this film. Yes it is a typical boy-meets-girl romance but it is done with such flair and polish that the time just flies by. Henstridge (talk about winning the gene-pool lottery!) is as magnetic and alluring as ever (who says the golden age of cinema is dead?) and Vartan holds his own.

There is simmering chemistry between the two leads; the film is most alive when they share a scene - lots! It is done so well that you find yourself willing them to get together...

Ignore the negative comments - if you are feeling a bit blue, watch this flick, you will feel so much better. If you are already happy, then you will be euphoric.

(PS: I am 33, Male, from the UK and a hopeless romantic still searching for his Princess...)


This is the first Michael Vartan movie i've seen-i haven't seen Alias- and i was curious to see if the guy can act.He sure can and is likable in this movie.Natasha Henstridge is of course gorgeous but she is usually in more physical and action roles,so i found her very good and lovable in this different"sweet" role of a schoolteacher. Some of the negative comments i read are true,the movie is full of clichés and the story doesn't ring true at all.Also,even though every character in the movie remarks how good they look together,i don't think there is screen chemistry there. However,i enjoyed this movie.The locales are nice,the characters are likable and goodlooking and the supporting actors are pretty good. If you are expecting to see a great romance,this is not it.But if you want to see a pleasant innocent goodlooking movie with likable characters its very good.


I caught this film at a test screening. Was very surprised to find a really sweet and fun story. Well acted. Natasha Henstridge is the next Julia Roberts. The male lead was awsome. Very funny film. Takes place in the best locations in New York. Made me want to go there. I just saw "You've got mail" I thought "It Had To Be You' was a much better story. Fresher.

It was clean and great for whole family. I think it will do well. Audience I saw it with loved it. A definite recommend!


I have looked forward to seeing this since I first saw it listed in her work. Finally found it yesterday 2/13/02 on Lifetime Movie Channel.

Jim Larson's comments about it being a "sweet funny story of 2 people crossing paths" were dead on. Writers probably shouldn't get a bonus, everyone else SRO for making the movie.

Anybody who appreciates a romantic Movie SHOULD SEE IT.

Natasha's screen presence is so warm and her smile so electric, to say nothing of her beauty, that anything she is in goes on my favorite list. Her TV and print interviews that I have seen are just as refreshing and well worth looking for.

God Bless her, her family and future endeavors.

This movie doesn't seem to available in DVD or video yet, but I would be the first to buy it and I think others would too.


A beautiful postcard of New York. The thing I enjoyed most was being able to watch this with my whole family and not cringe waiting for a stupid toilet humor joke to appear. It never did. My teenagers liked it too. My son for Natasha Henstridge and my daughter for Michael Vartan. My wife and I commented that we could not remember the last time we could sit with the kids and ALL enjoy something. This film told a story that felt comfortable but not old or done. The ending came with a twist which we all liked too. If you are not just a cynical person and have are willing to let a story unfold then this is for you. As a guy it takes a lot to hold my interest when it comes to romantic movies and this one did. I recommend it and we need more of these films to watch.


Sure, this movie is sappy and sweet and full of clichés, but it's entertaining, and that's what I watch movies for. To be entertained. Natasha Henstridge is stunning, even with the short hair. Her smile is radiant and her beauty can't be disguised. As for Michael Vartan, I'm sure the women love him. The two of them seemed to really like eacb other in this film. I don't understand the comments that there was no chemistry between them. I guess we see what we want to see.

Olivia d'Abo and Michael Rigoli were fun to watch, even if d'Abo's British accent did creep into her supposed Bronx speech. To tell you the truth I hadn't really noticed it until I read these comments, but I went back to the DVD and now her dialogue sounds more British than American to me, but she was ideal for her role with that one exception.

It's a story of two nice people who are getting married to significant others, but who find their soul mates in one another. It may be an unlikely story, but who says movies are all supposed to play like documentaries? It is no more unrealistic than any of the dramas that are screened every hour on the tube. That's why we watch them, to escape from the humdrum of daily living for a short time and enter the world of the characters on the screen. I thought these actors did a good job of it, but hey, I'm a sentimental guy who tears up easily. Don't get me wrong though, it has to be a sentimental scene, and this movie had plenty of those.

I give it 9/10 only because I'm saving my 10/10 for that yet unseen super magnificent movie that I know will come along some day. If you see it advertised as coming up on the Movie Channel or Lifetime Movies, or whatever, make a note to watch it. I think you'll like it.


A sweet funny story of 2 people crossing paths as they prepare for their weddings. The ex-cop writer and the public school teacher fall for each other in this great new york setting, even though they are marrying other people. Maybe a little trite in that the "partners" are both type A personalities, while our protagonists are much more relaxed. Not anything heavy, but it made me smile. And hey for the guys - sell the Natasha Henstridge angle, and the gals - sell them the sappy romance, everyone wins!


I'd have given this film a few stars, simply because it was a "Lifetime" presentation actually filmed in the location represented in the story - here, New York City. Most on this channel, whether "set" there, in rural Iowa, Oregon, Virginia, L.A. etc., are filmed in Vancouver, Ottawa, Toronto or some other Canadian locale.

But if there ever were one deserving the top rating - 10* on this site, it's this movie. Certainly not for originality, for this story has been done many times, in many variations, with several very similar to this specific one. It's also been done pretty often on the big screen, with mega-stars, past and present, from Cary Grant, James Garner, Harrison Ford, Tom Hanks, et al - and Deborah Kerr, Doris Day, Meg Ryan, and many more. I can think of at least 10-12 more, just as prominent, past to present, off the top of my head, who could be added now, and there are probably many others which could be brought to mind.

Not to drone on, but my point is that, in my opinion, this is by far one of the best of this genre I've seen. I caught it by chance on a mid-day Friday, at a time when I had the TV on only because I was taking a couple of hours following a particularly hectic week. I'd never run across this flick in the 8 years since it was made. And, while the two leads have done enough to be known to most, they were completely unknown to me. The only two actors I knew were Phyllis Newman (Anna's mother) whom I'd seen in some things from her younger days, and Michael Rispoli (Henry, Charlie's best friend) who was outstanding as "Gramma," the menacing juice loan, tough, street guy from "Rounders."

The chance meeting and coupling between both leads' best friends, as a sub-story romance, with the correlation of their being such to Anna and Charlie being only revealed to all later, is an oft-done plot contrivance within the genre, but makes no difference to the enjoyment here (in fact, it enhances it).

Checking some other comments, I agree completely with those which are the most positive. The primary word describing this film is ENGAGING, in caps. This adjective describes the performers; the characters; the chemistry between and among all of the characters, in whatever combination presented, and all of the supporting and even minor roles.

I love films with a "harder edge:" "Rounders;" the escapist Schwarzenegger/Stallone fare; "Goodfellows;" even the classics like "Casablanca," "Gone With the Wind," "Citizen Kane." But for pure, uncomplicated enjoyment, this one was outstanding. With a bare fraction of their budgets, it was equal to the results achieved by "You've Got Mail" and "Sleepless in Seattle." And Tom Hanks and Meg Ryan couldn't have done better than Natasha Henstridge and Michael Vartan here; the co-stars and support personnel here were equivalent to those in these mega-films, as well.


Does anyone know the exact quote about "time and love" by George Ede aka, Father Fitzpatrick in the move, It had to be you? He was talking to Charlie and Annna in the church as they were leaving? If not I will have to rent the movie. This was a great movie. I also loved Serendipity! Great love story for the soul!

I met my one true love (my Soulmate) and although I had the experience to meet him when I had least expecting it, I wasn't ready for that kind of emotional relationship.

Altho, we did marry, I wasn't mature enough to give as much as I thought I would. I got complacent and took his love for granted and he withstood it for 7 years.

He finally left with resentment but we are still hurt and angry & in disbelief about the way it turned out. I had some very hard lessons to learn and we have now been apart 3 years.

This movie meant a lot because I am still waiting on reconciling with my one and only true love. I can NOW appreciate that distinct feeling inside of me and the quote of Father Fitzpatrick rang true for me.

I know when he has healed enough to trust me again, we will remarry.

Don't EVER GET COMPLACENT AND TAKE TRUE LOVE FOR GRANTED! IT HAS BEEN THE HARDEST LESSON OF MY LIFE.

Also the music in this movie is OUTSTANDING and MEANINGFUL! This movie is DEEP and spiritually uplifting. TRUE LOVE is worth waiting for, if it is meant to be, it will, no matter what, IT WILL HAPPEN! Nothing is impossible, even when it's the second time around! Thanks!


As we all know a romantic comedy is the genre with the ending already known. The two leads always have to get together. Late in the third act I was trying to figure out how this will wrap up and how they will end up together. A clue was given right from the start, but you'll never realize it until the end. It's a simple hook, but it works. It Had To Be You cover a lot of the usual ground, but takes a fresh spin when ever possible. I liked all the NY characters and I loved the locations. It's a postcard of NY. Also it was nice to watch a film and not find anything offensive in it. So, if you like a good old fashion romantic movie ... then this is for you.


This is a really old fashion charming movie. The locations are great and the situation is one of those old time Preston sturgess movies. Fi you want to watch a movie that doesn't demand much other then to sit back and relax then this is it. The acting is good, and I really liked Michael Rispoli. He was in Rounders, too. And While You Were Sleeping. The rest of the cast is fun. It's just what happens when two people about to get married meet the one that they really love on the weekend that they are planning their own weddings. I know... sounds kooky... but it is. And that's what makes it fun to watch. It will make your girl friend either hug you or leave you, but at least you'll know.


But the fun is in the journey.

I found this movie to be extremely enjoyable, not only are both leads extremely easy on the eyes, the humor from the supporting cast and the jokes actually made me laugh out loud several times.

Yes, it's predictable, and yes, it's a cliché romantic comedy. But the point is that it's a sweet story, the message about finding your one true love also rings true in many ways.

The dialog is dead-on and the acting is well done on all parts, and over the top for comic effect. The Bulgari scene is worth it's weight in gold, the actress there deserves honorable mention! For those that panned it for being predictable - If you want a film with twists and turns that keep you guessing... then you want a thriller. This is a romantic comedy... it touched my heart and made me realize that I was lucky enough to find my true love in life, and it has been worth every effort along the way.

Great date movie, great movie for a happy cry...


This was a superb episode, one of the best of both seasons. Down right horror for a change, with a story that is way way above the average MOH episodes, if there is such a thing. A man's wife is almost burned to death in a tragic car wreck, in which he was driving. His airbag worked, her's didn't. She is burned beyond recognition (great makeup btw), and not given much of a chance to live without a full skin graft. BUT, even in a coma, she keeps dying but brought back by modern technology, and when she does die for a few minutes, her ghost appears as a very vengeful spirit. Carnage of course ensues, and also some extremely gory killings, and also, some extremely sexy scenes. What more could you ask for, you might ask? Well, not much, because this baby has it all, and a very satirical ending, that should leave a smile on most viewers faces. I just loved Rob Schmidt's (Wrong Turn) direction too, he has a great knack for horror. Excellent episode, this is one I'm buying for sure.


Maybe it's just because I have an intense fear of hospitals and medical stuff, but this one got under my skin (pardon the pun). This piece is brave, not afraid to go over the top and as satisfying as they come in terms of revenge movies. Not only did I find myself feeling lots of hatred for the screwer and lots of sympathy towards the "screwee", I felt myself cringe and feel pangs of disgust at certain junctures which is really a rare and delightful thing for a somewhat jaded horror viewer like myself. Some parts are very reminiscant of "Hellraiser", but come off as tribute rather than imitation. It's a heavy handed piece that does not offer the viewer much to consider, but I enjoy being assaulted by a film once and awhile. This piece brings it and doesn't appologize. I liked this one a lot. Do NOT watch whilst eating pudding.


I was all ready to pan this episode, seeing that this 'Master' really doesn't have any horror films under his belt.. but this is easily the best episode of the season.

The acting was good!! I don't know how he wrangled it, but we've got some real talent in this episode! And while you could see things coming from a mile away plot wise, at least it was entertaining and managed to keep me engaged for the full 56 mins, something that has been lacking up to this point in the series.

I especially liked the bit at the end, not a twist per say, but just a funny little bit where he becomes, as ever, the hen-pecked hubby.

Really good effort. Like I've said in other reviews- these are not true masters doing a lot of these episodes.. but they may someday end up being masters in the future.


Fans of the HBO series "Tales From the Crypt" are going to love this MOH episode. Those who know the basic archetypal stories that most of the classic EC comics were based on, will recognize this one right off the bat.

Underrated indie favorite Martin Donovan (also an excellent writer - co-author of the screenplays for APARTMENT ZERO and DEATH BECOMES HER) is the kind of guy whose everyman good looks can go either way. He could play a really nice if misunderstood guy-next-door, or he can play the same role with a creepy undertone of corrosive sleaziness. In the case of RIGHT TO DIE, he takes the latter approach, and it definitely works.

Donovan is a doctor who has recently had an affair with his slutty office receptionist (Robin Sydney), much to the displeasure of his inconsolable, unforgiving spouse, Abbey (Julia Anderson). When the two of them get involved in a terrible car accident while returning from an unsuccessful weekend of "making up," and she's horribly burned in a fire, he's reluctant to pull the plug on her, not without some enthusiastic nudging from his even sleazier lawyer and best buddy (Corbin Bernsen, looking the worse for wear these days.)

But Abbey's never been one to give up without a fight, and that's where the EC-theme of the episode comes in. Cuckolded husbands - and wives - have always been the genre's favorite subject matter for some spooky (and OOKY) supernatural shenanigans, and this case is definitely no exception. If anything, the ramped-up quotient of sex and gore must have Bill Gaines cackling with glee in his mausoleum somewhere.

And that's not to mention that John Esposito's original script does give the adultery angle just a slight twist. You don't realize as you're watching that you only know half the story, until close to the end...(think WHAT LIES BENEATH with more guts and gazongas, and you're there.)

Not a bad effort, but not the best of the lot, either. At least Rob Schmidt does display touches of flair here and there with the direction, especially in a scene that makes cell phone picture messaging into a truly horrifying experience indeed! As with most MOH episodes, this one is following a prevalent theme this season of flaying and dismemberment, so the extremely squeamish need not apply.


A man and his wife get in a horrible car accident. When the wife is left in a persistent vegetative state, the man must choose between pulling the plug and letting her live. The decision is made even harder when he realizes her ghost wants to extract revenge on him and those around him.

This comes to us from director Rob Schmidt, who made "Wrong Turn" (a film I have not seen). With only one horror film under his belt, and not a particularly notorious one at that, I was a bit reluctant to watch this episode, expecting Schmidt to be a "Master of Horror" in only the most liberal sense. My apologies to him for my underestimation. As of episode 10 in a 13 episode season, this was actually the best one yet.

The issue of the "right to die" is dealt with and covered in enough detail to be a solid plot device. However, this is only the foundation on which the story revolves. Once the horror elements show up, the film goes from "decent" to "spectacular". Great acting, great plot, great dialogue, great suspense. I was a little creeped out at times (which is good) and most of all: the gore is in extreme abundance! I read a review of this episode prior to watching it, where the reviewer said there is a strong hint of "Hellraiser" in this. Through the first part of the show, I had no idea what they were talking about. Then there is a bit later where some images do remind me of "Hellraiser 2". However, I in no way wish to say that this takes away from the film. I can see no other way to create the effect that was created, and in my opinion this looks remarkably better than "Hellraiser 2".

Some plot twists show up later on, and might invite the viewer to give the film a second look. I didn't watch it a second time, but I think the beginning would make more sense if I had (not that it's confusing). The subplot with the dental hygienist is also nice, and I found myself going back and forth about whether I disliked the main character for his relationship with her or if I felt bad for him. He's somewhat of an anti-hero to the whole story, if you will. I feel inclined to cheer for him as the protagonist, but he's completely unlovable.

While the Stuart Gordon episode may be better and I'm excited about the "Washingtonians" episode, I think I could safely bet that this is the key episode of the season and by far the saving grace of what was otherwise lackluster and routine. When legends like John Carpenter let me down (again) I get a bit worried about the genre's future, but then a fresh face like Rob Schmidt comes along and gives me hope. This one is a keeper, and please bring Schmidt back for season 3!


Well its about time. I had really given up any and all hope that there was going to be a standout episode among this season's entries. While there have still been far too many drab to hohum entries, at least this episode turned out well. Its rather funny that director Rob Schmidt who only has the not bad Wrong Turn to his credit and writer John Esposito whose only scripting chores to date have included Tale Of The Mummy and Graveyard Shift should be the ones to give us the best written and most thought provoking episode of the season. In "Right To Die" we are treated to the story of Cliff and Abbey. At the start of the episode the couple are having a conversation. Abbey has caught Cliff cheating and he is desperately trying to win her back. While they speak, they find themselves in a car accident where Cliff is left with only scratches and bruises, but Abbey is thrown from the car and catches on fire when a spark ignites and gasoline that had dripped onto her catches her on fire. And this is just the setup people. Once in the hospital Cliff must decide whether or not Abbey should live in this state with no skin and only nerve reflexes. There's also a side effect too. Every time she flatlines, Abbey goes a walking as a ghost and causes trouble for all sorts of people. Hands down this is the best episode of the season and certainly ranks as one of the top episodes ever. From the gruesome effects to the taut script which threw in a few twists I never saw coming and suspense so palpable you can almost touch it, Right To Die should have the right to go on living forever.


I'm not entirely sure Rob Schmidt qualifies as a "Master" in the genre of horror, since he previously just directed one horror film called "Wrong Turn" and that one was actually just was slightly above mediocre, but fact is that he made with "Right to Die" one of the best and creepiest episodes of the entire second season of the "Masters of Horror" franchise. There was a similar underdog story in season one, when William Malone made on of the best episodes with "The Fair Haired Child" even though his other long feature films "Fear Dot Com" and "House on Haunted Hill" sucked pretty badly.

The story of "Right to Die" cleverly picks in on the nowadays piping hot social debate of euthanasia, but thankfully also features multiple old-fashioned horror themes like ghostly vengeance, murderous conspiracies, pitch black humor and comic book styled violence. Whilst driving home late one night and discussing the husband's continuous adultery, the Addison couple are involved in a terrible car accident. Cliff walks away from the wreck unharmed but his wife Abby is fully burned and needs to be kept alive artificially. Whilst Cliff and his sleazy attorney (Corbin Bernsen of "The Dentist") want to plug the plug on her and sue the car constructor, Abbey's mum sets up a giant media campaign to keep her daughter alive as a vegetable and blame everything on Cliff. Meanwhile Abbey's hateful spirit comes back for revenge and kills someone in Cliff's surrounding whenever she has a near fatal experience with the medical devices. After a few victims, Cliff realizes it might be safer for him to keep his wife alive if he wants to remain alive as well. "Right to Die" is a stupendous episode and exactly the type of stuff I always hoped to see from a TV-series concept like "Masters of Horror". It's violent and gory with a sick & twisted sense of humor and loads of sleaze sequences. The euthanasia theme and the whole obligatory media circus that surrounds it is processed into the script very well, yet without unnecessarily reverting to political standpoints or morality lessons. The atmosphere is suspenseful and the killing sequences are suitably nasty and unsettling. Actresses Julia Anderson and Robin Sydney both have pretty face and impressively voluptuous racks, which is always a welcome plus, and Corbin Bernsen is finally offered the chance again to depict a mean-spirited and egocentric bastard. Great "MoH" episode; definitely one of the highlights of both seasons.


This is one of the best episode from the second season of MOH, I think Mick Garris has a problem with women... He kill'em all, they are often the victims (Screwfly solution, Pro-life, Valerie on the stairs, I don't remember the Argento's episode in season 1, etc., obviously Imprint). I think he enjoys to watch women been burn, torture, mutilated and I don't know. Never least "Right to die" is one of the best, with good turns and graphic scenes and suspense (specially with the photos from the cell scene, wonderful). The acting is like the entire series, regular I could be worst like "Pro-life" or "We scream for Ice cream". Also I think the plot it could be made for a movie and not just for an episode. The ideology of the series is horrible, killing and terminating women, mutilating animals and on and on... the first season it was better than the second one with episodes like "Cigarrette burns" (The best of all), "Homecoming" (The most funny), "Imprint" (really shocking).


What starts out as a very predictable and somewhat drab affair is in the end quite hilarious and entertaining. "Right to Die" is not very suspenseful but it more than makes up for that with some outlandish set pieces and over the top gore.

Spoilers here:

Top credits also go to the dead-on performance from Martin Donovan as one of the most despicable characters ever to grace the screen. Playing the character in a great "aloof" fashion, you nearly feel bad for the guy in the end when his grand plan ultimately fails. Corbin Bernsen also chews up the scenery playing a not-so-good-guy who gets his just desserts.

End of Spoiler.

As a revenge-from-the-dead flick, "Right to Die" benefits heavily from it's performers and is more than an OK way to spend less than an hour.


Masters of Horror: Right to Die starts late one night as married couple Abby (Julia Anderson) & Ciff Addison (Martin Donovan) are driving home, however while talking Cliff is distracted & crashes into a tree that has fallen across the road. Cliff's airbag works OK & he walks away with minor injuries, unfortunately for Abby hers didn't & she ended up as toast when she was thrown from the car & doused in petrol which set alight burning her entire body. Abby's life is saved, just. She is taken to hospital where she is on life support seriously injured & horribly disfigured from the burns. Cliff decides that she should die, his selfish lawyer Ira (Corbin Bersen) thinks they should let Abby die, sue the car manufacturer & get rich while Abby's mum Pam (Linda Sorenson) wants to blame Cliff, get rich & save Abby. However Abby has other plans of her own...

This American Canadian co-production was directed by Rob Schmidt (whose only horror film previously was Wrong Turn (2003) which on it's own hardly qualifies him to direct a Masters of Horror episode) & was episode 9 from season 2 of the Masters of Horror TV series, while I didn't think Right to Die was the best Masters of Horror episode I've seen I thought it was a decent enough effort all the same & still doesn't come close to being as bad as The Screwfly Solution (2006). The script by John Esposito has a neat central idea that isn't anything new but it uses it effectively enough although I'd say it's a bit uneven, the first 15 minutes of this focuses on the horror element of the story but then it goes into a lull for 20 odd minutes as it becomes a drama as the legal wrangling over Abby's life & the affair Cliff is having take center stage before it gets back on track it a deliciously gory & twisted climax that may not be for the faint of heart. The character's are a bit clichéd, the weak man, the bent lawyer, the protective mum & the young tart who has sex to get what she wants but they all serve their purpose well enough, the dialogue is OK, the story moves along at a nice pace & overall I liked Right to Die apart from a few minutes here & there where it loses it's focus a bit & I wasn't that keen on the ambiguous ending.

Director Schmidt does a good job & there are some effective scenes, this tries to alternate between low key spooky atmosphere & out-and-out blood & gore. There are some fantastic special make-up effects as usual, there's shots of Abby where she has had all of the skin burned off her body & the image of her bandaged head with her teeth showing because she has no lips left is pretty gross (images & make-up effects that reminded me of similar scenes in Hellraiser (1987) & it's sequels), then there's the main course at the end where Cliff literally skins someone complete with close-ups of scalpels slicing skin open & him peeling it off the muscle & putting it into a cooler box! Very messy. There are also various assorted body parts. There's some nudity here as well with at least a couple of pretty ladies getting naked...

Technically Right to Die is excellent, the special effects are brilliant & as most Masters of Horror episodes it doesn't look like a cheap made-for-TV show which basically if the truth be told it is. The acting was fine but there's no big 'names' in this one.

Right to Die is another enjoyable & somewhat twisted Masters of Horror episode that most horror fans should definitely check out if not just for the terrific skinning scene! Well worth a watch... for those with the stomach.


Why did it sound like the husband kept calling her Appy ? It ruined a great episode and so I can only give it a 6. Proper grammar and pronunciation are essential to a film.

It was very Hellraiser what with all the skin ripping though I dunno how anyone can survive without skin the skin is a vital organ to the body the biggest organ actually and without we would die. The more a horror film is true the more creepy it can be and more entertaining.

I do admit though that the stories from the great horror directors are very disappointing and very mediocre.

6/10 come on Yankies get your English up to par !


In this first episode of Friends, we are introduced to the 6 main characters of the series: Monica Geller,Phoebe Buffay,Chandler Bing,Ross Geller, Joey Tribbiani and eventually Rachel Green .

We discover that Rachel, a rich girl that is Monica's friend from high school times, left her fiancé, Barry, at the altar, since she discovered she didn't love him. She also decides to live with Monica and become independent from her father,getting a new job as a waitress in Central Perk.

Ross, for the other hand,discovered his wife is a lesbian and lost her for Susan, her partner. (We see him moving to a new apartment during the episode)

Monica, in this episode, makes out (and eventually sleeps) with Paul "the wine guy", who gave her the excuse of being impotent since he divorced his wife. But in reality, he was just deceiving her.

Ps: I just loooove Joey's and Chandler's haircuts in this first season! =)


In the very first episode of Friends, which aired 22 Sept 1994 "The One Where Monica Gets A Roommate" there is a song playing as Rachel sits in the window towards the end of the show, the line that plays is: "If you ever need holding".... does anyone know the artist singing or the title of the song? It is seems as if it is a great song....I would love to get a copy of it. Thanks for the assistance. I am looking for the album/cd it is on so I can purchase it.

I have the shows which are available for purchase and enjoy this show over and over again. It just seemed to be believable...thanks for the hours of entertainment you have provided over the years.


The pilot is extremely well done. It lays out how the characters bond in future episodes. I don't think anyone could have created a better pilot for this show. It displays remarkable creativity on the writers part. Although not everything was straightened out because it was the very first episode, a lot of events that happen in future seasons were demonstrated in the pilot. An example would be Ross and Rachels future relationship. Even though the nervousness of a first episode appeared, it was overcome by an amazing plot and outstanding cast choice.

Bravo.

A great start to an unbeatable comedy!


And that's how the greatest comedy of TV started! It has been 12 years since the very first episode but it has continued with the same spirit till the very last season. Because that's where "Friends" is based: on quotes. Extraordinary situations are taking place among six friends who will never leave from our hearts: Let's say a big thanks to Rachel, Ross, Monica, Joey, Chandler and Phoebe!!! In our first meet, we see how Rachel dumps a guy (in the church, how ... (understand), Monica's search for the "perfect guy" (there is no perfect guy, why all you women are obsessed with that???), and how your marriage can be ruined when the partner of your life discovers that she's a lesbian. Till we meet Joey, Phoebe and Chandler in the next episodes... ENJOY FRIENDS!


Here it is.. the first EVER episode of Friends, Where we get introduced to Control Freak Monica Gellar (Courtney Cox), Newly divorced Ross Gellar (David Schimmer), Hippy Pheobe Buffay (Lisa Kudrow), unknown actor and ladies man (Matt Le Blanc and very sarcastic Chandler Bing (Matthew Perry). This is how the scene starts off until we introduced to the 6th and final friend Spoilt kid Rachel Green (Jennifer Aniston).

The Episode is better than most people give credit for, like any new sitcom the first episode isn't always fantastic. The acting in this episode isn't great because the cast cannot identify and arnt really believable in their new characters (apart from Kudrow and Perry- who shine).

Matt Le Blanc- Man, his acting was down right dreadful because until later, he gets more confident, but i think he tries to be funny but at most fails.

David Schimmer- Why does he over pronounce EVERY word? he cannot speak normally! but he became one of the funniest characters in later seasons, but he isn't confident. and i cannot sympathise with him Jennifer Aniston- Looks hot, and does a good job as Rachel Green, but we only see the real Rachel later in the 1st season, Courtney Cox- Looks quite anorexic in this episode, its worrying, she looks totally different now, (more healthily), she acting is a little sketchy but everyones is in this 20 minute pilot! Lisa Kudrow and Matthew Perry- I'm doing these two together because their comic timing and acting quality was superb, and for Lisa this was one of her first roles and she is so natural as Pheobe (Pheebs) and Matthew Perry is just Matthew Perry playing himself basically! The episode quality does improve later,,, such as the Sets, they looks dark and creepy in this episode and makes them seem unfriendly, the acting is OK, the characters gain confidence with each new scene and i am proud this is the pilot! I hope we see the Friends reunite! cause they will always be there for us!


This was the beginning of it all! Granted, this is not Friends at its best, but this was the show's pilot, let's not forget and not a bad one at that. We're introduced to the gang and Central Perk, where our story begins. Even from this first episode we get a sign of the Ross-Rachel relationship that will come over the next ten years, when Ross says: 'I just want to be married again' and Rachel storms in with a wedding dress on... probably not intentional as at the time the writers were going for a Monica-Joey relationship but fits nicely now when looking back. Something else.. in this episode Rachel is introduced to Chandler as if the two have never met before but in later episodes, the so-called 'flashbacks' this is contradicted as the two have met on three previous occasions. Nevertheless, the point is this a fine start to a great show. This episode may not be the usual Friends as we are accustomed to them, with the cast still a bit inexperienced but over the next few episodes we see why the show came to be what it was! Keep watching, first season is a blast!!


A lot has been said about Shinjuku Triad Society as the first true "Miike" film and I thought this sort of description might have been a cliché. But, like all clichés, it is based on the truth. All the Miike trademarks are here, the violence, the black humour, the homosexuality, the taboo testing and the difficult to like central character. Shinjuku is however, one of Miike's most perfectly formed films. He says in an interview that if he made it again it would be different, but not necessarily better. I think what he means is that the film possesses a truly captivating energy and raw edge which seems so fresh that although he might be able to capture a more visually or technically complex movie he could not replicate or better the purity of this film.

As you might expect, the violence is utterly visceral, gushing blood and gritty beatings are supplemented by a fantastic scene in which a woman has a chair smashed over her face. (Only a Miike film could let you get away with a sentence like that.) The film has a fantastic pace, unlike Dead or Alive which begins and ends strongly and dips in the middle. Dead or Alive also deals with similar issues, Miike is clearly concerned about the relations between the Japanese and Chinese in the postwar period and this emotive subject is handled well here, the central character really coming to life when you begin to understand his past.

I cannot sing Shinjuku's praises enough. I do not want to give away too much. This is Miike before he began to use CGI to animate his films and is almost reminiscent of something like Kitano's Sonatine. The central characters are superbly realized and the final twist guarantees that as soon as the film has finished you'll be popping it back on again to work it all out.


This movie is the first of Miikes triad society trilogy, and the trilogy kicks of to a great start. The movies in the trilogy are only connected thematically, and these themes are actually apparent in all his films, if you look close enough. Shinjuku Triad Society is about a cop trying to prevent his kid brother from getting too involved with a rather extreme gang of outsiders, struggling their way to the top of Tokyos yakuza. The kid brother is a lawyer, and the triad gang is becoming increasingly in need of one, as the movie progresses. The movie takes place in a very harsh environment, and is therefore pretty violent and tough. Miike has done worse, but since this is a serious movie it hits you very hard. As usual there is also a lot of perverted sex, mostly homosexual in this one. The movie is in many ways a typical gangster movie, but with a great drive and true grittiness. If you've only seen Miikes far-out movies (Ichi the killer, Fudoh etc.) this is worth checking out since it is sort of a compromise between his aggressive over-the-top style displayed in those movies and his more serious side, as seen in the other films of the trilogy. And as always with Miike, there are at least two scenes in this that you'll NEVER forget (see it and figure out which ones for yourself).

8/10


Shinjuku Triad Society, albeit from perfect, is a fiercely compelling film for what it tries to depict in its uber-conventional realm. It's a yakuza/triad picture, involving cops versus Japanese &/or Chinese gangsters (mostly Chinese, as the title suggests), but already even in his first technical 'debut', Takashi Miike is already establishing many aspects to films that he would make from here-on in. Social issues like black market trading of precious goods, in this case human organs usually from children; nostalgia for childhood and one's roots, which was especially prevalent in Dead or Alive 2; thumbing-of-the-nose at taboos like gay sex and (satirical) rape/violence towards women; blood-curdling violence. It's certainly not as surreal as some of Miike's most recent films, but this is expected as he's trying out things that he's just starting to learn, following a track record of straight to video programmers. It's got all of those qualities, and it's also, like the films that would follow from it, equally savage and heartfelt, crazy (in spots) and sardonic in its drama, and solid for genre fans.

The story concerns two brothers, one a Chinese orphan raised in Japan, Tatsuhito Kiriya (Kippei Shiina, pretty decent as a Eastwood-esquire anti-hero/hero), who's become a detective, and another, who's become a gangster, or a would-be one. The main arch likely takeover gang comes from Wang (a definite pun on what the gang represents during its spare-time, played by Tomorowo Taguchi as a typical wacko with real terror in his eyes), and his partner Karino (Takeshi Caesar, who's threatening even when just repeating a commandment over and over to a woman who's just had her eye plugged out following a sour deal), who are the ruthless kind to pop up almost organically in a Miike movie. There's some intrigue involving the organ-trading scheme with the gangsters, which Kiriya almost becomes a victim of, and the gang's penchant for gay sex- at least with one little puppet of sorts who does whatever the main gangsters want. It all leads up to vengeance and redemption, qualities that Miike and his writer are trying to emulate from Shakespeare (hence the Macbeth bit with Wang washing his bloody hangs over and over after some gay sex saying "it won't come off").

If it doesn't add up to the same emotional level of impact that a great Shakespeare play would have, it's par for the course of a film like this. Miike's goals are met, though just met, in his low-scale ambitions: a gangster picture with some added levels of harsh familial trouble (the main tension between the brothers comes out of profession and duty to parents), notes on the crueler aspects of underworld crime, and what the realm of unrepentant sex, with both sexes, brings out psychologically in the characters. At the same time, Shinjuku Triad Society also contains more than a few moments of classic biting black-comedy from the Miike oeuvre. Some of it just has to be taken with a grain of salt for what the director does in his outrageousness, like the bit at the beginning with the chair smashing over the face, or the randomness of the "interrogation" as it goes into a very twisted area. There's even a laugh-out-loud line from the young sex-slave after finishing an act on one of the bosses: "Thank you, Mr. Weeny-Burger." Miike and his writer don't have enough here to make the film a full-on dark comedy like Ichi or, of course, Visitor Q, but there's enough to bring some appropriate levity to the darker aspects to the story and characters.

As the first entry of the "Black Society" trilogy, as it's called, I was quite impressed, and it's a fine quasi-calling card from one of the craziest new artists in contemporary cinema.


Shinjuku Triad Society: Chinese Mafia Wars is unlikely to get distribution in the West outside film festivals. Why? Could your censors stomach a film where policemen anally rape male and female suspects to get them to talk (and the victims enjoy it) or see an old lady have her eye torn out of her skull? These are just a few of the shocks in store for viewers of this ultraviolent cops and gangsters story. It makes Clockwork Orange which was banned for years in the UK look like a Disney cartoon.

Should you see this film? YES It is fantastic and essential viewing for fans of Asian cinema. The shocking moments are there to illustrate what goers on in the world of these characters. If you like this make sure you catch Dead or Alive which is very similar (barring the insane ending in DOA of course). Great for Japan that they have a talent like Miike working at the same time as Takeshi Kitano. The best chance of seeing this film outside a Takashi Miike retrospective at a film festival is on DVD. If I haven't put you off try hunting for a Hong Kong version on the web as I'm sure it will come out in that country.


I found this a bit hard to follow to the extent that it seemed to dip in the middle while I tried to make head or tail of who was fighting who and why. One of the problems is the cultural/language one. Here we have a Chinese/Taiwanese/Japanese problem of which we know little and because we are simply reading English subtitles inevitably loose some of the subtleties. Another problem is that there seem to be just too many only half explained twists and coincidences. Nevertheless, it seems unlikely that there is a wholly bad Miiki film and this certainly is not that. Plenty of stylish and bone crunching violence, a window upon some less than orthodox sexual goings on plus the family aspect. All in all a decent ride but maybe checking out the storyline might actually be helpful before watching this one.


While not as wild and way out as some of Takashi Miike's later films this is a very good crime drama.

The basic story is the story of a cop of Japanese cop with Chinese parents trying to take down an up and coming Chinese mobster. Complicating things is that his younger brother is acting as the lawyer for the villain and his gang. The film is actually much more complicated than that with several complications which both keep things interesting and distract things from the central narrative thrust. Its this complication and loss of way about an hour into the film that makes this less than a great film.(It is a very very good one) This is definitely worth seeing especially if you don't mind a no frantic pace.

A word of warning, the violence when it happens is explosive and nasty. There are also semi-graphic depictions of gay sex. If thats not your cup of tea, proceed with caution.

7 or 8 out of 10.


The movie starts something like a less hyper-kinetic, more pastiche Dead or Alive: strange underground activities are done while bodies are discovered by police officers. But when a police officer is killed, one Tatsuhito gets involved... and when he discovers that his brother Shihito is also involved, things get bloody quite fast.

An earlier work of Miike's, Shinjuku Triad Society is still filled with his usual in the ol' ultraviolence and sadistic sex acts, though it's not one of his more eclectic or flamboyant pieces. Rather, it's a pretty well crafted bit of pulp fiction, as Tatsuhito digs his way through the underground, a maze that leads him to a gay Triad leader who sells illegally gained body organs from Taiwan and keeps an almost-brothel of young boys (one in particular the character who kills the cop at the beginning). Tatsuhito's brother is getting involved with said society, so Tatsuhito himself is forced to become a dirty cop and use similarly violent and sadistic tactics to penetrate into this sordid realm.

What's mainly interesting about this little bit of work is the relationship Tatsuhito has with his nemesis, Wang. Tatsuhito is a Japanese born in China, later moved back into Japan, and alienated for it. Wang is a Chinese who felt alienated in China, so killed his father and developed a crime wing in Japan. Wang also is a surprisingly Shakespearian character, which is weird enough as it is, much less that you actually begin to feel sorry for him by the time his ultimate showdown with Tatsuhito comes to be. And Tatsuhito himself is a similarly tragic figure when he's forced to contend with his lack of ability to control his brother. While it would be rude to state that Miike's movies are successful mostly on their shock value, it is true that sometimes it's easy to lose track of how well Miike can create bitter, dis-impassioned characters.

--PolarisDiB


Anyone new to the incredibly prolific Takashi Miike's work might want to think twice about making this startling film their first experience of this truly maverick director. In keeping with Miike's working practice of taking any work that comes his way and then grafting his own sensibilities onto the script, this is at heart a fairly basic yakuza thriller, with a morally ambiguous cop chasing a gang which his lawyer brother has fallen in with. What takes the movie out of the realms of the same-old same-old however, is the utterly unflinching attitude so some of the most sudden and horrific violence seen in today's cinema. And this isn't that nice cool, clean violence so beloved of US cinema - this stuff is nasty, painful and HURTS! That said, the pace is breakneck, the characters are unusual without being just being burdened with stock eccentricities, Miike's sense of humour reveals itself and the most unexpected moments, and his camera is never quite where you expect it to be, making it hard to look away from the screen, whatever he might be showing you! It doesn't have the "Ohmigod" ending of "Dead Or Alive," but if you're not squeamish, now's the time to get on board the Miike bandwagon before he ends up on some Hollywood studio's "new John Woo" shopping list...


I really like Miikes movies about Yakuza, this one I saw about 2 years ago and it really fu**ed my head. Never before seen such a sick and twisted thing. The Story is good and the actors do their thing very well. I haven't seen the UK or Japan version, but I have to say that I believe that the German DVD is a bit censored. If you haven't seen the movie already and live in Germany maybe you better look out for a DVD from the Nederlands or Austria. The I-ON DVD contains a lot of very hard and nasty scenes, but at the showdown I felt that something was missing, about one or two very short scenes.

All in all a good perverted movie with crazy characters and a high level of violence, that's what I like Miike for!!


The story of a drifter, his sheep ranch boss, and the boss's daughter is not for all tastes, but it's still very intriguing. It takes place in the beautiful country of New Zealand, amongst the scenery we've come to know so well through other films from this region.

This movie was the first time I had ever seen the excellent Mary Regan, and I've been a fan of hers ever since. The cast also contains Bruno Lawrence, who is probably best remembered by American audiences from the film "Smash Palace". Terence Cooper takes a turn as the ranch owner who pays a little too much of the wrong sort of attention to his daughter (Regan).

Sharply acted, with unforgettably shattering performances from all of its leads. I first saw this movie in extremely edited form on late night television here in America, but believe you me, the unexpurgated version is not to be missed.


An excellent and accurate film... McGovern takes great pains to research and document his writing and it pays off. He is not afraid to tell the truth, even though it might draw unfavourable reviews and comments from some who like stories to be clean and sweet and glossy.

Once again, McGovern brings in Christopher Eccleston, though not in as high a profile a role as he played in Hillsborough. I found this movie as accurate, well acted and well presented as Hillsborough and I applaud McGovern for his poignant unapologetic writing. Well done and my hat is off to the writer, the actors, the production crew. A great film!


This film deals with the atrocity in Derry 30 years ago which is commonly known as Bloody Sunday.

The film is well researched, acted and directed. It is as close to the truth as we will get until the outcome of the Saville enquiry. The film puts the atrocity into context of the time. It also shows the savagery of the soldiers on the day of the atrocity. The disgraceful white-wash that was the Widgery Tribunal is also dealt with.

Overall, this is an excellent drama which is moving and shocking. When the Saville report comes out, watch this film again to see how close to the truth it is.


"The Haunted World of Edward D. Wood, Jr." is the definitive documentary on the life of the man who brought us such movies as "Glen or Glenda", "Bride of the Monster", and, of course, "Plan 9 from Outer Space". This exquisite film far exceeds where other documentaries, such as "Look Back in Angora" and "The Plan 9 Companion", failed. It rounds up his surviving entourage, many of whom have passed away since filming, and gives an honest examination of Ed Wood and his work. Nostalgic in the fact that it looks back at the darker corner of yesteryear Hollywood, sentimental in its treatment of the director (down to the haunting music), this documentary is an absolute must-see for anyone who loves the director who so failed in his day. The entire two hours of the film lovingly and retrospectively pieces together Ed's life and untimely death for the viewer. Best watched at 3 am while wearing an angora sweater.


I loved this film. Not being a swooning Ed Wood Jr. fan, I prefer to appreciate his "boundless enthusiasm" and acknowledge his shortcomings. His movies are fun, but his personal story is one racked with pain. I hoped, and was delighted to find, that this film would be about understanding his turbulent life, rather than simply heaping him with posthumous praise. From beginning to end, this film evolves from a documentary into a mythology, leaving the cast and the viewer unexpectedly connected to each other and to Ed Wood Jr.

What we get are people who knew Ed Wood the best talking about him from all perspectives, positive and negative, and showing us their character as much as Ed's. We get insight into Ed's personal and professional life: from his romances, to his drinking, to his sexuality, to his friends, to his enemies, and even to his film making.

The film itself is shot in a low-budget way that seems done out of respect for Ed, as if using the techniques of most theatrically released movies from 1996 would be disrespectful (sort of like wearing a nicer suit than the President). The set designer uses a sense of humor and also a great deal of insight when matching each cast member with their background.

Fans will be excited to hear personal testimony regarding Ed Wood controversies, and new comers will be amazed that this man was real. The DVD is full of impossible to find gems ("Crossroads of Lorado" and photo galleries), but the real treasure of this film is the surprisingly engaging and interconnected story.

Ed Wood had a habit of defining people through their association with him (for better or worse), to the point where one woman will go down in history as "Swimming Pool Owner" for once letting him and his friends be baptized in her pool. This ability to define a person's legacy comes through universally, as the most amazing effect of the film is to not only give a well rounded idea of the man that was Ed Wood Jr., but also to give a comprehensive view of the community that he created. Somehow, without ever having more that one cast member being interviewed on screen at a time, the connection that Ed Wood created amongst the various people in his life becomes clear, and the viewer is left with great sense of involvement.

Even the title hints at the B-list horror genre, but by the end, we see that even this is a kindness. What begins as unrelated stories by random people ends with the conclusion that all of the cast will be forever weaved into an unpredictably cohesive fabric that history will bring into haunting unity with Wood's legend.

In many ways a living contradiction, Ed Wood Jr. could not be condensed to a single viewpoint. This collaborative effort is the closest to knowing him that we can ever get. Being itself a juxtaposition of themes, it is at once respectful, provocative, thoughtful, gripping, fun, sad, kind, and fulfilling.


I originally caught this back in 1996 in its one week run at a movie theatre. I was under impressed by it and my feelings haven't much changed.

Documentary about the infamous Edward D. Wood Jr. covering his life and movies. There are interviews with people who worked with him or knew him. They include: Vampira, Dolores Fuller, Bela Lugosi Jr., Loretta King, Gregory Walcott and Paul Marco. Interviews are mixed with clips from the movies or some bizarre recreations. It is interesting (somewhat) but was this really needed? I've seen all of Wood's films and they're just terrible. Wood had ambitions but not a bit of talent to carry them out. I wouldn't say he was the worst director ever but he's down there. Do we really need a docu on a very mediocre film maker? I do like the fact that they didn't try to make Wood out to be some sort of saint. More than a few of those interviewed (especially Lugosi Jr.) pretty much hated the man and it comes through loud and clear. Also they totally ignore his films in the adult film industry in the 1960s and 70s. Still it's of interest if you're a Wood fan. The best interviews are with Vampira (who tears Wood apart) and Dolores Fuller (a long time girlfriend).


When I first saw "A Cry in the Dark", I had no idea what the plot was. But when I saw it, I was shocked at what it portrayed. When I saw it a second time in an Australian Cinema class, I realized a second point: communication issues. You see, when a dingo snatched Lindy Chamberlain's (Meryl Streep) baby, she and her husband Michael (Sam Neill) were grief-stricken but didn't show it. As Seventh Day Adventists, they believed that God willed this to happen, and so they couldn't mourn it. But when people all over Australia saw their lack of sadness, everyone started believing that Lindy did it herself.

The point is, the wrong message got communicated to the public, and it turned people against Lindy. Even though this was a pure accident, it still happened. It may be one of the biggest disasters resulting from the existence of mass media, regardless of any media outlet's political views.

As for the performances, Streep does a very good job with an Australian accent (no surprise there), and Sam Neill is equally great. You will probably get blown away just by what you see here. Definitely one of Fred Schepisi's best movies ever.


An unqualified "10." The level of writing and acting in this Australian movie is reminiscent of the very best of "old" Hollywood. Sam Neill and Meryl Streep are very good together. Neill matches Streep line for line, and take for take -- it is one of the best showcases yet of his prodigious acting talent and he is at his sexy and gorgeous best, notwithstanding the intensity of his role. This engrossing film is a treat for any movie fan who loves a gripping courtroom drama, portrayed in the most human but unsentimental terms. The movie -- which won several top awards in Australia -- boasts not only a superlative cast and director, but wonderful and authentic Australian locales. It proves that people are the same the world over. And, after all these years, people still delight in repeating the famous Streep line, accent and all: "A dingo ate moy baby!" Including that imp "Elaine Benis" on "Seinfeld."


This is a true story of an Australian couple wha are charged with murder when their infant child disappears. Meryl Streep is excellent, as always, and manages to hold our interest even though she plays a character who isn't particularly likable.

The media frenzy that surrounded this case in Australia is reminiscent of the Sam Sheppard murder case in Ohio during the 50's. These real-life situations demonstrate that the media in fact can affect how a criminal case is handled. I well remember the Cleveland Plain Dealer running a huge headline stating "Why Isn't Sam Sheppard in Jail?". The prosecutor eventually succumbed to this relentless pressure, and Sheppard was tried and convicted. Only after years in jail was he exonerated.

I love movies which tell a true story, do it in an interesting way, and make an important point in the process. This is one of those movies. Other good movies which tell the story of innocent persons charged with crimes include "Hurricane", "The Thin Blue Line", and "Breaker Morant". In particular, the latter is another Australian film which is highly recommended.

8/10


Lindy (Meryl Streep) and her husband Michael (Sam Neill) have just welcomed a baby girl, Azaria. As Seventh Day Adventists, they live their beliefs every day and soon have Azaria dedicated to God at their church, with their two older boys looking on. Michael gets a vacation and the family decides to head to Ayer's Rock, one of the most impressive tourist spots in all of Australia. Not being wealthy, the family camps near the site. After a wonderful first day, Lindy puts baby Azaria to sleep in one of the tents. Suddenly, she hears Azaria crying. As Lindy rushes to the tent, a dingo dog is just exiting, shaking his head. The baby is gone and soon, so is the dingo. Although the entire camp looks for the baby, she is not found. Concluding she is dead and that the dingo made off with their beloved child, the Chamberlains struggle to accept God's decision and go on with their lives. But, unfortunately, the story gets sensational coverage in the news media and soon the tale is circulated that Lindy murdered the baby. She is subsequently arrested and put on trial. How could this happen? This is a great depiction of real events that shows how "mob rule" is not a figment of the imagination. The entire country turns against the Chamberlains, in part because they are seen as odd. Streep gives her best performance ever as the complex Lindy, whose own strong-willed demeanor works against her every step of the way. Neill, likewise, does a wonderful job as the hesitant and confused Michael. The cast is one of the largest ever, with depictions of folks around the country getting their digs into Lindy's case. The costumes, scenery, script, direction and production are all top of the line. If you have never seen or heard of this film, remedy that straight away. It is not a far cry from reality to say that this "Cry" should be seen by all who care about film and about the misused power of the media.


Spoilers Following: I picked up the book "Evil Angels" when it first came out knowing nothing of the case. Just to give the press and the Austrialian people a break here, I was quite far into it before I began to question the Chamberlain's guilt. The author obviously intended the reader to understand why the public jumped to the conclusions they did. John Bryson told the story just as it was presented to the jurors (and picked up by the press) of the arterial spray, the actelone (??) plates, Dr. James Cameron's certainty that the collar was cut with scissors, that a baby could not be taken whole from her clothes with the buttons still done up, bloody hand print, etc. all quite convincingly. After all, these were experts in their fields who were testifying with no apparent reason to lie, and the fact that the evidence was completely wrong wasn't apparent to me at all. It was also highly technical evidence, difficult for a layman to understand. To this point, beyond some hearsay testimony in the trials, hardly anyone had ever heard of a dingo attacking a human; people didn't believe it was possible. The public was suspicious of the Seventh Day Adventists, whose origins made them appear to be a cult, and all sorts of wild beliefs about them contributed to the appearance of guilt. Were it not for dedicated, selfless lawyers who worked relentlessly to investigate and counter the trial testimony, finding Azaria's clothes later would not have been enough to get Lindy out of jail. The book shook me for that reason, and I've been reluctant to come to a conclusion about anyone's guilt ever since (excepting OJ of course). I was thrilled that a movie was going to be made about the case and don't think it could have been done better. I've always liked Sam, who I could identify with completely, and Meryl was perfect as always. Beautiful photography, haunting music. I think it's not only a very good, but a very important, movie. Too bad it didn't receive more publicity at the time it was released.


Meryl Streep is excellent in her nuanced and stoic performance as the infamous Lindy Chamberlain who was accused and tried for allegedly killing her own baby Azaria Chamberlain and using her alibi of ravenous dingoes as her defense. Based on the book "Evil Angels" and titled so in its Australian release, A CRY IN THE DARK is an ugly film to watch. It presents a scenario that's all too real for us in America: the witch-hunt against a person deemed an easy target.

Lindy Chamberlain was this woman. Being someone who spoke her mind, someone who didn't play the sympathy card, and someone who was just tough enough to move on with her life despite her horrific ordeal, she was labeled as suspect and hated beyond comprehension even when it was clear she didn't kill her own child. The media began a tightening noose and a progressive invasion of privacy that soon had the entire nation glued to their sets as they eviscerated this family piece by piece. And through it all, Lindy remained as stoic as ever, even when her husband Michael was falling apart.

This stance, of course, is the power of strength, as unsympathetic as it may look like, and people happen to react strongly to that. They want to see a distressed mother cry and weep and occasionally faint at every turn, not sit there and look blank. People don't understand that not everyone grieves the same way and when someone decides to stand strong they begin speculations. Meryl Streep embodies this tainted woman to the hilt and in doing so creates a cold, but not unfeeling woman, one that stood by her convictions even if they cost her liberty. Because of her, Sam Neill is allowed to have his character slowly dissolve into despair -- someone has to, or the Chamberlains would be too detached, and no one wants to see that. Except the monster that has at the time of this writing become the news-media. They'll always eat train wrecks up and feed the mangled manure to the uninformed public.


Once you pick your jaw up from off the floor from the realization that they... somehow... managed to put this thing together so fast that it was released the same year the case ended, you'll find that it's not half bad. The plot is engaging and interesting, and the pacing is fast, with this covering many situations, and thus often jumping swiftly on to the next one after a line or two has been spoken. Where this really stands out is the acting. The performances are excellent. Neill and Streep are both impeccable. It's also cool to hear so much Australian spoken in a Hollywood film, and even those who don't come naturally to it at least attempt an accent. The cinematography and editing are nice enough, but they don't really go beyond the standard stuff. This movie's story is compelling and the fact that it is authentic just makes it all the more chilling. While I have not read the novel or heard of what happened outside of this picture, I understand that it is quite close to the truth. There is some moderate to strong language and disturbing content in this. It is, at times, a downright great courtroom drama. I recommend this to any fellow fan of such. 7/10


This is a docudrama story on the Lindy Chamberlain case and a look at it's impact on Australian society. It especially looks at the problem of innuendo, gossip and expectation when dealing with real-life dramas.

One issue the story deals with is the way it is expected people will all give the same emotional response to similar situations. Not everyone goes into wild melodramatic hysterics to every major crisis. Just because the characters in the movies and on TV act in a certain way is no reason to expect real people to do so. This is especially apt for journalists and news editors who appear to be looking for the the big sob scene that will pull the ratings. It's an issue that has to be constantly addressed.

The leads play the characters with depth, personality and sensitivity. And they are ably supported by a large cast all playing based-on-fact individuals. Some viewers may be surprised to learn that many of the supporting cast in this story are people better known in Australia as comic actors. It re-enforces my idea that comic actors make some of the best supports in dramas because with comedy they know how to establish quick impressions of individuals.

(Spoiler warning!)

I have to say something very personal here; in that I am actually an ex-Adventist who was a practicing member in Australia at the time this incident occurred; so I have a slightly different impression of the story than most. I think it is handled with amazing creativity and personality, and emotional heart. I think the best scene is the one where the couple are hounded by the new choppers. It captured the themes of the story brilliantly.

I once heard Fred Schepsi say in an interview that he told the actors to "play the best case for their character they could". While this is especially apt for this story, I think it is also a general principle that should apply to all acting as well.


Meryl Streep is such a genius. Well, at least as an actress. I know she's been made fun of for doing a lot of roles with accents, but she nails the accent every time. Her performance as Lindy Chamberlain was inspiring. Mrs. Chamberlain, as portrayed here, was not particularly likable, nor all that smart. But that just makes Streep's work all the more remarkable. I think she is worth all 10 or so of her Oscar nominations. About the film, well, there were a couple of interesting things. I don't know much about Australia, but the theme of religious bigotry among the general public played a big part in the story. I had largely missed this when I first saw the film some years ago, but it came through loud and clear yesterday. And it seems the Australian press is just as accomplished at misery-inducing pursuit and overkill as their American colleagues. A pretty good film. A bit different. Grade: B


I remember seeing this movie shown several years ago on the Lifetime TV network and thought it was an interesting story. Several years later I see it again and fall head over heels in love with this movie. The story behind the movie is fascinating in and of itself. The cast just makes it that much more appealing. Meryl Streep is definitely at the top of her game in this picture. She nails Mrs. Chamberlain's mannerisms, the accent, and even look. She shows the pain, hurt, surprise, and anger that Lindy had to endure, and in the process it's hard to remember that it ISN'T Lindy. In my opinion, this performance of Meryl's was better than her Oscar-winning turn in "Sophie's Choice", and should have garnered her her third Oscar. Sam Neill is perfect as Michael Chamberlain, and for some surprising reason, wasn't recognized by the Academy with at least a nomination. In all, this movie only receive ONE Oscar nod (Streep's for Best Actress.) However, it did receive several Australian Oscars and nominations.

Definitely a top-rate movie: it tells a great story and you get great performances from the entire cast.