Benicio-Del-Toro Movie Reviews

Kevin Spacey has emerged as one of America's leading actors in the past few years: "Swimming With Sharks" is a delightful exhibition of his unique blend of sarcasm, viciousness, and versatility. Few characters could be as much fun for an actor to play as Barry Ackerman, the immoral, hedonistic, abuse-spewing film executive idealistic young Guy toils away for. Spacey takes obvious relish in lines such as "Her phone bills are more than your rent," "He's not dead; he's just . . . unavailable," and particularly, "If you were in my toilet, I wouldn't bother to flush you."

Guy, an idealistic young film graduate, has somehow landed one of the cream jobs in Hollywood as assistant to Ackerman. How he got the job is a mystery, as Guy seems to have no idea of what goes on in the movie business and has not met Ackerman before. Guy can speak movingly about the movies he watched in his youth -- maybe that's enough to become a mini-mogul in Hollywood these days. Michelle Forbes' Dawn, a producer, inexplicably falls for Guy, although we are supposed to believe that this beautiful, rich, powerful woman is attracted to Guy's honesty and naivete. Funny how those traits work on beautiful, rich, powerful women in the movies.

The movie bounces back and forth between Guy getting his revenge on Barry for the hell he's gone through as Barry's lackey and the flashback shots of Guy's humiliating experiences. Throughout the movie we are treated to little Hollywood inside jokes (for example, the "hot young director" in the movie is Foster Kane, the name of Orson Welles' infamous protagonist in "Citizen Kane"). An enjoyable trip through the dark side of the movie business, "Sharks" contains just enough reality to keep the more outlandish plot developments grounded. Not as savage as "In the Company of Men," and not as complex as "The Player," "Swimming With Shars" is nevertheless a solid ninety minutes that will sustain Kevin Spacey fans who have watched "The Usual Suspects," "Se7en," "American Beauty," or "Glengarry Glen Ross" too many times.

Be warned: the videotape is of poor quality and may wear out more quickly than other high-budget releases.

This movie really took me by surprise. I friend lent it to me one night and I sat down to watch it somewhat hesitantly. Boy, was I surprised!! This was one great movie. Extremely well-written and Kevin Spacey is nothing short of spectacular in his portrayal of one of the most vile and loathsome people imaginable. I don't think there's a person alive who can't relate to Frank Whaley's character in one respect or another. Buddy Ackerman is so insanely hateful that you just want to jump into your TV screen and beat the tar out of his egotistical and arrogant behind. I was, I must admit, somewhat disappointed with the ending, but all in all, a genuine surprise of a film and one that made me glad that I was never interested in pursuing a career in show business.

a classic tale of corporate comeuppance Kevin Spacey and Frank Whaley are wonderful.Benicio Del Toro has a cameo as Kevin Spacey's former assistant who has gone on to better things.a must see!

Kevin Spacey has emerged as one of America's leading actors in the past few years: "Swimming With Sharks" is a delightful exhibition of his unique blend of sarcasm, viciousness, and versatility. Few characters could be as much fun for an actor to play as Barry Ackerman, the immoral, hedonistic, abuse-spewing film executive idealistic young Guy toils away for. Spacey takes obvious relish in lines such as "Her phone bills are more than your rent," "He's not dead; he's just . . . unavailable," and particularly, "If you were in my toilet, I wouldn't bother to flush you."

Guy, an idealistic young film graduate, has somehow landed one of the cream jobs in Hollywood as assistant to Ackerman. How he got the job is a mystery, as Guy seems to have no idea of what goes on in the movie business and has not met Ackerman before. Guy can speak movingly about the movies he watched in his youth -- maybe that's enough to become a mini-mogul in Hollywood these days. Michelle Forbes' Dawn, a producer, inexplicably falls for Guy, although we are supposed to believe that this beautiful, rich, powerful woman is attracted to Guy's honesty and naivete. Funny how those traits work on beautiful, rich, powerful women in the movies.

The movie bounces back and forth between Guy getting his revenge on Barry for the hell he's gone through as Barry's lackey and the flashback shots of Guy's humiliating experiences. Throughout the movie we are treated to little Hollywood inside jokes (for example, the "hot young director" in the movie is Foster Kane, the name of Orson Welles' infamous protagonist in "Citizen Kane"). An enjoyable trip through the dark side of the movie business, "Sharks" contains just enough reality to keep the more outlandish plot developments grounded. Not as savage as "In the Company of Men," and not as complex as "The Player," "Swimming With Shars" is nevertheless a solid ninety minutes that will sustain Kevin Spacey fans who have watched "The Usual Suspects," "Se7en," "American Beauty," or "Glengarry Glen Ross" too many times.

Be warned: the videotape is of poor quality and may wear out more quickly than other high-budget releases.

This movie really took me by surprise. I friend lent it to me one night and I sat down to watch it somewhat hesitantly. Boy, was I surprised!! This was one great movie. Extremely well-written and Kevin Spacey is nothing short of spectacular in his portrayal of one of the most vile and loathsome people imaginable. I don't think there's a person alive who can't relate to Frank Whaley's character in one respect or another. Buddy Ackerman is so insanely hateful that you just want to jump into your TV screen and beat the tar out of his egotistical and arrogant behind. I was, I must admit, somewhat disappointed with the ending, but all in all, a genuine surprise of a film and one that made me glad that I was never interested in pursuing a career in show business.

a classic tale of corporate comeuppance Kevin Spacey and Frank Whaley are wonderful.Benicio Del Toro has a cameo as Kevin Spacey's former assistant who has gone on to better things.a must see!

Here's something for Brandon DiSabatino (reviewer): I have read Joyce, Nietzsche, Sartre AND Burroughs.
I have never considered "Ulysses" to be a reason not to make exciting art just for the heck of it. Jim's whole story is just a ramble. A beautiful sprawling wonder of a ramble, but a ramble nonetheless. Do you accuse Joyce's work of being empty?
I have never considered "Thus Spoke Zarathustra" to be a bible for the supression of fast paced fiction (remembering here that Thompson has repeatedly hinted that this 'autobiographical' piece is far more a novel than anything else).
I did not find anything that denounced good cinema in "Existentialism"; exactly the opposite, to be frank.
And as for Burroughs (consider "The Naked Lunch"): Do you REALLY think that Old Bull Lee would be at odds with Hunter S.?...REALLY??? It was part of this old heroine addict's dream for the world to see people like Thompson running around a tarnished America without a leash.
I realise that in this instance, what I am about to say could be seen as something of a "pot-calling-the-kettle-black" statement, but did you honestly think that your review would be helpful to anyone that wasn't a so-called 'intellectual'?
I loved this film. I loved it BECAUSE it wasn't about anything; BECAUSE it was different, and although all the classic reading of past years is of course still applicable to modern living, it just isn't, in fact couldn't be, anything like "Fear and Loathing."
Bloom's exploits in "Ulysses" are indeed interesting and frequently bizarre, but to the general public today, it simply won't mean as much as it did when it was written. The vocabulary used by Dublin's bohemian residants of bygone days was indeed got down pat by Mr. Joyce, but when it comes to recounting hallucinatory experiances in a desert, surrounded by some of the world's most venal and destructive ideals, Leopold Bloom and his kidney breakfasts just do not--cannot--pass muster!
On more than one occasion, I have actually mentioned Ulysses as a valid latter day comparison to Fear and Loathing and other films of it's ilk, but I've never tried to set the two up as competitors. Kerouac's "On the Road" also strikes a similar chord.
This is a film that you need to relax into from the writer's point of view (this being, after all,the whole point of reading((and watching movies)). The writing flows, if only you let it. People who seek to debunk Thompson in the way that DiSabatino does in his review are invariably anal people without any sense of creative fun; the kind of creative fun that all the best writers of bygone eras expounded until their voices were horse with the shouting.
You need to chill. I mean, "Erasehead" for crying out loud! Get a grip.
If you're not stunted in all the ways that Thompson hates, then you have to see this film. Totally brilliant, and at times, totally misunderstood.
(Mr. DiSabatino has since replied in another review on this page and made clearer his original review's intent. We understand eachother better than I first thought. Well met, sir.)

This DVD finally gives one of Terry Gilliam's lesser-loved (but brilliant!) films the red carpet treatment. The commentary from Gilliam is crazed and passionate; Depp and Del Toro really show off their wit, charm, and intelligence along with producer Laila Nabulsi's back-stage insight, and the last commentary is a rather odd and screwball one from Thompson himself. I won't tell you a thing about the last commentary. You've got to buy this and check it out on your own. (Here's a hint: 'Screeee-ahhhh! Raaaaaaaagh!' *other assorted sounds*)

The second disc is crammed with some great goodies as well - Depp reads letters written to/from Thompson. There's a great BBC documentary showing HST and Ralph Steadman undertaking a trip from Las Vegas to Los Angeles. Another gem is a snippet from an audio-book recording of Fear & Loathing with Jim Jarmusch as Raoul Duke! All definitely worth it.

Fear and Loathing isn't just a drug movie (as all the extras on the DVD will reiterate over and over again) - it's a truthful, imaginative, twisted, and subversive take on the death of the most idealistic decade and generation. We get to see it all through the eyes of two renegade professionals, one a journalist and the other a lawyer, both fighting the good fight against scum and villainy.

We can't stop here! THIS IS BAT COUNTRY.

I believe the quote at the begining of the movie and a quote HST used quite a bit throughout his career pretty much sums up the crux of the movie and it goes something like..."He who makes a beast of himself gets rid of the pain of being a man." I would also recommend that if you are going to watch the movie, that you also read the book as well. To me the movie is totally insane, funny and whether you like it or not will make you deal with certain issues that you may find disturbing to your sensibilities, don't panic, this is normal. If you are a true red blooded american who likes to follow the rules( at least when people are looking which incidentaly is the american way) then there is a possibility that you may find this movie offensive. But this should not stop you from watching the movie and finding a way to deal with it as did Mr. Duke and Dr Gonzo. Now it is also imperative for me to bring out at this time that what is also overlooked by the "critics" and casual observers as well is the tremendous work done by both Johnny Depp and Benicio Del Toro which in itself is worth watching this movie. Next, do not try to make sense of this movie, that would be a mistake, simply experience it as did the good Doctor and his Attourney and then decide for yourself how it effects you or affects you for that matter, but whatever you do, do not dismiss it, the decision must be made. Really there is no reason for judgement or maybe there is, but that is up to the viewer to deal with and deal with it you should. The bottom line is this, You should take two things away from this movie: 1. It is important, no matter what the circumstances are to always get the "story". And 2. If you buy the ticket then you must take the ride. If the viewer can keep these things in mind before, during and after this movie then I think you will be doing just fine and dare I say have a new found appreciation of what the good Dr. and the movie are trying to achieve.

BAD film all the way.. some talented people are givin' nothing to work with, they were bored. You'll be as well. The focus is on this car that the main characters want to call their own and only end up involved in the production of a most embarrassing movie that all involved are ashamed of. BAD script, BAD performances, BAD cinamatography, BAD direction... the entire budget was spent on the car. And it's not even all that. When "BAD" is used this many times in such a short review you should consider taking a rain check.

For anyone teaching a course to young actors, screenwriters, or directors, this pic is an excellent tool. The problems inherent in the pic are just as instructive as its shining moments leaving a great deal of room to pick apart camera techinques, how the use of a musical score can detract from or add to a scene, and especially internalization of motive leading to choices an actor must make to infuse life into what otherwise could end up being a stereotypical, two-dimensional character.

Tobey Maguire has built a very respectable career on his sensitive, understated performances, yet the raw J.T. offers insight into Maguire's ability to branch out into personalities that are not always the "hero." Though his relative inexperience does show through in places, the strong believability of his interpretation of J.T. clearly shows the raw talent evident in even his early work.

By far the most provoking performance in the pic is the underrated Amy Hathaway as the internally tortured and physically exploited Tanya. A solid character interpretation from start to finish, Hathaway only stumbles when the script asks her for unnecessarily gratuitous lust, specifically the silly romp-in-the-car scene with Maguire. On a contrasting note, during the powerful bedroom scene with the Mayor, Hathaway shines by deftly conveying a deep-seated anguish for Tanya's unfortunate situation that is craftily hidden during the remainder of her performance.

Also highly noteworthy is Benecio Del Toro. It is common knowledge that small-budget productions can offer a wider scope of interpretation for an actor, and Del Toro demonstrates this to the fullest extent. A master of subtle physical acting, this early role showcases the talent that blossomed in later years. Along the same lines, Christina Naify as Ms. Smith does a nice job creating a real person out of a small amount of material by exploring physical gestures and vocal patterns that make up so much of a human being's personality.

All of the actors, and to a large extent the script itself, are nearly annihilated in many places by the exasperatingly poor musical score. Instead of developing in the viewer a deeper understanding of the character's interactions, the score is often bad enough to be considered a true "groaner."

A must-see for Maguire, Hathaway, Del Toro, and those quirky Adam West fans, "Joyride" is more interesting as a study of technique than great storytelling, but well worth the ride.

Produced in 1996, this film is enjoyable on many levels. Drama, comedy, thriller...
Tobey Maguire shows his star power. He seems to be having fun with the role of J.T. Likewise his co-stars Wilson Cruz and Amy Hathaway work well together as three friends trying to escape their various situations in life. Adam West and Steven Gilborn are cast against type to advantage and a nice cameo from James Karen also add to the enjoyment. Benicio Del Toro is hilarious as the deadly serious Detective Lopez and Kenn Norman is believable as the sheriff. Also noteworthy is Judson Mills as Redneck Joey. Lastly I have to say Christina Naify is a standout as 'Smith'. At once sexy and deadly, she plays her part exceptionally well. Thoroughly recommended. The DVD has no special features of note, with the exception of a filmography and biography of Tobey Maguire. The print is excellent and the sound crisp. Buy It!

Sy is a movie producer who is in Cannes for the festival, as usual. However, he needs for someone else to pay all his bills there so takes a bet, that he can turn a young nobody seen on the beach into a credible writer that he can use to raise ...millions while in Cannes. Not a single word has been written but Sy sees that as no impediment to approaching every star in the universe to become involved in his movie, with virtually all of them saying yes, from Johnny Depp to Dennis Hopper to John Malkovich and so on. A hilarious, droll view at the film world that is light as a souffle. It won't stick with you but it is fun for a night.

Julian Schnabel pulled off some kind of coup by getting financing and a distributor for a kind of "home movie" that is as inept and awful as having to watch your neighbor's video of their last vacation. But unlike your neighbors, Mr. Schnabel knows a lot of actors and celebrities to do supporting parts and cameos, so any pleasure to be derived from "Basquiat" comes from spotting the famous names.

Jean-Michel Basquiat was a (sadly) drug-addicted and mentally ill 20 year old when he broke into the art scene in the early 80s. Of course, art is in the mind of the beholder, but to my sensibilites he was made much of because of his youth, race and a (false) belief that he was some kind of homeless "savant". (Actually, he was from a middle class background.) Anything interesting in his story has more to do with the pretentiousness of the "New York Art Scene" and how they glom onto something for a season or two, or make much of a sad, mentally ill boy until his life, expectations and whatever talent he did or didn't have is utterly wasted.

The real mystery: how the heck does Schnabel get someone of the talent and stature of Willem Dafoe to do a "walk on" as an electrician or Parker Posey to do a line or two as art dealer Mary Boone? There are also brief appearances by wannabes like Courtney Love, Tatum O'Neal, Dennis Hopper, etc. (Not to mention that the entire Schnabel family sans Papa is listed in the credits.) No less than Gary Oldman portrays Schnabel himself (called Albert Milo here, although I can't imagine why) and shown living like a Renaissance prince in a vast New York loft filled with giant paintings and antiques...I guess so we properly hold him in awe as a successful New York "artiste" and swoon at his affluence.

There is ZERO attempt here to re-create the period and society in place during the time of the events shown (about '79-83) and actors wear clothing contemporary to the later 90s, at least 15 years too modern; ditto for things like cars, music, etc. This is very disorienting -- is Schnabel trying to make the story contemporary or is he cheap, sloppy, unaware? It's impossible to tell.

Since the protagonist is stoned AND mentally ill throughout the film -- he doesn't descend into this state as in some biopics, but starts out this way -- there is a certain amount of pity for him, but it's hard to feel any kind of identification with him. It's also embarassing

Production values and special effects -- the surfer in the sky fantasy -- are not particularly well done by current CGI standards adding to the "home made" overall quality of the film.

A couple of supporting actors pull out the stops to give good performances. David Bowie, who you would not think had it in him acting-wise or appearance-wise, turns in a wonderful, nuanced portrait of the uber-trendy Andy Warhol (just before the artist's death). Michael Wincott, known more for his portrayals of sinister villain types, switches gears radically to portray very gay, very swishy poet/art critic Rene Ricard, who "discovers" Basquiat only to be quickly betrayed as the young artist allys himself with more important and high profile "friends". He's very convincing in the part and I had to check the credits twice to be sure this was the same actor from "The Crow" and "1492".

But other high profile name actors are basically just doing walk-ons...I guess this is the high trendy art equivalent of a home movie. So my first analysis was dead-on.

You won't learn anything about art from watching "Basquiat", except that it's a very bad idea to give an artist a camera and let him make a movie.

Basquiat (Julian Schnabel, 1996)

Schnabel has made two films in five years. I'm still wondering why the man hasn't yet been immortalized. Less talented directors have gotten stars on the Walk of Fame for less accomplishment than Schnabel showed with his second film, Before Night Falls, alone. His first, Basquiat, is damned close to being as good, and yet it fell almost completely below the radar of American cinema upon its release, despite a stable of talent so broad it's almost ludicrous.

Schnabel (played in the film by Gary Oldman, incidentally-- and Schnabel's real-life family plays Oldman's family in the film. heh.) gives us the story of Jean-Michel Basquiat, one of the brightest lights of New York's avant-garde art movement in the seventies and eighties before his 1988 overdose. Basquiat himself is played by the always-engaging Jeffrey Wright (recently seen giving Sam Jackson trouble in _Shaft_), and while the film never fails to center on Basquiat himself, Wright's brilliantly low-key performance seems almost a backdrop for a slew of A-list actors in minor roles (Willem Dafoe, Christopher Walken, Dennis Hopper, Tatum O'Neal, etc.) and up-and-coming stars who have since gone on to eclipse even Wright (Benecio del Toro, Courtney Love, Vincent Gallo, Linda Larkin, Caire Forlani, Michael Badalucco, et al.). But the show is truly stolen by David Bowie as (a believable, believe it or not) Andy Warhol. Bowie doesn't do a whole lot of acting, but when he does, he's usually wonderful at it (viz. The Hunger, Christiane F., etc.). He takes it to new heights here, and Bowie and Wright give a sense of the friendship between Warhol and Basquiat that does far more in far less screen time than most buddy movies could dream about. Of course, that may be because Schnabel, an artist himself, is a virtuoso at conveying the shallowness of the New York art scene. What's more, he manages to do so without turning Basquiat into a shallow film. Not an easy task, by any means.

Fantastic all the way around. **** 1/2

Schnabel's "Basquiat" is an extremely watchable film. It's touching, funny, depressing, uplifting, mainstream and expiremental at the same time. It teaches you much about the painter's life from the time right before he became a star to the beginning of his downfall.

Jeffrey Wright's performance is spellbinding and is perhaps one of the greatest biographical performances in the history of film. David Bowie is hilarious and extremely on point with his portrayal of Andy Warhol and Michael Wincott is fantastic as poet Rene Ricard. Other stand out characters are Benicio Del Toro as Basquiat's best friend, and Christopher Walken as an interviewer. Look quick for Vincent Gallo and a few other stars in cameos.

Every scene in this movie is beautiful. The film moves forward at a quick pace in a series of vignettes. You can watch this film a thousand times and walk away a little more inspired about art and fame. I only wonder if people outside New York can relate as well to this film. It's a very 'East Village' film, you'll understand if you live here.

STILL WATING FOR THE DAMN DVD COME ON MIRAMAX, COUGH IT UP, ILL EDIT THE THING MYSELF IF YOU DONT WANT TO SPEND MONEY ON IT.

Timothy Dalton's 2nd and final appearance as James Bond finds the famous spy going AWOL from the British Secret Service in search of drug kingpin, Franz Sanchez (Robert Davi), the man responsible for the near death of his American friend, Felix Leiter as well as the death of his new bride. This Bond film is very different from the rest of the series, in that it shows Bond as more of a renegade than that of a super spy. Teaming up with an American operative (Carey Lowell), the two work together to destroy Sanchez's organization from the inside out. People will note that this plot has a very "Yojimbo," "Fistful Of Dollars," "Last Man Standing," quality to it, in that Sanchez befriends Bond, who then makes him suspect all his allies, having him eliminate his own men in the process.

As in all Bond films, Licence To Kill has some great stunt sequences, notably 007 firing a harpoon gun at a plane and skiing after it on the water without skis. Also the great tanker truck sequences are amazing. You have to see a rocket launcher being fired at one to believe it!

Timothy Dalton will always be remembered as the most serious James Bond. And although many people criticize him to this day for it, he truly made the part the most real.

It's also interesting to point out that Licence To Kill had the best scored screenings with test audiences than any other Bond film, yet it failed to find an audience in the US but did do well in the UK. The original title was Licence Revoked, but United Artists thought Americans wouldn't know what that meant (we're not that ignorant, UA!) so it was changed.

The DVD version is packed full of extra features including 2 audio commentaries, one with director John Glen, the other with producer Michael G. Wilson. Although Wilson's is quite informative, John Glen's is the most enjoyable in my opinion.

You also get the Licence To Kill music video with Gladys Knight, who claims she now would not have done the song because its subject matter involves killing. And you get the End Credit "If You Asked Me To" music video by Patti LaBelle, one of the most popular End Credit Songs for a Bond movie.

There are also other little goodies such as a still gallery, some publicity footage, a featurette on the exciting stunt footage of the film, and of course, theatrical trailers.

But one of the best bonuses on the disc is the Inside Licence To Kill Documentary. You get a real feel of how hard and difficult the film actually was to make, with Cubby Broccoli unable to stay on location because of the heat and the mysterious burning hand seen on one of the still photos of a tanker explosion. Very cool stuff!

So, although many dislike it here in the USA, this does not mean the film is not credible and more and more people are discovering today what an actual good film it truly is.

"Bless Your Heart."-Wayne Newton

I have seen where a few critics have down-graded this movie and that is a shame as "License to Kill" has a lot going for it. The concept of Bond as a rogue was a refreshing change, and one of the best concepts in any of the Bond films. Essentially, the plot goes as follows: A renown drug dealer Sanchez (Robert Davi) is arrested in Miami with help of the DEA and Felix Leiter (Bond's CIA contact and good friend). Following the arrest, Felix gets married. Sanchez escapes and commits a brutal act of revenge before returning to Isthmus City. James Bond (Timothy Dalton), determined to take Sanchez down, enlistes Pam Bouvier (Carey Lowell) to help him. One problem for Bond is that Sanchez is well guarded and has numerous contacts. Bond will have to have to be careful in infiltrating Sanchez. The other problem is that he is now a rogue agent, having his license to kill revoked by the British government.

The only real weak points of this movie would be the occasional weak acting from Talisa Soto (Sanchez's girlfriend), and a little bit more swearing than some of the other bond films, but many other elements more than make up for these two minor shortcomings.

Timothy Dalton is superb as James Bond. Dalton is a great, capable actor, and he is perfect for the movie and its concept. Dalton did a superb job and this is a key factor to the success of the film. As a side note, Dalton needed to make a change in the approach from Roger Moore, just as Moore needed to make a change from Connery. This change between actors is important, otherwise comparisons are made, and usually it is the incumbent who loses (in the minds of the general audience). Dalton did the right thing by changing the Bond to a darker persona. The contrast is important because of Roger Moore's 12-year tenure as Bond, which spread over seven films. Carey Lowell makes a very capable Bond woman as it nice to see a tough woman pairing up with Bond. The central villain, Sanchez, is very strong and well acted -- and also a nice change away from villains who want to destroy the world. Benicio Del Toro and Anthony Zerbe are well cast and well-acted as Sanchez's henchmen. Also, it was nice to see Q, played by the late Desmond Llewelyn, get more to do than his usual brief cameo or two. He certainly deserved it and rose to the challenge admirably. It was also nice to see David Hedison return to play Felix Leiter (he previously played Leiter in "Live and Let Die").

Other elements that make this a very enjoyable, memorable Bond film to watch are the location work, great special effects, and great stunts. The stunts with the semi-trucks toward the end are great fun! Michael Kamen's score adds a lot to the movie as well.

VHS or DVD? The VHS version simply contains the movie. The DVD version is a special edition that includes two different audio commentaries which let you watch the movie and hear commentary by some of the cast and production members. They comment about the actors, work on the set, the scenes, and how certain scenes were shot/created. Two music videos are included: "License to Kill" by Gladys Knight is the opening theme, and "If You Asked Me To" by Patti LaBelle marks the closing theme. A promotional feature on the stunt footage at the climax and a documentary on the film itself are also included. Finally, two theatrical trailers and a photo galary with over 100 stills are included.

If you are a fan of the Bond series, I highly recommend this movie, and the same goes toward Timothy Dalton and spy/action movie fans. This movie is also included in the first volume of a Bond Collector's set. If you like extra features, I would recommend the DVD. Overall, I happen to think that "License to Kill" is one of the best Bond movies. Major re-evaluation required.

"Licence to Kill" while not based on an actuall Ian Fleming book, is closer in spirit than any Bond movie in a long time. James Bond (Timothy Dalton) gose on a personal vendetta against a drug lord who nearly kills his buddy Felix Lighter. Bond acts more on emotion (specificly rage) and gose rouge away from MI6. His allies are a DEA agent (pre-'Law and Order' Corey Lowell) and the bad guys girl (Talisa Soto), and (a welcome addition) Q (Desmond Llewelyn). The bas guys include Robert Davi as a Noriaga like drug lord, one of the best villians in to this point in years, Binrico Del Toro (long before he got famous), and Wayne Newton (huh?). Timothy Dalton gets a lot of crap about being the worst Bond ever, I disagree; I think he did a good job. His Bond was younger, colder, and much more dangorous that Roger Moore ever was. I don't know what people's problem was with him. I wish he could have done more Bond movies. 'Licence' was much more violent and meaner in tone than other Bonds, and I liked that to, it is more in keeping with the books.

This has to be one of the worst, if not the worst, film in the bond series. Although Dalton never seemed to fit into the Bond role, the fault in this film is entirely with the script and the director. With this film it seems as if the Bond franchise finally ran out of stories to write. Although the story of revenge against a fellow agent's murderer is good, the antagonist being a drug lord just drags the movie down. Moore's "Live and Let Die" was a similar problem. The villains in those movies just don't seem to be on the level of SPECTER and Blofeld, a Stromberg, Goldfinger, or Drax; they are, after all, just drug dealers.

I saw this film only once and don't regret not having seen it again. An alltogether very forgettable movie that isn't even worth renting.

I finally am able to say that i have completed watching every James Bond 007 movie by watching this one the other week. Why did it took that long? ...well for some reason i thought T.Dalton did only one Bond movie when in fact, he did two. This is the 2nd one he did and i have only one word to express it after i seen it: ....woOoaahhhhhh!!!!!

That great white shark was scary eh? It doesn't look plastic like those allegators or snakes in the 'Live or Let Die' movie.
As far as the 007 character agent goes, if i had to pick one to do a 'real' spy job, it would be Timothy Dalton because he takes his job seriously with a no nonsense approach. Is he entertaining to watch compare to the other Bonds? NO WAY!!! Maybe movie viewers expect 007 to be entertaining but Roger Moore had gone overboard by making a mockery with the 007 character which is a disgrace...because he doesn't seem too bright with spy work and is more of a womanizer who looks forwards to making funny remarks as the situation presents itself.

Anyways, the script for this movie is very good and a joy to watch. I will not give the plot away so enjoy. For James Bond diehards, it definitely belong in your Bond's collection as a keeper.

Have a good Sunday!

Timothy Dalton,Robert Davi,Talisa Soto and Benicio Del Toro in an early performance lead us on a nonstop edge of yourseat Bond experience!

With its frank depiction of drug use and its gritty down to earth feel, I enjoyed Traffic and expect to see director Steven Soderbergh walk away with an Oscar come Academy Award time.

There were 5 or 6 different story lines, a few of which came together at different points. One involved Michael Douglas as Robert Wakefield, an Ohio State Supreme Court Justice turned United States Drug Czar having to deal with not only the national and international drug problem, but with the fact that his 16 year old daughter was a drug addict. Another story line involved Benecio Del Toro as Tijuana police officer Javier Rodriguez caught between the corrupt Mexican police system, and his moral obligation to make Mexico drug free for future generations. Another story line had Catherine Zeta-Jones as Helena, an unsuspecting wife of a suspected drug dealer named Carlos Ayala (Steven Bauer), having to cope with her husband being carted off to jail, and having her child threatened unless she pays off her husband's debts. Mixed into that story line were undercover DEA agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman) who are trying to protect the chief witness again Carlos, while trying to get information against Helena.

What I really loved about Traffic was the documentary-style feel it had. Every location was shot differently, from the blown out yellow grittyness of Mexico, to the rich upper class color of Cincinnati. Along with the graphic depictions of drug use and the corruption of the Mexican military and police, it all had the feel of a real life drama, and not just a movie. All the acting performances were wonderful. Usually a great director can bring out great performances from his/her cast. It's no surprise that Julia Roberts from the Soderbergh-directed Erin Brockovich is a front runner in the Best Actress Oscar race, and Benecio Del Toro is a front runner in the Supporting Actor race. Standouts from this movie in my view include Zeta-Jones as a woman who is slowly transformed into the complete opposite of what she was by circumstances beyond her control. Don Cheadle, who is one of the best hidden talents in Hollywood, and is just one big role away from breaking through to mainstream. And the girl I thought had the toughest role in the movie, Erika Christensen as Caroline, the 16 year old drug addicted daughter of the new drug Czar. I think her performance deserves more recognition than it's gotten.

The feel of the movie is really what makes this film a cut above others. It doesn't pull any punches in its portrayal of what life is like for some people. We get to see the inner workings of a corrupt Mexican military, abusing its police power to steal the lucrative drug trade for itself. We see how even if a police officer is on the moral straight and narrow, he has to bend to the facts of life to survive on the streets. Back in America we see that even the drug Czar of the United States can have problems in his own life that are bigger than the country. And we see how a woman will go anywhere and do anything to protect her children and her family. Director Soderbergh has taken us inside the lives of these people without glossing it up Hollywood style.

Traffic is a hard hitting film that may be too much for some people. The scenes of drug use are hard to deal with at times. Seeing what a 16 year old girl will do just to get a fix is troubling. The only part of the film I guess I didn't believe(?) was watching the drug Czar comb the streets looking for his daughter, instead of calling out the National Guard or something to track her down. I understand he had his reasons, wanting to keep the whole situation quiet and away from the press, but it still seemed odd that a person in his position would be willing to wander the streets looking for her. The other problem I had was that some of the story lines and people got confusing to me, and made parts of the movie hard to follow. Luckily most of it all came together near the end.

Overall I enjoyed Traffic and I would recommend it to people looking to get out of the Hollywood-style movie scene we're all used to seeing.

I had went to theaters to see this movie. (Mainly because the previews said it was a knockout, brilliant, and in every critics top 10 list). I was a little skeptical at first, but once it starts it pulls you in. From begining to end, this film lacks nothing.

Whether you like it for the acting, (Don Cheadle, Benicio Del Torro, or Michael Douglas all do superb, along with most others), whether you like it for the cinematography, (I'm not sure who did it, but watch for the color difference between Washington, DC (Michael Douglas' scenes), Mexico (Benicio Del Torro's scenes), or San Diego (where a bunch of rich kids live), you will be amazed.

Another thing is the rock solid story line with snappy dialouge. And not to mention the allstar cast of Benicio Del Torro, (The "Good" Cop), Michael Douglas (Head of the DEA), Catherine Zeta-Jones (A Rich, Pampered, Housewife), Dennis Quaid (The Crooked Lawyer), Don Cheadle (Undercover Cop), along with numerous cameos from Selma Hayek, ect.

This film can not be beat. With A+ acting, story, and without a doubt the BEST cinematography ever! You cant afford to miss TRAFFIC.

Not this film is a 2 1/2 hr long drama, which needs to be viewed in FULL. I know of quite a few people who quit watching it half-way through. You will ruin one of the greatest movie experiences ever if you do this. No Joke!

Winner of 5 Academy Awards including: Best Supporting Actor (Del Torro), Best Director (Steven Soderbergh), Best Film Editing, Best Sound Editing, Best Cinematography!

This is a movie with starpower and sustance, but it commits the same mistakes with consistency troughout the movie. If you can look beyond them, great, some of us can't.
mistake 1: the only cast member that does not produce the spanish language with a thick american accent was Salma Hayek. Everyone else, From Del Toro to the little characters is a Culprit of mangling the language into an East L.A. version of it.
mistake 2: All scenes in cars in the Mexico side have all the actors "buckled up" when in Mexico there is no bucke up law, In fact buckling up is considered for sissies by the macho military/policial culture.
Thoper Grace's performance was a surprise, the kid did break out of his tv personna.

With its frank depiction of drug use and its gritty down to earth feel, I enjoyed Traffic and expect to see director Steven Soderbergh walk away with an Oscar come Academy Award time.

There were 5 or 6 different story lines, a few of which came together at different points. One involved Michael Douglas as Robert Wakefield, an Ohio State Supreme Court Justice turned United States Drug Czar having to deal with not only the national and international drug problem, but with the fact that his 16 year old daughter was a drug addict. Another story line involved Benecio Del Toro as Tijuana police officer Javier Rodriguez caught between the corrupt Mexican police system, and his moral obligation to make Mexico drug free for future generations. Another story line had Catherine Zeta-Jones as Helena, an unsuspecting wife of a suspected drug dealer named Carlos Ayala (Steven Bauer), having to cope with her husband being carted off to jail, and having her child threatened unless she pays off her husband's debts. Mixed into that story line were undercover DEA agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman) who are trying to protect the chief witness again Carlos, while trying to get information against Helena.

What I really loved about Traffic was the documentary-style feel it had. Every location was shot differently, from the blown out yellow grittyness of Mexico, to the rich upper class color of Cincinnati. Along with the graphic depictions of drug use and the corruption of the Mexican military and police, it all had the feel of a real life drama, and not just a movie. All the acting performances were wonderful. Usually a great director can bring out great performances from his/her cast. It's no surprise that Julia Roberts from the Soderbergh-directed Erin Brockovich is a front runner in the Best Actress Oscar race, and Benecio Del Toro is a front runner in the Supporting Actor race. Standouts from this movie in my view include Zeta-Jones as a woman who is slowly transformed into the complete opposite of what she was by circumstances beyond her control. Don Cheadle, who is one of the best hidden talents in Hollywood, and is just one big role away from breaking through to mainstream. And the girl I thought had the toughest role in the movie, Erika Christensen as Caroline, the 16 year old drug addicted daughter of the new drug Czar. I think her performance deserves more recognition than it's gotten.

The feel of the movie is really what makes this film a cut above others. It doesn't pull any punches in its portrayal of what life is like for some people. We get to see the inner workings of a corrupt Mexican military, abusing its police power to steal the lucrative drug trade for itself. We see how even if a police officer is on the moral straight and narrow, he has to bend to the facts of life to survive on the streets. Back in America we see that even the drug Czar of the United States can have problems in his own life that are bigger than the country. And we see how a woman will go anywhere and do anything to protect her children and her family. Director Soderbergh has taken us inside the lives of these people without glossing it up Hollywood style.

Traffic is a hard hitting film that may be too much for some people. The scenes of drug use are hard to deal with at times. Seeing what a 16 year old girl will do just to get a fix is troubling. The only part of the film I guess I didn't believe(?) was watching the drug Czar comb the streets looking for his daughter, instead of calling out the National Guard or something to track her down. I understand he had his reasons, wanting to keep the whole situation quiet and away from the press, but it still seemed odd that a person in his position would be willing to wander the streets looking for her. The other problem I had was that some of the story lines and people got confusing to me, and made parts of the movie hard to follow. Luckily most of it all came together near the end.

Overall I enjoyed Traffic and I would recommend it to people looking to get out of the Hollywood-style movie scene we're all used to seeing.

I had went to theaters to see this movie. (Mainly because the previews said it was a knockout, brilliant, and in every critics top 10 list). I was a little skeptical at first, but once it starts it pulls you in. From begining to end, this film lacks nothing.

Whether you like it for the acting, (Don Cheadle, Benicio Del Torro, or Michael Douglas all do superb, along with most others), whether you like it for the cinematography, (I'm not sure who did it, but watch for the color difference between Washington, DC (Michael Douglas' scenes), Mexico (Benicio Del Torro's scenes), or San Diego (where a bunch of rich kids live), you will be amazed.

Another thing is the rock solid story line with snappy dialouge. And not to mention the allstar cast of Benicio Del Torro, (The "Good" Cop), Michael Douglas (Head of the DEA), Catherine Zeta-Jones (A Rich, Pampered, Housewife), Dennis Quaid (The Crooked Lawyer), Don Cheadle (Undercover Cop), along with numerous cameos from Selma Hayek, ect.

This film can not be beat. With A+ acting, story, and without a doubt the BEST cinematography ever! You cant afford to miss TRAFFIC.

Not this film is a 2 1/2 hr long drama, which needs to be viewed in FULL. I know of quite a few people who quit watching it half-way through. You will ruin one of the greatest movie experiences ever if you do this. No Joke!

Winner of 5 Academy Awards including: Best Supporting Actor (Del Torro), Best Director (Steven Soderbergh), Best Film Editing, Best Sound Editing, Best Cinematography!

This is a movie with starpower and sustance, but it commits the same mistakes with consistency troughout the movie. If you can look beyond them, great, some of us can't.
mistake 1: the only cast member that does not produce the spanish language with a thick american accent was Salma Hayek. Everyone else, From Del Toro to the little characters is a Culprit of mangling the language into an East L.A. version of it.
mistake 2: All scenes in cars in the Mexico side have all the actors "buckled up" when in Mexico there is no bucke up law, In fact buckling up is considered for sissies by the macho military/policial culture.
Thoper Grace's performance was a surprise, the kid did break out of his tv personna.