Ellen-Burstyn Movie Reviews

I believe this is the movie set in Alaska - quite an adventure. Was happy to see it available and the review by Deanna. Am sure it is the same movie.. so I purchased it, and looking forward to seeing it again. Very intriguing and most enjoyable.. have been looking for it for years! Tom Skerrit is great in this!

A captivating movie which features two people trying to make a living in the early days of the frontier. One man's dreams and a womans need to believe in the one she loves, makes this an intriguing and soul-stirring movie. The hardships they have to overcome and the constant nomadic lifestyle they lead, gives the viewer something to identify with in this forever changing world of ups and downs. Adequately named, this movie "Silence of the North", gives us an insight to what the early settlers had to go through and how they survived and overcame the obstacles that was presented before them. Definitely a 5 star movie.

I must say that the extra scene of Regan on the stairs made the hairs on the back of my neck stand. Some people found that scene comical or out-of-step with the movie, but I thought it was chilling. This is a classic.

I'm not kidding. I am a grown woman, have seen hundreds of horror movies, and even watching this in the middle of the day when it was sunny outside it gave me chills. In fact, a couple of scenes (like the head spinning) scared me so bad I almost started to CRY. I saw this movie on TV when I was in high school and for some reason it scared me WAY more now. The documentary was excellent, and I finally got to see the notorious "spider-walk" scene that was cut out. I wanted to see this part for a long time, ever since I heard about it, but I didn't think I'd get to because I don't have a DVD player. I was thrilled that it was included, but YEEEESH it gave me the creeps. I think it was a great idea to re-master the sound, as the sound is one of the most frightening aspects of the movie. It rightly deserved the 1973 Academy Award for best sound. Her voice is creepy enough, but these horrible animal-like sounds come out of this little girl that make every hair on your body stand on end. I also didn't think upon a second viewing that I would find any scenes shocking as it takes a lot to shock me, and I am not exaggerating. Well, the scene with the crucifix made my jaw drop and I had to cover up my eyes, I couldn't watch! ( if you are easily shocked I would seriously recommend either fast-forwarding or NOT looking during this scene). What's also interesting in the documentary is hearing about how rough a shoot it was. Evidently Friedkin is not very well-liked by most of the actors who have worked with him, and you will find out they have good cause for this. But I have to admit, he got results, and this is one HELL of a great movie.

The Exorcist stands in the most hallowed of halls when it comes to horror, having been voted as recently as 1999 the scariest movie of all time by fans. I envy those who find this film so remarkably frightening, as it really doesn't strike me as particularly scary - unsettling at times, but not scary. The addition of twelve minutes of new footage plus a remastering of the soundtrack make The Exorcist (The Version You've Never Seen) the definitive movie adaptation of William Peter Blatty's best-selling novel of demonic possession. The additional material brings the film much more in line with Blatty's original vision, and I find it a little strange that director William Friedkin seems to get most of the credit for this new version of the film when he was the one who cut the respective scenes in the first place and, in some cases, resisted their inclusion in this special re-release.

The plot should be familiar to just about everyone. Linda Blair, in a truly remarkable performance, plays Regan MacNeil, the sweet and innocent twelve-year-old daughter of actress Chris McNeil (Ellen Burstyn) who becomes possessed by a demon. Jason Miller is Father Karras, a Jesuit priest battling his own demons of guilt over his mother's final days on earth and starting to lose his faith at the constant scenes of misery he sees all around him. After all medical and psychiatric tests and treatments fail to stop Regan's utter deterioration into a disturbed abomination of a child, Chris contacts Father Karras in an effort to arrange an exorcism. Max von Sydow plays Father Merrin, the pinnacle of good in this film who has battled this demon before and won; he is the exorcist in this ultimate battle of good versus evil.

The Exorcist truly is a powerful movie experience, filled with several of the most shocking scenes to ever appear on film. I was surprised that so many of the more controversial aspects of the story actually made it from novel to screen, especially in the original 1973 incarnation of the film. It's really impossible for me to say which is better, the film or the novel. There are several subplots and very significant details in the novel that did not make it to the big screen, and a few little things in the movie are hard to interpret outside the context of the novel. Among the most disturbing images in this film are those of the medical tests Regan undergoes after the onset of her problems. I find it much easier to watch the most graphic scenes wherein the demon within Regan attacks her and those around her, although Regan's appearance is shockingly horrible in the later stages of her possession. The demonic manifestations and exorcism are done extremely well in the movie; Friedkin did a much more powerful and convincing job than my own imagination in terms of showing the demonic manifestations. The movie adds several things to the exorcism itself that do not appear in the novel and, by and large, gives the exorcism itself more prevalence than Blatty himself did, yet it also manages to capture and express quite well the inner struggle and soul-rending doubts and fears of Father Karras. This inner struggle of good vs evil, of faith vs hopelessness strikes me as the heart of this story, and the movie communicates this surprisingly well.

The added scenes in this updated version of the film are crucial to the integrity of the story, though there are of course other fans who will argue that the new scenes do damage to the power and vision of the original. The film is just too rushed without the new footage, and the original film strikes a discordant note with Blatty's authorial vision. The most memorable scene that, until now, was not shown in the movie was the spiderwalk scene wherein Regan climbs down the stairs in an impossible and deliciously creepy position; I can't imagine for the life of me how that scene could have been left out of the original film. I had several questions along these lines, so I made it a point to listen to the film's commentary by director William Friedkin. Friedkin's initial discussion of the filming of the opening scene in Iraq is fascinating, but throughout the rest of the film he does little more than summarize what is happening, oftentimes quoting characters line for line. I think he makes a couple of misstatements about what we are seeing, and much to my surprise he offers motivations for the characters that I disagree with rather strongly. He tells us nothing about the making of the film, offers no praise for Linda Blair, says nothing about the ways in which the demonic scenes were produced, and mentions the new additions to the film only in passing if at all. There is very little "making of" material among all the DVD features, which is the one disappointment I take with me from this release of what is arguably the most significant and famous horror movie ever made.

I must say that the extra scene of Regan on the stairs made the hairs on the back of my neck stand. Some people found that scene comical or out-of-step with the movie, but I thought it was chilling. This is a classic.

I'm not kidding. I am a grown woman, have seen hundreds of horror movies, and even watching this in the middle of the day when it was sunny outside it gave me chills. In fact, a couple of scenes (like the head spinning) scared me so bad I almost started to CRY. I saw this movie on TV when I was in high school and for some reason it scared me WAY more now. The documentary was excellent, and I finally got to see the notorious "spider-walk" scene that was cut out. I wanted to see this part for a long time, ever since I heard about it, but I didn't think I'd get to because I don't have a DVD player. I was thrilled that it was included, but YEEEESH it gave me the creeps. I think it was a great idea to re-master the sound, as the sound is one of the most frightening aspects of the movie. It rightly deserved the 1973 Academy Award for best sound. Her voice is creepy enough, but these horrible animal-like sounds come out of this little girl that make every hair on your body stand on end. I also didn't think upon a second viewing that I would find any scenes shocking as it takes a lot to shock me, and I am not exaggerating. Well, the scene with the crucifix made my jaw drop and I had to cover up my eyes, I couldn't watch! ( if you are easily shocked I would seriously recommend either fast-forwarding or NOT looking during this scene). What's also interesting in the documentary is hearing about how rough a shoot it was. Evidently Friedkin is not very well-liked by most of the actors who have worked with him, and you will find out they have good cause for this. But I have to admit, he got results, and this is one HELL of a great movie.

The Exorcist stands in the most hallowed of halls when it comes to horror, having been voted as recently as 1999 the scariest movie of all time by fans. I envy those who find this film so remarkably frightening, as it really doesn't strike me as particularly scary - unsettling at times, but not scary. The addition of twelve minutes of new footage plus a remastering of the soundtrack make The Exorcist (The Version You've Never Seen) the definitive movie adaptation of William Peter Blatty's best-selling novel of demonic possession. The additional material brings the film much more in line with Blatty's original vision, and I find it a little strange that director William Friedkin seems to get most of the credit for this new version of the film when he was the one who cut the respective scenes in the first place and, in some cases, resisted their inclusion in this special re-release.

The plot should be familiar to just about everyone. Linda Blair, in a truly remarkable performance, plays Regan MacNeil, the sweet and innocent twelve-year-old daughter of actress Chris McNeil (Ellen Burstyn) who becomes possessed by a demon. Jason Miller is Father Karras, a Jesuit priest battling his own demons of guilt over his mother's final days on earth and starting to lose his faith at the constant scenes of misery he sees all around him. After all medical and psychiatric tests and treatments fail to stop Regan's utter deterioration into a disturbed abomination of a child, Chris contacts Father Karras in an effort to arrange an exorcism. Max von Sydow plays Father Merrin, the pinnacle of good in this film who has battled this demon before and won; he is the exorcist in this ultimate battle of good versus evil.

The Exorcist truly is a powerful movie experience, filled with several of the most shocking scenes to ever appear on film. I was surprised that so many of the more controversial aspects of the story actually made it from novel to screen, especially in the original 1973 incarnation of the film. It's really impossible for me to say which is better, the film or the novel. There are several subplots and very significant details in the novel that did not make it to the big screen, and a few little things in the movie are hard to interpret outside the context of the novel. Among the most disturbing images in this film are those of the medical tests Regan undergoes after the onset of her problems. I find it much easier to watch the most graphic scenes wherein the demon within Regan attacks her and those around her, although Regan's appearance is shockingly horrible in the later stages of her possession. The demonic manifestations and exorcism are done extremely well in the movie; Friedkin did a much more powerful and convincing job than my own imagination in terms of showing the demonic manifestations. The movie adds several things to the exorcism itself that do not appear in the novel and, by and large, gives the exorcism itself more prevalence than Blatty himself did, yet it also manages to capture and express quite well the inner struggle and soul-rending doubts and fears of Father Karras. This inner struggle of good vs evil, of faith vs hopelessness strikes me as the heart of this story, and the movie communicates this surprisingly well.

The added scenes in this updated version of the film are crucial to the integrity of the story, though there are of course other fans who will argue that the new scenes do damage to the power and vision of the original. The film is just too rushed without the new footage, and the original film strikes a discordant note with Blatty's authorial vision. The most memorable scene that, until now, was not shown in the movie was the spiderwalk scene wherein Regan climbs down the stairs in an impossible and deliciously creepy position; I can't imagine for the life of me how that scene could have been left out of the original film. I had several questions along these lines, so I made it a point to listen to the film's commentary by director William Friedkin. Friedkin's initial discussion of the filming of the opening scene in Iraq is fascinating, but throughout the rest of the film he does little more than summarize what is happening, oftentimes quoting characters line for line. I think he makes a couple of misstatements about what we are seeing, and much to my surprise he offers motivations for the characters that I disagree with rather strongly. He tells us nothing about the making of the film, offers no praise for Linda Blair, says nothing about the ways in which the demonic scenes were produced, and mentions the new additions to the film only in passing if at all. There is very little "making of" material among all the DVD features, which is the one disappointment I take with me from this release of what is arguably the most significant and famous horror movie ever made.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.

this movie was filmed excelently and would make a... really good anti-drug ad. plain and simple. the movie was filmed expertly. (forgive me for repeating myself ) the style changing to fit the mood. things like lenses, pacing, and cuts. the sound was superb. which i used as a segway to my next comment. the score was EXCELLENT. im not so much a fan of the most popular main theme, but those sort of coney island dreaming songs and the one at the end titled "meltdown".
my only problem(s) with the movie is just the way it made me feel. i didnt really ever wanna see it again afterwords. it fascinated me but i didnt feel... i dunno... good, watching it. it felt like something was horribly horribly wrong. i got the same disturbed feeling from "a clockwork orange". another fascinating masterpiece of stanley kubrick ( one of the greatest directors of ALL time ) if you have a weak stomach.. you may wanyt to avvert you eyes at times. the performances where convinceing and the story, although semi-plotless. now im giving it a 4 because... i didnt like the way the movie made me feel. BUT, i thought the movie was excellent.

Hubert Selby Jr.'s elegiac and mesmerizing novel about four addicts of different varieties appeared in 1978 and ranked alongside Selby's "Last Exit to Brooklyn" (also made into a superior film) as one of his best books. Darren ("Pi") Aronofsky was himself a Selby fan and eventually persuaded the Thousand Arts production company to finance his $5M film of the novel.

The resulting film is as horrific and fascinating as anything ever put on a screen. The plot isn't complicated: Junkie Harry (a nearly unrecognizeable Jared Leto) takes to pawning his mother's TV set for heroin. His buddy Tyrone (Marlon Wayans, in a performance that makes his turn in "Scary Movie" and other junk look like total red herrings) hatches a plan with him to score for a pound of pure and put them on the fast track to riches. Harry's girlfriend Marion (Jennifer Connelly) has vague plans of opening a boutique with her share of the gains. And Harry's mother (a truly amazing Ellen Burstyn) is obsessed with appearing on her favorite TV show.

Movies like this are not about plotting but emotion. We know there is no happy ending possible here; what matters is not what happens but how and to what extent. The final 20 minutes -- which have been written about endlessly elsewhere -- are a masterpiece of Soviet-style intercutting and gradually mounting, excruciating tension that does not even end with the release of death, but with the promise of unending, ongoing pain.

This isn't a pretty movie. This isn't a movie for your mother (well, I guess that depends on the family), or a movie for the whole family. This is a movie about despair and destroyed dreams. In short, this is a movie about something -- and it tells its story with such fierce style and power that it almost makes issues of taste or subject matter irrelevant. You may not like the film -- and there are many who don't -- but you can't deny its power, or the skill involved in making it.

Words can hardly describe the experience of watching this powerful film. It's about different forms of addiction, and it pulls no punches in its depiction of the inevitable downward spiral of its four main characters. Not only should you see it for the message, but for its cinematic inventivness. Visually, I've never seen anything like it. The cinematography, sound, editing, music and visual FX are top-notch and will blow your mind. The acting honors here go to Ellen Burstyn, who gives an incredible performance as the poor, naiive Sarah Goldfarb. Watching her deterioration (both mentally and physically) is heart-wrenching. Burstyn gets great support from the rest of the cast as well, particularly Jared Leto and Jennifer Connelly. Also, those familiar with Marlon Wayans' comedy roles will be very surprised with his subtle, convincing portrayal of enterprising heroin addict Tyrone. Director Darren Aronofsky has created one of the best films of the new century; I can't wait to see what he does next. The last 20 minutes of this wonderful, haunting film will leave you breathless. A must-see.