George-Miller Movie Reviews

This show was great. The season, the city, the cast.. it was one of the best Real Worlds produced. Sadly, the DVD is pretty boring. Sure, there are some good entertaining parts of this DVD, but nothing that is extraordinary.

I usually like to watch my REAL WORLD DVD's at least 1000000 times. And they all remain funny every single time. This season's DVD lost it's flare about the 3rd time I watched it.

Maybe my expectations are a bit too high, considering the "New Orleans," DVD is the BEST. I still laugh each time I see it.

Who doesn't love the stuff left on the cutting room floor from the Real World series? Especially with this cast, Chicago. Chris, Aneesa, Theo, Cara, Keri, Tony, and Kyle are all here, with some good and boring stuff we never got to see. As with any "Never Saw" disc, we are shown bloopers, crazy antics, and little stuff not seen on the show. We get to see Chris' "pet hand," more of Aneesa's naked antics, Kyle pretending to be Chris, Chris saying how good Kyle looks as him, and Tonya slamming her head into a camera (Yeah!). There's much more in the 40+ minutes of the footage (some hilarious stuff, and some blah stuff), with in-between cast reactions and such.

There's also the usual 3-5 minute video profile of each cast member. Why they focused on Kyle talking about ... nevermind, just check it out. All of these are great watches as you get to see snippets from the audition tapes and casting interviews. Then there's the suprisingly entertaining house tour given by Cara and Theo. The two are a lively pair and keep the house tour very quick paced, fun, and interesting. Also is a blueprint gallery, and an artwork gallery.

Although this disc isn't as entertaining as previous ones (Ahem, The New Orleans cast), it doesn't bore you. With Aneesa, Cara, and Keri (Who supply the more hilarious scenes), it's quite worth it.

This DVD is probably funnier than anything that happened during the season of The Real World Chicago. If you buy this DVD, it makes you like the cast a whole lot more! It is filled with hilarious things like Kyle becoming Chris, Cara tripping and falling right on her face, & it show's the dumb side of Tonya! This is a great buy if you love The Real World Chicago. It will keep you laughing the whole time!

When it was released in 1952, "April in Paris" proved to be another box-office winner for star Doris Day. She was the reigning box-office "Queen" in the world and this film further solidified her ranking with the public.
The main reason to see this film is Doris Day and in every scene in which she appears you watch her and only her - the true sign of a Star of the first magnitude. In scenes in which she doesn't appear, you eagerly await her return.
Miss Day's co-star is Ray Bolger, hot off a tremendous Broadway success in "Where's Charley". The nimble and long-legged dancer had been a favorite for nearly two decades, being especially fondly remembered for his 1939 turn as the Scarecrow in the classic, "The Wizard of Oz". Unfortunately, he and Miss Day has virtually no on-screen chemistry and their dancing styles don't especially mesh either. They move nicely together in several numbers but there is none of the on-screen magic that Miss Day and Gene Nelson displayed in their dancing numbers together previously.
Doris Day plays "Dynamite" Jackson, a performer who is brassy and a bit loud. It is somewhat reminiscent of Miss Day's debut role as Georgia in "Romance on The High Seas". She is a delight, getting full opportunity to display her incredible comic timing and skill which even then was well ahead of any other actress making films. She is also vulnerable and endearing and renders the title tune better than it has ever been rendered, before or since. She looks like a dream in lush technicolor and sings the film's other songs in her inimitable voice. Especially lovely is "I Know a Place" and she nearly stops the show with the rollicking "I'm Gonna Ring the Bell Tonight" which also lets her have full rein with some zesty dance steps.
Ray Bolger reminds one of Icahbod Crane, with his lanky frame and gawky way of performing. He's enjoyable and gets to show his talents in several scenes but again, the lack of chemistry between him and Miss Day makes some of their scenes together a bit awkward.
The plot line, condensed, is that Miss Day is accidently sent to Paris to represent the USA Theatre. The invite should have gone to Ethel Barrymore. Bolger works for the US Government and must go attempt to clear up the mistake.
The rest of the cast are pleasant and Claude Dauphin lends a "Chevalier-esque" touch to the proceedings.
Warner Brothers has dressed up the film with some nice production values that make the time pass tunefully and pleasingly.
One wishes that Miss Day had been able to venture over to the MGM lot around this time, when musicals were still making quite a splash. That pairing in the early 50's might have resulted in a string of additional classics to add to Miss Day and Leo the Lion's long list.
However, there are few moments sweeter than Doris singing the title song, and while possibly not transporting the listener to Paris, she takes us instead to that lovely, peaceful and serene place that only this superstar can take us by the sheer magic of her being.

A vary delightful movie,good for the family to watch.

By 1952, her fourth year of film-making, Doris Day had become the top female box office draw in the U.S. She was generally better than the films in which she appeared, and APRIL IN PARIS is no exception. If you're not particularly a Doris Day fan, you will probably find the film a light time-passer at best (and certainly won't agree with my four-star rating!). But if, like me, you consider Day one of the most enjoyable of all Hollywood musical stars, you'll be delighted by this movie.

The plot centers around a U.S. diplomat (played by Ray Bolger, the legendary Broadway performer in one of his infrequent film appearences) who is charged with inviting an American actress to a Parisian arts festival. By mistake, he invites not Ethel Barrymore but Ethel "Dynamite" Jackson (played by Day), a snappy Broadway chorus girl. Complications ensue, as the two fight, fall in love, and enjoy the pleasures of springtime in Paris.

Of course, in the early 1950s, most American movies were filmed on Hollywood soundstages, so Day and Bolger never actually got anywhere NEAR Paris. But to make up for the lack of authentic French atmosphere, the movie's cast features the fine French actor Claude Dauphin in a supporting role.

APRIL IN PARIS, like the other musicals made by Warner Bros. in the late 1940s and early 1950s, has its plusses and minuses. It is nowhere near as artistically and technically accomplished as the musicals of the same period made by MGM. Its script is somewhat flat and silly (though with a few good lines) and its choreography is nothing special. However, the musical direction and arrangements are excellent. And the costumes and use of Technicolor are quite attractive; appropriately, the film's color scheme features lots of spring-like pastel shades.

The film's score, by Vernon Duke and Sammy Cahn, includes several pleasant numbers, including a lovely ballad, "I Know a Place," and the rousing "That's What Makes Paris Paree." The classic title song had actually been written 20 years earlier by Duke and "Yip" Harburg for a Broadway revue called WALK A LITTLE FASTER.

What about Doris Day? She is actually somewhat miscast in her role--as written, "Dynamite" Jackson is more like the brash, wise-cracking chorus girls played by Betty Grable in her 1940s musicals, whereas Doris' film persona was more gentle and quietly spunky. But Doris still does an excellent job. She dances quite well in a few lively routines with Bolger. She wears her attractive costumes well. And--as always--her singing shows her to be one of the finest popular song stylists ever. Her bittersweet performance of the title tune toward the beginning of the film is a classic performance, and one of her most memorable moments on film. (In addition, Doris also displays the subtle sexiness that has been too-little remarked on by film historians recalling her career. In her opening number, "It Must Be Good," there is a moment where she turns her back to the camera and walks briskly upstage--delightful!)

If you enjoy 1950s musicals, and especially if you are a fan of Doris Day, you'll be pleased with APRIL IN PARIS.

When it was released in 1952, "April in Paris" proved to be another box-office winner for star Doris Day. She was the reigning box-office "Queen" in the world and this film further solidified her ranking with the public.
The main reason to see this film is Doris Day and in every scene in which she appears you watch her and only her - the true sign of a Star of the first magnitude. In scenes in which she doesn't appear, you eagerly await her return.
Miss Day's co-star is Ray Bolger, hot off a tremendous Broadway success in "Where's Charley". The nimble and long-legged dancer had been a favorite for nearly two decades, being especially fondly remembered for his 1939 turn as the Scarecrow in the classic, "The Wizard of Oz". Unfortunately, he and Miss Day has virtually no on-screen chemistry and their dancing styles don't especially mesh either. They move nicely together in several numbers but there is none of the on-screen magic that Miss Day and Gene Nelson displayed in their dancing numbers together previously.
Doris Day plays "Dynamite" Jackson, a performer who is brassy and a bit loud. It is somewhat reminiscent of Miss Day's debut role as Georgia in "Romance on The High Seas". She is a delight, getting full opportunity to display her incredible comic timing and skill which even then was well ahead of any other actress making films. She is also vulnerable and endearing and renders the title tune better than it has ever been rendered, before or since. She looks like a dream in lush technicolor and sings the film's other songs in her inimitable voice. Especially lovely is "I Know a Place" and she nearly stops the show with the rollicking "I'm Gonna Ring the Bell Tonight" which also lets her have full rein with some zesty dance steps.
Ray Bolger reminds one of Icahbod Crane, with his lanky frame and gawky way of performing. He's enjoyable and gets to show his talents in several scenes but again, the lack of chemistry between him and Miss Day makes some of their scenes together a bit awkward.
The plot line, condensed, is that Miss Day is accidently sent to Paris to represent the USA Theatre. The invite should have gone to Ethel Barrymore. Bolger works for the US Government and must go attempt to clear up the mistake.
The rest of the cast are pleasant and Claude Dauphin lends a "Chevalier-esque" touch to the proceedings.
Warner Brothers has dressed up the film with some nice production values that make the time pass tunefully and pleasingly.
One wishes that Miss Day had been able to venture over to the MGM lot around this time, when musicals were still making quite a splash. That pairing in the early 50's might have resulted in a string of additional classics to add to Miss Day and Leo the Lion's long list.
However, there are few moments sweeter than Doris singing the title song, and while possibly not transporting the listener to Paris, she takes us instead to that lovely, peaceful and serene place that only this superstar can take us by the sheer magic of her being.

A vary delightful movie,good for the family to watch.

By 1952, her fourth year of film-making, Doris Day had become the top female box office draw in the U.S. She was generally better than the films in which she appeared, and APRIL IN PARIS is no exception. If you're not particularly a Doris Day fan, you will probably find the film a light time-passer at best (and certainly won't agree with my four-star rating!). But if, like me, you consider Day one of the most enjoyable of all Hollywood musical stars, you'll be delighted by this movie.

The plot centers around a U.S. diplomat (played by Ray Bolger, the legendary Broadway performer in one of his infrequent film appearences) who is charged with inviting an American actress to a Parisian arts festival. By mistake, he invites not Ethel Barrymore but Ethel "Dynamite" Jackson (played by Day), a snappy Broadway chorus girl. Complications ensue, as the two fight, fall in love, and enjoy the pleasures of springtime in Paris.

Of course, in the early 1950s, most American movies were filmed on Hollywood soundstages, so Day and Bolger never actually got anywhere NEAR Paris. But to make up for the lack of authentic French atmosphere, the movie's cast features the fine French actor Claude Dauphin in a supporting role.

APRIL IN PARIS, like the other musicals made by Warner Bros. in the late 1940s and early 1950s, has its plusses and minuses. It is nowhere near as artistically and technically accomplished as the musicals of the same period made by MGM. Its script is somewhat flat and silly (though with a few good lines) and its choreography is nothing special. However, the musical direction and arrangements are excellent. And the costumes and use of Technicolor are quite attractive; appropriately, the film's color scheme features lots of spring-like pastel shades.

The film's score, by Vernon Duke and Sammy Cahn, includes several pleasant numbers, including a lovely ballad, "I Know a Place," and the rousing "That's What Makes Paris Paree." The classic title song had actually been written 20 years earlier by Duke and "Yip" Harburg for a Broadway revue called WALK A LITTLE FASTER.

What about Doris Day? She is actually somewhat miscast in her role--as written, "Dynamite" Jackson is more like the brash, wise-cracking chorus girls played by Betty Grable in her 1940s musicals, whereas Doris' film persona was more gentle and quietly spunky. But Doris still does an excellent job. She dances quite well in a few lively routines with Bolger. She wears her attractive costumes well. And--as always--her singing shows her to be one of the finest popular song stylists ever. Her bittersweet performance of the title tune toward the beginning of the film is a classic performance, and one of her most memorable moments on film. (In addition, Doris also displays the subtle sexiness that has been too-little remarked on by film historians recalling her career. In her opening number, "It Must Be Good," there is a moment where she turns her back to the camera and walks briskly upstage--delightful!)

If you enjoy 1950s musicals, and especially if you are a fan of Doris Day, you'll be pleased with APRIL IN PARIS.

Both of these episodes begin with an interesting premise but disappoint with their endings. "Moloch" is particularly disappointing and rates two stars at best. One noteworthy point in this episode is that some of Servalan's Federation soldiers finally turn the tables on her. In "Death Watch," author Chris Boucher returns to his disappointing ways. Boucher often comes up with interesting plots, but is sometimes unable to come up with a satisfying ending. Plus, for some reason Boucher is determined to develop some sort of sexual tension between Avon and Servalan and the scene with the two of them together is almost laughable. The principle plot focuses on Tarrant's brother who represents his people as "First Champion" in a duel to the death that will determine the outcome of a war. Of course, Servalan figures out a way to meddle in this event to her advantage and the crew of the Liberator works to foil her plot. (Is this beginning to sound familiar? Seeing less of Servalan makes her a more menacing, mysterious figure. She has been incredibly overused in Season Three, much to the show's detriment.)

The next vol. of Blake's 7 entitled MOLOCH and DEATH-WATCH

In the epsidoe entitled Moloch
Servalan has recived a transmission from the planet Sardos. A planet that is on the outer fingess of the universe. Avon has tapped that tranmission as well and wonders why she is going so far out into space. Avon begins to wonder if Servalan has some other plans for that planet? Servalan herself wonders why Federation soldiers are still on this planet and are acting like they control the Federation?
In the next epsidoe entitled DEATH-WATCH
The United Planets of Teal and the Vandor Confederacy are at war. Two champions will settle this war in a special enviromental dome. A panel of arbiters from each side will watch and judge with a third neutral party. Avon and the others are overjoyed that a war has started. They can relax and watch the duel and not worry about the Federation. What they don't know is that Tarrant brother is the champion of Teal and even worse the neutral judge is no other then Servalan. Will Avon figure out why Servalan is here and can Tarrant brother win for Teal as cahmpion? Or could this war end with only one lost?

"Moloch" the crew of the Liberator secretly follows their archenemy Servalan to the outer rim of known space, to a planet where Servalan has powerful friends, or so she thinks. Watch Tarrant, Avon, and Servalan fight for their lives.

In "Death-Watch" come with Avon and crew on vacation to a war between two planets, a war fought by only two champions in dual to the death. Don't worry each of the warring parties will protect you even from the evil Federation. But watch out, the warring parties have pick Servalan to act as referee over the dual, the fools.

I got this movie for Lucille and this is different material from Lucy. In this she effectively plays a cold hearted woman. You're drawn to believe she's faking it. But she is immensely cruel in this movie and why Henry Fonda's character puts up with her is beyond me. This was a different role for Henry too. This isn't a depression or western role. He plays an extremely shy boy and at times comes across as very lovable. After watching this it made me a fan of him. Before I never cared much for him.

In 1942, 31 year-old Lucille Ball got her first major dramatic role as Gloria Lyons, the selfish, arrogant moll of Barton McLane. Lucy is crippled as a result of McLane slapping her around and finds a devoted admirer in Henry Fonda as "Little Pinks"... Lucy was very excited about acquiring this part and even went to Charles Laughton and his wife Elsa Lanchester for advice on how to interpret Gloria. Henry Fonda wasn't impressed with Ball's acting style at all and he would make statements such as "You're not going to play her like THAT -- are you"? - much to Lucy's intimidation and dismay. Incredibly, Lucy had already been in Hollywood for 9 years when this meaty role was offered her. Ball received mostly positive reviews from the critics, but the movie was not a financial success at the box-office. Charming, touching and often funny in parts, this Damon Runyon vehicle wavers from good to too sticky. Although I'm a tried-and-true Lucy fan, I'm in total agreement ... that this IS a rather oddball film. THE BIG STREET has long been hailed as Lucy's best dramatic venture but I much prefer her serious performances in LURED (1947), THE DARK CORNER (1946) & DANCE, GIRL, DANCE (1940)...

This is a wonderful movie if you are interested in seeing a different side of Lucille Ball. She is absolutely wonderful, yet there is not a single thing funny about her character. She is cold, mean, and stubborn...but Lucy potrays the character brilliantly. you can truly see her talent as a dramatic actress in this movie. It's a tear jerker and a must for all Lucy fans.

This collection is an insult to Chris Rock. SNL has succeeded in even making the greatest comedian of our time look bad. Rent this first to see how bad it is before you waste your money as well as your time. Get his concert and HBO shows. This is what happens when you put a comedian from the wild in a SNL cage.... he dies. Thank God he was able to be reborn on HBO. It's just not funny. Sorry.

This is a pretty funny DVD full of some of Chris Rock's best skits on SNL. But, beware, some of the recurring skits aren't featured at their best on this disc. The Nat X skit was the one from when he hosted the show, and definitely not as good as the ones when he was a cast member.

Here are the sketches that are included in this DVD:
Monologue (When Chris hosted SNL)
2 Live Crew Party
Hangin' With MTV: Big Toe Song
Weekend Update: Taxes & Crime
"I'm Chillin'"
Russel Simmons Def Magic Show Jam
The Bensonhurst Dating Game
Def Emergency Room Jam
Weekend Update: Black Vice President
The Dark Side with Nat X - guests: Jesse Jackson & Mike Tyson
Nike Turkey (Pump It Song)
Sinatra Group
Weekend Update: Back To School/Charlie Brown
Proud Pattersons
The Survive The Apollo Guide for White Men
Weekend Update: MLK Holiday In Arizona
Perspectives
Not Getting Any
Ernies Store
Credits / Monologue from SNL 25th Anniversary

Extras
The Dark Side with Nat X - guests: Jimmy Smith / Jerry Coony(?)
Weekend Update: Racial Sterotypes/Names for White People
Sketch/Production Credits

The best sketches by far on here are the Weekend Update's and the Nat X's. The sketches in which Rock plays 'second/third' bannana are 2 Live Crew, Sinatra, Not Getting Any, and Bensonhurst. 2 Live Crew and Not Getting Any aren't even funny. And Ernies is a pretty bad sketch.

The rest on this DVD are pure gold. The Extras are great too. SNL should just include more.

Robert DeNiro's character of Jimmy Doyle is, without a doubt, the most unlikeable and downright despicable character in film history.

He (DeNiro's character) does absolutely nothing in the film's nearly three hour running time to in ANY way ingratiate the audience to himself. He's an absolutely horrendous human being in every single scene. (Honestly, Hannibal Lechter is more likeable than this guy...at least Hannibal had some charm and an occasional sense of humor.:)

Liza Minnelli is wonderful, however, as is the set design, cinematography and music. But you can't have a successful film when the audience despises one of the two main characters.

Before I saw New York New York, I never knew anything about it! Maybe it's because I am only a teenage girl, or maybe because I am not a huge Martin Scorsese fan.. But I never really knew about it.. and I knew my parents had saw it.. But I never really asked them what was it about.. And one night I was watching t.v. and it was on! So I decided to watch it.. and I really did like the beginning.. just watch and see.. Liza Minnelli is a beautiful actress and her voice is even more beautiful.. and Robert De Niro is a very talanted man.. But I wanted to kill his character! lol.. (just watch and see) I did enjoy this movie.. but then I began to lose intrest.. possibly because the beginning was exciting.. that some how i expected more.. But the acting is excellent.. and Martin Scorsese's directing was also great.. I think if I might of had a greater intrest to watch it.. I might of enjoyed it more.. But this movie is worth your time.. and possibly you may have full intrest through out this movie.. it doesn't hurt to relax, get confy, and watch it!

I am suprised every time I talk to someone about New York, New York, they tell me they havent seen it! I know I come from a different generation being the young age of twentythree, but I am a devoted fan of Martin Scorcese and Robert DeNiro. Being another collaboration from these two cinematic greats should lead you to believe more of the younger movie buffs should have seen it by now. We all talk about the usual Scorcese pics and gawk over how amazing Taxi Driver or Goodfellas is. On that note I just want to brag about the beautiful and touching picture about two creative people and their struggle to love each other and at the same time be creatively successful. Liza Minnelli is brilliant as Francine Evans and does nothing to bring the picture down. In fact after Caberet, this is the only other role I've seen her in. In any case she doesnt disappoint and actually comes off very sexy! Her eyes glow throughout he entire picture and especially in the opening ballroom scene. Robert DeNiro is always great as we all know but he really suprised me here with the character Jimmy Doyle. His razor-sharp toungue spits out the mostly improved dialogue with such fury that it sets the screen on fire. He is also very, very funny. Its also a very personal film obviously to Scorcese considering that it practically mirrored his personal life at the time of filming. Im not going to go into details but if you are a Scorcese admirerer, you will know exactly what I'm talking about. All in all, this is a movie that every movie lover, young or old, should get aquianted with. Scorcese's deft direction, along with the trancendant art direction and performances and with all the music including the title track, this is one gem you shouldnt miss!

Robert DeNiro's character of Jimmy Doyle is, without a doubt, the most unlikeable and downright despicable character in film history.

He (DeNiro's character) does absolutely nothing in the film's nearly three hour running time to in ANY way ingratiate the audience to himself. He's an absolutely horrendous human being in every single scene. (Honestly, Hannibal Lechter is more likeable than this guy...at least Hannibal had some charm and an occasional sense of humor.:)

Liza Minnelli is wonderful, however, as is the set design, cinematography and music. But you can't have a successful film when the audience despises one of the two main characters.

Before I saw New York New York, I never knew anything about it! Maybe it's because I am only a teenage girl, or maybe because I am not a huge Martin Scorsese fan.. But I never really knew about it.. and I knew my parents had saw it.. But I never really asked them what was it about.. And one night I was watching t.v. and it was on! So I decided to watch it.. and I really did like the beginning.. just watch and see.. Liza Minnelli is a beautiful actress and her voice is even more beautiful.. and Robert De Niro is a very talanted man.. But I wanted to kill his character! lol.. (just watch and see) I did enjoy this movie.. but then I began to lose intrest.. possibly because the beginning was exciting.. that some how i expected more.. But the acting is excellent.. and Martin Scorsese's directing was also great.. I think if I might of had a greater intrest to watch it.. I might of enjoyed it more.. But this movie is worth your time.. and possibly you may have full intrest through out this movie.. it doesn't hurt to relax, get confy, and watch it!

I am suprised every time I talk to someone about New York, New York, they tell me they havent seen it! I know I come from a different generation being the young age of twentythree, but I am a devoted fan of Martin Scorcese and Robert DeNiro. Being another collaboration from these two cinematic greats should lead you to believe more of the younger movie buffs should have seen it by now. We all talk about the usual Scorcese pics and gawk over how amazing Taxi Driver or Goodfellas is. On that note I just want to brag about the beautiful and touching picture about two creative people and their struggle to love each other and at the same time be creatively successful. Liza Minnelli is brilliant as Francine Evans and does nothing to bring the picture down. In fact after Caberet, this is the only other role I've seen her in. In any case she doesnt disappoint and actually comes off very sexy! Her eyes glow throughout he entire picture and especially in the opening ballroom scene. Robert DeNiro is always great as we all know but he really suprised me here with the character Jimmy Doyle. His razor-sharp toungue spits out the mostly improved dialogue with such fury that it sets the screen on fire. He is also very, very funny. Its also a very personal film obviously to Scorcese considering that it practically mirrored his personal life at the time of filming. Im not going to go into details but if you are a Scorcese admirerer, you will know exactly what I'm talking about. All in all, this is a movie that every movie lover, young or old, should get aquianted with. Scorcese's deft direction, along with the trancendant art direction and performances and with all the music including the title track, this is one gem you shouldnt miss!

I'm a big fan of SNL, but most of the skits on this video weren't that funny. Adam Sandler singing the Hanukkah Song, and Chris Farley as Santa were the only two skits that made me laugh. I bought this as a gift for my father-in-law and I wish I hadn't! Maybe next year I'll buy him the Best of Chris Farley.

This video was pretty funny. It had mostly newer stuff. I would have liked to have seen stuff from the earlier years. Also, a sticker on the package advertises that the Hanukah Harry skit with Jon Lovitz is on the video, but mysteriously it is nowhere to be found! I am certain there is more material they could have put on this 65 minute video.

A good look at the best xmas skits from SNL, except they forgot
Hannakuh Harry & Gumby's X-Mas Special. It was great though to see Chevy Chase (as President Ford) open the collection, with other appearences by the BEST & ORIGINAL Not Ready For Prime Time Players Dan Aykroyd, John Belushi, Jane Curtain, Garrett Morris, Gilda Radner and Second Season replacement Bill Murray.
Why Wont Lorne Micheals release SNL Season by season? It would be great to catch ALL the great performances, like the 1st season,PLEASE! Hail Chevy Chase!
Also Recommend:
UNDER THE RAINBOW-Chevy Chase
CADDYSHACK-Chevy Chase, Bill Murray
N.L. CHRISTMAS VACATION-Chevy Chase
SNL-Halloween
SNL-25 Years Of Laughs

the majority here are right. it's very frustrating to see amazing footage of several of Miles' best bands from his most celebrated eras cut short to hear a bunch of psycho-babble by ex- wives and girlfriends about how great they dressed or what he had for lunch that day. who cares?!
this DVD focus is more on his life in a biographical sense- not necessarily the music. but until all complete performances or released in-full, there are a couple of great snippets of magic to be excavated here. just don't get your hopes too high!

I'm wondering if all the people who gave this DVD a low rating because it contains "too much talking and not enough music" understand the meaning of the word "documentary?" This is not a concert performance, it is a documentary. As such, it did exactly what it should have. It tells the story of Miles Davis from his early youth to his untimely death. I bought it exactly for that reason and was not disappointed. Perhaps the critical reviewers would have saved themselves a great deal of frustration if they had simply read the description of the DVD on the back cover. Talk about dumb!!!

This DVD is amazing, offers an insight to Miles' career and personal life, from the people who lived and worked with him and of course from Miles himself. For all of those who might have read books on Miles' life, this DVD will not give you so much new information and facts, but what this DVD will do, is to offer you plenty of visualizations on things you might have read or heard.
This DVD though, as the title explicitly states is THE MILES DAVIS STORY and not Miles Davis Live In ...... , or whatever else, so I dont unserstand how some people were expecting live performances. This is a documentary and not a concert. What you see is what you get.
I really think that this is a great documentary, and everybody who wants to think of him/herself as a serious Jazz fan should realy own this DVD.
Five stars without hesitation.