George-Miller Movie Reviews

The film is good in that it spreads awareness of this devistating illness. I had a student with ALD. When discussing his case with someone, if I mentioned the movie "Lorenzo's Oil", they had a better understanding of what my student was battling. Many people are left with the assumption that there is a "cure" for ALD at the conclusion of the movie as the screen flashes photos of boys still living with ALD. My student died last week, however, his battle was not lost. His family chose to focus their efforts on their son and brother's quality of life, as opposed to its quanity. I would encourage the viewer to remember that this is a "dramatization" and that there is more to the story after the credits roll. I've learned after having watched the film, and having watched it in real life, ALD doesn't have to translate into a death sentence. No matter the road they choose, these families are models to us all.

Ok, i know what you are thinking. Yes, I do. You are thinking that this is just another movie of a disease struggle similiar to other. Well, its not. Along with a combination of great acting by Nolte and Sarandon, this movie combines the drama of a search for what isn't easily found with amazing accuracy. All of the actors very well play the part of the Odone's, and put emotion into that similiar to what you would find if you spied on them yourself. The drama of the story, the trauma of a disease with no cure and no help, it is just a knock-out. Even the people who play the support group are able to be as snobbish (if not more) than were the people who turned the Odone's down themselves. Do youfrself a favor, buy Lorenzo's Oil today. It deserves 10 stars, not 5!

Susan Sarandon and Nick Nolte convincingly play the real life parents of a boy afflicted with a rare neuroligical disease. Barely even discovered by the medical community, very little was know about ALD, one of several diseases afflicting only males, who were infected through their mothers, who are carriers, yet themselves never come down with the disease. Determined to fight, the couple is discouraged neither by apathy of nurses and doctors, nor warnings by other parents of suffering children to "slow down and wait".

The film is preceded by the lead actors' plea for donations, as funding for researching rare diseases is virtually non-existant. The far reaching implications of curing the particular ailement discussed would go beyond curing ALD, affecting many millions of people suffering from various kinds of deteroration of myelin, without which all brain functions become impossible. A cure for countless diseaes and disorders could be within reach of our current generation. The concluding testimonials blended in like pieces of a large puzzle will bring tears to your eyes. To read about the continuing progress made by "Lorenzo", who was to die within 24 months, but at close of production had survived for more than 8 years is a most encouraging message for everyone not to give up hope.

This is a rare example of film making, where acting and the main element of "entertainment" are not important. Instead of looking for Academy Award recognition, the film clearly is meant to educate and inform. I say BRAVO! More such projects are needed to return our society to a people of thinkers and problem solvers rather than continue the trend of turning intelligent minds to mere entertainment-starved-putty. I am at awe of all who were involved in the production of this enlightning film. I recommend this film without reservations, especially for viewing in high school classrooms and other educational settings.*****

The original aspect ratio for this movie is 1.37:1. Has it been cut to adapt it to widescreen TV?

Another reviewer commented on the innaccuracies of this film, and I have to concur. But who cares? This is an absolutely enjoyable, old fashioned, biopic love story, and I don't normally enjoy love stories (though my wife does). In fact, this is one of my favorite movies. You can watch it several times, and still be engaged by the characters and the story. The on-screen chemistry between Allyson (Helen Miller) and Stewart (Glenn Miller) is first rate, and Harry Morgan's "Chummy MacGregor" characterization is the ideal sidekick for this type of movie (highly inaccurate, but flattering to his subject). Big Band fans will enjoy cameos by the likes of the great Louis Armstrong, Ben Pollack (playing some driving drums, too briefly in my opinion), and others. Stewart's Miller is as likeable as any Stewart character, so if you want to know how Glenn really was, then read George T. Simon's book "Glenn Miller and His Orchestra." If you are a big band fan, you'll positively love this movie with all of its factual flaws, because it is positively pro-Miller, and pro-Big Band music all the way. The actors and the director clearly liked their subject, and it is said that Stewart very much wanted this role. This movie is way too good to miss.

This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

Roger Ebert once said that Casablanca was the sort of movie that improves upon multiple viewings, because the first time we see it we're too involved in the plot, too concerned about what is happening and why; seeing the movie again gives us the chance to appreciate the nuances. Those comments certainly apply to The Ninth Configuration.

The plot is a good one, and people who enjoy thrillers and mysteries will find enough action and plot twists in the film to rival Hitchcock's best works. But what makes this movie so special are the terrific performances (by Stacy Keach, Scott, Wilson, and Ed Flanders), the witty dialogue, and the religious undercurrents. Too often movies treat religious belief with sentimentality or scorn, but the Ninth Configuration deals with faith and doubt in with a deftness and dignity that isn't patronizing to either side.

It's the sort of movie that you immediately want to talk about with someone...which could be difficult since so few people have seen it. Case in point: I host a movie party every Thursday night. Every time a new member joins, I ask him or her to compile a short list of movies that he or she has seen but thinks others haven't but should. These lists serve as our guide for film selections, and the attendees love movies and have broad tastes. But not one of them had seen The Ninth Configuration. My father recommended it to us, and we watched it last October, and thus far it remains the club's hands-down favorite, beating out classics such as The Sting or The Lion in Winter. Many of them have passed the title along to friends, who have also enjoyed the newly discovered gem. And it has provoked hours of conversation among us.

I can't think of a movie that would appeal so well to the casual viewer, the mystery lover, the film buff, the occasion bible study group for that matter.

Many movies are worth seeing. This one is worth owning.

This is a very surreal movie about the enigma of God and sanity. A strange doctor comes to take over a castle of Vietnam soldiers absent of combat due to mental illness. Then later is labeled as crazy himself. A former astronaut, Cutshaw, becomes leery of the doctor which brings him closer to him. Then Cutshaw questions a supreme being's existence. There's even some hilarious scenes which emphasizes the insanity. Blatty's comic roots complete this masterpiece. Second in Blatty's religion triliogy. Similar to Kubric's style of dramatic issues created to be eccentric. My favorite movie of all time. Brilliant acting with memorable characters. Director's cut VHS version leaves out some good stuff. Probably not a Blockbuster or Hollywood Video title. Get your hands on the original from your local family videostore or from your library.

This is a very surreal movie about the enigma of God and sanity. A strange doctor comes to take over a castle of Vietnam soldiers absent of combat due to mental illness. Then later is labeled as crazy himself. A former astronaut, Cutshaw, becomes leery of the doctor which brings him closer to him. Then Cutshaw questions a supreme being's existence. There's even some hilarious scenes which emphasizes the insanity. Blatty's comic roots complete this masterpiece. Second in Blatty's religion triliogy. Similar to Kubric's style of dramatic issues created to be eccentric. My favorite movie of all time. Brilliant acting with memorable characters. And this is not another "Exorcist" Director's cut VHS version leaves out some good stuff. Probably not a Blockbuster or Hollywood Video title. Get your hands on the original from your local family videostore or from your library.
~This just in...I baught the DVD and the color is fine. I see nothing wrong with the transfer. Some reviewers here are really nitpicking. Some of the deleted scened have a yellow tint and off color black mats, but they're deleted scenes...and good ones if I might add. The commentary is very informative and the film itself has a few more extended scenes compared to the VHS versions, but nothing was taken out. I must say the DVD is the best presentation of this great story yet."You now have your one example."

I actually haven't seen the whole thing, but I couldn't stop myself from writing a review! I've looked for it everywhere, but I can't find it! From what I saw of it, I know it is a wonderful movie. The "New York, New York" sequence at the start really gets you into it! I loved it, it's definitely one of a kind. I reccomened to everyone who likes Gene Kelly and Frank Sinatra, who are both great in this movie. Of course it's hard to forget Vera Ellen, who is very talented and beautiful in this movie. I wish someday to see the rest of it, and I am going to keep looking for it everywhere. Watch it now!

Some critic--I can't remember who--defined the musical parts of a musical as "explosions of joy." Which makes 1949's "On the Town" one of the most joyfully explosive movie musicals ever. Before the three sailors (Gene Kelly, Frank Sinatra, Jules Munshin) get to leave their ship on 24-hour shore leave, they are "serenaded" by a heavy-equipment operator who stretches and musically moans "I feel like I'm not out of bed yet." A digital ticket-tape-type clock marks the exact time our boys can leave ship as they launch into the theme song, "New York, New York, a Wonderful Town," (which was bowdlerized from "a Helluva Town" on Broadway).

The plot is a nifty number where all three gobs pick up gals but one of them loses his--through neither of their fault--then spends the rest of the day looking for her. The satiric vein is mined along the day with references to museum snobs, overcrowded nightclubs, hillbilly music, taskmaster Russian ballet coaches and that Manhattan favorite--eavesdropping on the subway.

Just briefly, there are two paradoxical reasons why I think this film works so well. First, we have here a repertory cast whose areas of expertise hadn't quite jelled yet. So Frank Sinatra was allowed to play a shy kid instead of a heavy, Ann Miller was allowed to play light comedy instead of just tap-dance, and Betty Garrett was allowed to BE in the movie before her husband crossed the red-baiters of the Fifties (back then, the idea usually was to blacklist first and ask questions later). Gene Kelly seems to be at his relaxed and versatile best, and Vera-Ellen is a simply wonderful dancer.

The second reason this flick is so good is that it pioneered techniques that were new to movies at the time, particularly a mixture of location and studio shooting (try to figure out when the cast is on top of the REAL Empire State Building and when it's the MGM lot); musical numbers that advanced the plot instead of just providing entertainment (clearly, Hollywood had been looking at Broadway, in particular Rodgers and Hammer-stein's "South Pacific"); and the dream-ballet complete with symbolic decor and an ever-frustrated Gene Kelly symbolically looking for and losing love. (This particular device shows up in "An American in Paris," "Oklahoma," and in backstage form in many other flicks, not necessarily musicals.)

There are people who don't like this movie. It's a little too street-wise or proleterian, call it what you will. But their numbers are in decline, possibly because the Manhattan this movie celebrates has ceased to exist and in the long view has become almost as synthetic and charming as a backstage movie lot. If you think you can handle real-life locations, go with this one; you won't be disappointed.

On The Town is a great movie. Gene Kelly, Frank Sinatra and Jules Munshin star as three sailors on 24 leave in the Big Apple. This movie was so much fun to watch. The big dance numbers are hilariously entertaining.

THE GIRLS:

Ann Miller has a big dance number in a museum that really showcases her talent as a dancer. Betty Garrett is hilarious as a cab driver who develops an immediate crush on Frank Sinatra. She was my favorite character in the film. Vera-Ellen was good but she was mainly used as a plot device so she didn't get as much screen time as the other two.

THE BOYS:

Frank Sinatra's character is more interested in seeing the New York sights than romancing the pretty cabbie, but everything changes when he sings, "You're Awful" to her. I wish someone would sing that to me. Jules Munshin is hilarious. I've never heard of him before and that's a real shame because he's great in this movie. Gene Kelly (a.k.a. the reason I saw this movie) is great. His character is sweeter that the one he played in "Anchors Aweigh." All I want to know is, can we clone him?

I actually haven't seen the whole thing, but I couldn't stop myself from writing a review! I've looked for it everywhere, but I can't find it! From what I saw of it, I know it is a wonderful movie. The "New York, New York" sequence at the start really gets you into it! I loved it, it's definitely one of a kind. I reccomened to everyone who likes Gene Kelly and Frank Sinatra, who are both great in this movie. Of course it's hard to forget Vera Ellen, who is very talented and beautiful in this movie. I wish someday to see the rest of it, and I am going to keep looking for it everywhere. Watch it now!

Some critic--I can't remember who--defined the musical parts of a musical as "explosions of joy." Which makes 1949's "On the Town" one of the most joyfully explosive movie musicals ever. Before the three sailors (Gene Kelly, Frank Sinatra, Jules Munshin) get to leave their ship on 24-hour shore leave, they are "serenaded" by a heavy-equipment operator who stretches and musically moans "I feel like I'm not out of bed yet." A digital ticket-tape-type clock marks the exact time our boys can leave ship as they launch into the theme song, "New York, New York, a Wonderful Town," (which was bowdlerized from "a Helluva Town" on Broadway).

The plot is a nifty number where all three gobs pick up gals but one of them loses his--through neither of their fault--then spends the rest of the day looking for her. The satiric vein is mined along the day with references to museum snobs, overcrowded nightclubs, hillbilly music, taskmaster Russian ballet coaches and that Manhattan favorite--eavesdropping on the subway.

Just briefly, there are two paradoxical reasons why I think this film works so well. First, we have here a repertory cast whose areas of expertise hadn't quite jelled yet. So Frank Sinatra was allowed to play a shy kid instead of a heavy, Ann Miller was allowed to play light comedy instead of just tap-dance, and Betty Garrett was allowed to BE in the movie before her husband crossed the red-baiters of the Fifties (back then, the idea usually was to blacklist first and ask questions later). Gene Kelly seems to be at his relaxed and versatile best, and Vera-Ellen is a simply wonderful dancer.

The second reason this flick is so good is that it pioneered techniques that were new to movies at the time, particularly a mixture of location and studio shooting (try to figure out when the cast is on top of the REAL Empire State Building and when it's the MGM lot); musical numbers that advanced the plot instead of just providing entertainment (clearly, Hollywood had been looking at Broadway, in particular Rodgers and Hammer-stein's "South Pacific"); and the dream-ballet complete with symbolic decor and an ever-frustrated Gene Kelly symbolically looking for and losing love. (This particular device shows up in "An American in Paris," "Oklahoma," and in backstage form in many other flicks, not necessarily musicals.)

There are people who don't like this movie. It's a little too street-wise or proleterian, call it what you will. But their numbers are in decline, possibly because the Manhattan this movie celebrates has ceased to exist and in the long view has become almost as synthetic and charming as a backstage movie lot. If you think you can handle real-life locations, go with this one; you won't be disappointed.

On The Town is a great movie. Gene Kelly, Frank Sinatra and Jules Munshin star as three sailors on 24 leave in the Big Apple. This movie was so much fun to watch. The big dance numbers are hilariously entertaining.

THE GIRLS:

Ann Miller has a big dance number in a museum that really showcases her talent as a dancer. Betty Garrett is hilarious as a cab driver who develops an immediate crush on Frank Sinatra. She was my favorite character in the film. Vera-Ellen was good but she was mainly used as a plot device so she didn't get as much screen time as the other two.

THE BOYS:

Frank Sinatra's character is more interested in seeing the New York sights than romancing the pretty cabbie, but everything changes when he sings, "You're Awful" to her. I wish someone would sing that to me. Jules Munshin is hilarious. I've never heard of him before and that's a real shame because he's great in this movie. Gene Kelly (a.k.a. the reason I saw this movie) is great. His character is sweeter that the one he played in "Anchors Aweigh." All I want to know is, can we clone him?

I actually haven't seen the whole thing, but I couldn't stop myself from writing a review! I've looked for it everywhere, but I can't find it! From what I saw of it, I know it is a wonderful movie. The "New York, New York" sequence at the start really gets you into it! I loved it, it's definitely one of a kind. I reccomened to everyone who likes Gene Kelly and Frank Sinatra, who are both great in this movie. Of course it's hard to forget Vera Ellen, who is very talented and beautiful in this movie. I wish someday to see the rest of it, and I am going to keep looking for it everywhere. Watch it now!

Some critic--I can't remember who--defined the musical parts of a musical as "explosions of joy." Which makes 1949's "On the Town" one of the most joyfully explosive movie musicals ever. Before the three sailors (Gene Kelly, Frank Sinatra, Jules Munshin) get to leave their ship on 24-hour shore leave, they are "serenaded" by a heavy-equipment operator who stretches and musically moans "I feel like I'm not out of bed yet." A digital ticket-tape-type clock marks the exact time our boys can leave ship as they launch into the theme song, "New York, New York, a Wonderful Town," (which was bowdlerized from "a Helluva Town" on Broadway).

The plot is a nifty number where all three gobs pick up gals but one of them loses his--through neither of their fault--then spends the rest of the day looking for her. The satiric vein is mined along the day with references to museum snobs, overcrowded nightclubs, hillbilly music, taskmaster Russian ballet coaches and that Manhattan favorite--eavesdropping on the subway.

Just briefly, there are two paradoxical reasons why I think this film works so well. First, we have here a repertory cast whose areas of expertise hadn't quite jelled yet. So Frank Sinatra was allowed to play a shy kid instead of a heavy, Ann Miller was allowed to play light comedy instead of just tap-dance, and Betty Garrett was allowed to BE in the movie before her husband crossed the red-baiters of the Fifties (back then, the idea usually was to blacklist first and ask questions later). Gene Kelly seems to be at his relaxed and versatile best, and Vera-Ellen is a simply wonderful dancer.

The second reason this flick is so good is that it pioneered techniques that were new to movies at the time, particularly a mixture of location and studio shooting (try to figure out when the cast is on top of the REAL Empire State Building and when it's the MGM lot); musical numbers that advanced the plot instead of just providing entertainment (clearly, Hollywood had been looking at Broadway, in particular Rodgers and Hammer-stein's "South Pacific"); and the dream-ballet complete with symbolic decor and an ever-frustrated Gene Kelly symbolically looking for and losing love. (This particular device shows up in "An American in Paris," "Oklahoma," and in backstage form in many other flicks, not necessarily musicals.)

There are people who don't like this movie. It's a little too street-wise or proleterian, call it what you will. But their numbers are in decline, possibly because the Manhattan this movie celebrates has ceased to exist and in the long view has become almost as synthetic and charming as a backstage movie lot. If you think you can handle real-life locations, go with this one; you won't be disappointed.

On The Town is a great movie. Gene Kelly, Frank Sinatra and Jules Munshin star as three sailors on 24 leave in the Big Apple. This movie was so much fun to watch. The big dance numbers are hilariously entertaining.

THE GIRLS:

Ann Miller has a big dance number in a museum that really showcases her talent as a dancer. Betty Garrett is hilarious as a cab driver who develops an immediate crush on Frank Sinatra. She was my favorite character in the film. Vera-Ellen was good but she was mainly used as a plot device so she didn't get as much screen time as the other two.

THE BOYS:

Frank Sinatra's character is more interested in seeing the New York sights than romancing the pretty cabbie, but everything changes when he sings, "You're Awful" to her. I wish someone would sing that to me. Jules Munshin is hilarious. I've never heard of him before and that's a real shame because he's great in this movie. Gene Kelly (a.k.a. the reason I saw this movie) is great. His character is sweeter that the one he played in "Anchors Aweigh." All I want to know is, can we clone him?

This movie is such a touching tender movie. Granted it is based on an adulterous affair, but that element is overshadowed by the love you can feel coming through the characters. I don't think I have ever seen Ted Danson act finer than this. It shows he has true acting range. Isabella, nothing needs to be said about her other than she has once again has proven herself a true star. As much as you would love to hate Sean Young and William Peterson, you can't help but grow to like them, as you watch their characters develop.Excellent acting job on both their parts. The settings are beautiful, the directing was wonderful. I highly recommend this movie to anyone that wants to feel good about and believe in the power of true love. BRAVO to the entire cast of tis amazingly sweet movie!!!!

For once Ted Danson does himself justice as an actor. Of course he is helped by the delectable Isabella Rossellini and the superb Sean Young in a love story with a difference. Danson is a dance instructor, Rossellini a housewife who become cousins by marriage when they meet at the wedding of her mother to his uncle. At the same wedding Danson's wife played by Sean Young meets Rossellini's husband, handsomely portrayed by William Petersen. An affair ensues and it is only a matter of time before their respective spouses find out. But when Danson and Rossellini do find out they decide on a perfect revenge. They pretend that they too are having an affair. This is done gently, with great humour and many funny moments, like when Danson buys Rossellini a hat because her husband "hates them" and Rossellini does the same with boxer shorts and it's not long before their philandering partners are getting a taste of their own medicine. Add to this Danson's crotchety father ably played by Lloyd Bridges who turns up when his brother dies of a heart attack, as well as Danson's teenage son who wants to be a horror movie director, and you have a delightful comedy filled with great moments that leave you chuckling away whilst at the same time wiping away the occasional tear from your eye. The story line could be complicated but isn't though it might take you a few minutes to sort out who is related to whom in the film! It is a nice love story about how two people who fall in love and have to make up their mind whether they stay together or try to make their marriages work. As well as this you have the blossoming love between Rossellini's mother (now widowed) and Danson's father, watch the scene when Danson's son helps his grandfather get ready for his first date, it's hilarious. All in all this is a great film and the music score is absolutely brilliant. So for a film that is gentle, funny and touching don't look any further, "Cousins" is all you need.

This is a great movie. Definitely one to own.

Steve Martin represents a typical husband, in an average suburban, middle-class American family. He's married, has one daughter who is married (the story of which was brought forward in the original Father of the Bride), and has a son. Now that his daughter is married, Martin thinks that he can finally start from scratch with his wife and move to a condo. It turns out that just isn't going to happen.

Why?

Well, during a celebration of his renewed independence--it turns out that he inpregnates his wife, and thus he is going to be a father. It's a bit shocking to him, but it happens. So lo and behold, his daughter and wife are both pregnant. The story from there showcases what love and respect he has for both of them. Although it was intended as comedy, it is not a ha-ha laughter type of film. I just couldn't laugh at most moments. Yet, the film is an important indication of why every culture really values the family: there is some joy about being so close-knit together, even in times of crisis.

Michael Gordon

This movie is a fantastic celebration of life, love, and family. It reminds the viewer of the importance of the "simple things" that mean the most to us. Steve Martin sums up the essence of the movie when he is speaking to a doctor on behalf of his daughter and his wife. He simply states, "Doctor, these women are my life." She understands. The viewer understands. I've probably watched the film a dozen times and it never gets old. I plan to watch it at least 2 dozen more times...especially when life gets tough and I need a reminder about the "good stuff" it has to offer! Thank you!

This movie along with it's predessor have to be two of the nicest and funniest movies of all time. If you just want to be put into a good mmod watch this movie. The best thing about this movie and it's predesscor is the fact that there is no social commentary, no underlying theme. Just a funny movie about family life.

As most of the other reviews have noted, this is a great movie. What disappointed me though was that a lot of little parts were edited out. I saw this movie on TV several years ago and recorded it. I thought it was excellent and eagarly purchased the DVD. I wish now that I had kept my tape. Because although the edited parts did not take away much from the story as a whole, those same parts added so much more to it. For example in the unedited version, during training Paul Baumer comes to the aid of one of his comrades who has fallen into the mud. For this he is punished by Corporal Himmelstoss. Later at the front, Paul and his platoon mates are sitting in their dugout and discussing why Himmelstoss received the Iron Cross. By this time Himmelstoss is behaving more human and when he enters the dugout he is no longer taunted. In fact Kat moves over on his bunk to make room for him. These are only 2 examples. There was much more.

Still a good movie, but because of the editing I rate it only 3 stars.

Like the 1930 version of this film, All Quiet on the Western Front is about a young German boy, Paul, who eagerly signs up to fight for the "Fatherland" during WW1. During the 4 years he fights in the War, he learns that war is not as heroic as his teacher made it out to be. This movie is very well acted and it is a touching movie, even for a war film. Like the 1930 version, it is an interesting WW1 flim seen through German eyes.

This movie is very good! Its through the eyes of a German soldier named Paul. Him and his friends from school are in the horrible war. They have a leader named "Kat" who helps them through their war time. Read the book before/after you see the movie. Movie is one of my favorites and book is my favorite..great story.

Seinfeld live on Broadway is a "no regrets" DVD. Its a great looking performance that puts you in the best seat of the audience. Jerry dishes out over an hour of his best material delivered "for the last time" and it is hilarious even after repeat viewings. You can read some of the jokes on the back of the DVD, but it's Seinfeld's delivery that brings them to life and keeps the jokes fresh and funny. One of the great additions on this DVD that isn't on the tape is an impromptu audience Q & A with Jerry. The audience fires off a variety of what I thought were some pretty dull questions. "How's your new apartment?" "Say, Hello Newman." Jerry answers every one with responses that are as funny as the show material. The disc is not rated but it is funny and great for the whole family. My mom at 60 and my niece who is just eight love watching the VHS of this show again and again. The DVD is even better.

My favorite bits on this video are Jerry's musings about childhood trick or treating, and his horse back riding lessons (Jerry recently published a child's book called HALLOWEEN that is based on the halloween bit in this performance). But Jerry is funniest when he is the average man talking for average men about our above-average delusions: "I'm going to tell you the secret of the male mind . . . all men think of themselves as low-level superheroes." I like being reminded of a time when we imagined some alpha male in the sky could swoop down and save us, or that one day WE could be that alpha male. The universal male (delusional) experience . . . Jerry captures it beautifully.

Andrew Parodi

Jerry Seinfeld is one of those comedians that really stands out from the rest, meaning that there's literally NO ONE else who could do the kind of material he does and get the same response from the crowds. "I'm Telling You for the Last Time" is an outstanding comedic performance from the one and only, Jerry Seinfeld.

This is the last time that Seinfeld performs his most-known material. He talks about air travel, cab drivers, candy, doctors and waiting rooms, McDonald's, airport/airplane bathrooms, and so much more. This is the golden material that made Seinfeld's career, and he appropriately performs them for the last time.

As I said in the beginning of the review, there's literally nobody in the business that could ever duplicate Jerry's material and get the same response from it. The material was made for Seinfeld, and that's why it works so well. He's able to point out some of the most irrelevant or unnoticeable things in society and bring them into the spotlight. Subtlety plays a major role in Jerry's performances.

The DVD also includes a bio on Jerry Seinfeld and a "Q&A" segment that was never aired. The picture quality looks exceptionally good and the DVD does it justice. Running time of the live performance is around 75 minutes.

"I'm Telling You for the Last Time" is an amazing performance by an amazing comic. Although it is sad to see him retire the material that made his career, it's nice to see that he is moving on and working on new bits. He knows when to move on and not just build a career around old material for your whole life. I admire that most about him. This is a great comedy performance that should not be missed by any fan of Seinfeld's or any fan of comedy. It is a great experience.