Harvey-Keitel Movie Reviews

I remember seeing Wise Guys in a movie theater and enjoying it and also later watching it on HBO and still enjoying the movie. There were several scenes that were funny and I thought Danny DeVito and Joe Piscopo were good and made a great duo.

Want some great belly laughs..then check this one out. Anyone from NJ will love this. Forget the Sopranos these guys have it down. I met Joe Piscopo in Newark Airport and he told me this movie is a rental moneymaker in NJ. I can see why.

A laugh from beginning to end. Danny and Joe are like Abbott & Costello.They complement one and other like a hand and a glove or a foot and a sock. The situations they get into and the way they deal with them,are hilarious.I wish they would put this on DVD format.I've watched this movie many times and I never get tired of seeing it.It's as funny each time I see it as it was the very first time.I consider it one of my all time classics.

Many times over the years James Toback has been referred to as 'brilliant', and a good deal of those times the film 'Fingers' is mentioned in the same sentence.

It stands right there with Resevoir Dogs, Bad Lieutenant, and Mean Streets-all Harvey Keitel films which have over the years gotten far more applause than they did earlier..

Actually the premise is just enough unique: the concert pianist from the wrong side of the tracks, the carefree and confused collector for his bookie father.

Toback's dialogue is very raw, but it is on target for the very raw world he describes.

Michael Gazzo gives one of his best performances ever as Keitel's father.

Not to be missed, but if you look to Toback to recreate this magic with his later efforts, 'The Pick-Up Artist" or "Exposed", don't waste your time. Even his recent "Two Girls and a Guy" might have been "Two Mil Down the Drain" without the superb performance of Robert Downey Jr.

James Toback is quoted as telling Harvey Keitel in the Beverly Hills Hotel in 1977 that Keitel "was born to do Fingers." Toback was right; Keitel delivers a first-rate performance that is arguably his best ever, alongside his work in Mean Streets and Bad Lieutenant. This story is about mental anguish derived from perfectionism; Keitel tries to please his mobster father and his high-strung(describing his mother at best)pianist mother and fails, causing him to fall deeper and deeper into a brewing vat of psychosis. He can find no love from his parents; to satisfy his hunger for love, he becomes fixated on a call girl named Carol (an excellent performance by Tisa Farrow)who he can never have. The rejection of him by his mother, the death of his father, and the loss of Carol combine to push Keitel's character, Jimmy Angelelli, over the edge. Keitel is the father of method acting; his ability to apply the pain he has suffered in real-life situations to scenes in films strengthens the impact of the story once it is told. It's important to remember that this man was praised by Jack Nicholson, a multiple Oscar Winner, as "the best actor I've [Nicholson] ever worked with." This film bombed at the box office; it only played for a few weeks and prior to VHS proliferation in the mid 80s, only hard-core film buffs would have seen this. The film was a failure primarily because Keitel was never taken seriously by Hollywood as a leading man. Hollywood producers only ever saw the young Italian hood Charlie Cappa from Mean Streets when they saw Keitel. If you like stories about tormented characters, Keitel provides an Oscar-caliber performance. Of course, this clashes with Hollywood's view on Keitel, but let me leave you with the following truism: There is no such thing as meritocracy in acting; connections, not talent, make stars. This is why Keitel's career was dead from the making of Fingers until his comeback in the early 90s with Bugsy, Bad Lieutenant, and Reservoir Dogs.

In all my years of movie viewing, there have been only two movies that I completely hated upon my first viewing: James Toback's FINGERS and David Lynch's BLUE VELVET. To me, the former was a 90-minute exercise in incompetence, with the director wallowing in material unfit for a sewer. The latter was indescribable - an eclectic assortment of unrelated images sewn together by momentary fits of brutal and sexual savagery. I never would have thought that my utter lack of understanding in film as a visual language would soon come to pass, and ultimately permit me to enjoy further viewings of these films which have become two of my all-time favorites.

FINGERS is one of the best movies you've more than likely never heard of. Though I found it to be initially revolting, I gave the film another chance and boy am I glad I did. Watching the film a second time revealed one of the most audacious and best films made in the 1970's. Harvey Keitel gives what to me is his best film performance. As Jimmy Angelleli (an Angel in Hell - nice symbolism!), he's an aspiring concert pianist moonlighting as a collector for his loan shark father, played wonderfully by the late Michael V. Gazzo. The predominantly New York City cast is made up primarily of great character actors from THE GODFATHER films, in particular Dominic Chianese (finally getting recognition on THE SOPRANOS) and Lenny Montana. Tony Sirico, who plays Pauly Walnuts on THE SOPRANOS, is terrific as a gangster who has a nasty scuffle in a stairwell with Keitel. Danny Aiello and Ed Marinaro are great as Sirico's henchmen, and Tanya Roberts(!) plays Sirico's girlfriend. Marian Seldes is excellent in her small role as Keitel's mother. Tom Signorelli is great as a convict sharing a cell with Keitel. Jim Brown rounds out the cast as Dreems, and Tisa Farrow plays his fey girlfriend.

Be warned, however - FINGERS is not for everyone. It is at times a brutal and depressing drama. However, you should give it a chance if you like MEAN STREETS and TAXI DRIVER, as these are the films that come to mind while watching FINGERS.

The film was shot by cinematographer Michael Chapman, a master of some great 1970's films like THE LAST DETAIL, TAXI DRIVER, and RAGING BULL. His camera mastery is brilliant here. This, like THE FRENCH CONNECTION, is a highly visceral New York movie.

James Toback deserves kudos for making an uncompromising film. For a directorial debut, it's a stunning achievement, and it's the sort of film that would never get made today. Superb.

Even a great actor like Harvey Keitel cannot save this film. Mr. Keitel does the best with what they give him which is almost nothing. Keitel is the patriarch of a family that suffers through his continuous schemes to make money, most of them centered around non-existant mining operation swindals. If you're going to make a movie about con games then at least tell us something about them - that might make a movie interesting! If Keitel's unconventional attempts to earn a living are meant as a backdrop for a story about family relationships, fine, give us inter-personal drama, but we don't get that either. This film drags along and is simply forgetable and regretable. Nothing happens in this film - NOTHING.

Is the wish for love greater than the need to hate? An interesting question posed by, and the complexity of which is examined in this film about the effects of the decisions we make during the course of our lives, and how those decisions ultimately affect our families and loved ones. Based on the semi-autobiographical novel by Sheila Ballantyne, "Imaginary Crimes," directed by Anthony Drazan, stars Harvey Keitel as a widowed father raising two young daughters in 1950s Oregon. Ray Weiler (Keitel) is no role model for fathers, however. In fact, in the words of the author, "Never has a man less equipped for parenthood tried so hard." And failed, she should have added. Ray is not a "bad" man, per se, but he's a dreamer and a schemer, following one deal of a lifetime after another that, up until the day she died, kept Valery (Kelly Lynch) and their daughters, Sonya (Fairuza Balk) and Greta (Elisabeth Moss) living in a one room basement apartment. To the very end, Valery was always a "technicality" away from what she wanted most: A home of her own. And when she died, that dream apparently died with her. Ray's dreams, however, continued; as did the dark clouds his lifestyle cast over the Weilers, beneath which they were forced to live every day without hope or respite. A dreary life, indeed, for two young girls with nowhere to turn.

Told through the reminiscences of Sonya (with Balk providing effective voice-over narration), the story unfolds with the help of flashbacks which reflect the turmoil of young Sonya and Greta's lives with Ray. The sequences involving Valery are especially poignant, and presented with such care and subtly that it enables you to feel and share her every disappointment-- and there were many. You also share her joy at winning a simple raffle at the neighborhood movie theater, where she would escape with Sonya every Wednesday night. And when Sonya points out the fact that her mother cried at every film, no matter what it was, it says volumes about Valery's state of mind and the despair and unhappiness with which she lived, yet masked so convincingly in front of Sonya. It's also easy to understand the bond between the sisters, formed as a means of steeling themselves against the unconscionable neglect of their father. Though not physically abusive, the pain he inflicted on his daughters psychologically was immeasurable. Yet they stood by him; perhaps because they had nowhere else to go and no one to whom they could turn.

Filmed on location in Oregon, the film has a wistful, almost dreamlike quality that successfully reflects the era it depicts, as well as the overall mood of the story, aided in no small part by the atmosphere director Drazan creates. He renders a touching sense of injustice that keeps the viewer acutely aware of the helpless and seemingly inescapable situation in which the girls are forced to remain, and he makes the girls so readily accessible that it is easy to emphasize with them. And it makes you realize that even as big as the world is, everybody lives within their own little part, and it's different for every individual. The world of your next door neighbor may not resemble the world in which you live in any way, shape or form; and because of that, need often goes undetected and want thrives.

As Ray, Harvey Keitel is outstanding, giving a restrained and understated performance that allows you to like him and hate him at the same time. This is a complex character that Keitel develops extremely well, showing you the schemer and the con-man, but also giving you something of an indication of what lies beneath. This is a man capable of disciplined introspection, yet too selfish to do what he must know is the right thing by his family. He's a man who is past believing in himself, but has actually fallen victim to his own con and is unable to let loose of his irresponsible dreams. It's a strong performance, through which he paints the picture of a desperate man, who has no idea of just how desperate he is until it's too late. And the saddest thing about it is the effect it has on Sonya and Greta.

Giving an affecting performance, as well, is the young Fairuza Balk, whose dark beauty and intensity make her perfect for the role of Sonya. She has such expressive eyes that they veritably serve as a window into the soul of her character, which nevertheless seems to emerge from a very private place, and one that gives it definition. Like Keitel, Balk's performance is rather restrained, which gives even more power to her already mesmerizing screen presence. She makes you understand how her circumstances have affected her, which she subtly conveys in the way she relates to those around her, including Greta. There's a sense of the exceptional about Balk, who in an industry filled with young actors seemingly just off the production line, remains unique and has served herself and her career well by exploring some diverse characters in such films as "American History X," "Things To do In Denver When You're Dead," "The Waterboy" and possibly her most definitive role, as that of the young witch in "The Craft." Sonya is one of her more down-to-earth characters, and she delivers her quite well.

The supporting cast includes Vincent D'Onofrio (Mr. Webster), Diane Baker (Abigail Tate), Chris Penn (Jarvis), Amber Benson (Margaret), Annette O'Toole (Ginny) and Seymour Cassel (Eddie). Thought provoking and emotionally involving, "Imaginary Crimes" will take you to a dark place, and it's one that may be all too familiar to some who see this film. This is no happily-ever-after fairy tale, but a very real look at some hard facts about the world in which we live and the people who surround us, and the necessity of reaching out to those who just may be in need.

This is a great movie. I'm amazed that it got made and done so well. First kudos go to Sheila Ballantyne who wrote the novel. A story like this cannot be made up in committee or by hiring the hottest screen writer in town. It has to be lived. There's no question that Ballantyne lived it. And then it has to be understood in the light of love before it can be shared with us. And she did that.

Second kudos go to Tony Drazan who directed and interpreted. It can be seen that he loved the story and he wanted it to be beautiful, and he made it so. He picked the dearest, sweetest girls to play the parts of Sonya and Greta at various ages. And he had to have the right man for their father, a flawed man, like all of us, a man doing the best he can, a man with values that don't really work, a man who lost his young wife to cancer and was left to raise his two daughters alone, a man like Arthur Miller's Willie Loman who had big dreams never realized, a man neither hero nor villain; in short a man who had to be played with delicacy and without maudlin sentiment. Harvey Keitel fit the part, that of a schemer and a dreamer and a self-deluded hustling con man, and did a fantastic, flawless job.

Fairuza Balk, who played Sonya was wonderful, and Elizabeth Moss as Greta was adorable beyond expression, and so beautifully directed. The girl who played the young Sonya was not only excellent, but looked enough like Fairuza Balk to be her younger sister: perfect casting. And Kelly Lynch who had a limited role as the mother was exquisite.

The interaction between the father and the daughters was painfully veracious, filled with real-life tension and heart-breaking disappointments, but done without abuse and without any of the dysfunctional family sicknesses so often expressed these days. We see his failure as a father on one level, and yet in the end we see through the eyes and the voice of Sonya a greater truth: in spite of his weaknesses he actually succeeded as a father. In fact we see that whether he knew it or not, the one thing that he did right in his life, although he wavered plenty, was bringing up his girls against the great odds of his defective character. And the love shown him by his daughters, so beautifully projected by both Balk and Moss, was wonderful to experience since it is so seldom seen these days when the usual style is to trash men and their part in the family. And the nonexploitive, nurturing and loving role of Sonya's English teacher, played with a fine delicacy by Vincent D'Onfrio, was a much-needed change from the usual cinematic use of teachers as sexual lechers. In this movie we can see that men are people too.

I should mention that the screenplay by Kristine Johnson and Davia Nelson was carefully crafted to showcase the story dramatically, and to warn you that this is a tear jerker. It starts a little slow, and seems a touch old fashioned, but stay with it: it's a beautiful movie, one the best I've ever seen.

The idea of an official Roman investigation into the theft of Jesus' body is a stroke of genius, but the filmmakers flubbed their premise with a boring almost-romance between Taurus and Mrs. Pilate, and a silly end act as Taurus goes undercover as a Jew to find Jesus. Heartfelt but flawed film.

This is one of those films that gets off to a slow start, but builds inexorably on an engrossing premise to end on a powerful note. The story draws you in to the inquiry of the title,never giving away the surprising twists and turns of the plot.

What I appreciated most about this film was the presence of a good story line and plot that kept your interest as the inquiry progressed into the unknown. The sense of mystery was heightened by the sparse locale and simple sets. The dialouge requires you to engage your mind.

Harvey Keitel is perfect as a suspicious Pontius Pilate. His performance alone makes this worth seeing for anyone who is a fan. Carradine is good, but it isn't till the end of the film, when he is mistaken for the person he is looking for, that his performance transcends to become truly memorable.

I found myself thinking about this story and the questions it raised long after I had seen it. This film stays with you, and to me that is the mark of a successful production.

I saw this film in a cinema in Rome, on its initial release. I remember it for the effect it had on the audience. After it had finished, the auditorium was in deep silence, for a substantial length of time, before people started moving to the exit. The atmosphere was stunned and one of deep thought. This film touches a nerve as it questions the balance of forces between the clear, rational search for understanding of the central character, the Roman investigator, and the power of faith, no matter how irrational, in the minds of those who believe. It is a masterstroke of Damiani and his mentor in this film, Ennio Flaiano, that the figure of Jesus is obliquely presented, solely through the perspectives of others, which alone marks this film out from most examples of the 'biblical' genre. I know of no-one who has seen this unusual film who has not had cause for deep reflection afterwards.

There is a strange ambiance in this movie, as if we were dealing with spies in an Cold War era..You would expect Keitel's character to walk in the next Cafe Rouge to meet a Russian couple for dinner and ...well, conversation...Dave Arnold's music is just great, adding the necessary eerie side to the foggy London streets on which our DEA man chases his prey. Great work altogether, and a must see for Americans in Europe...

I caught this movie on TV one Saturday afternoon while flipping through the Channels. Seeing Harvey Keitel got my attention but the movie itself kept it. It's a really good movie. I was suprised that I hadn't heard of it before. Check it out. Its a great deal especially at the price Amazon offers it for.

I thought that I had seen all of Harvey Keitel's films but, due to the inexplicable failure of this film to attain a theatrical distributor in the U.S., I had never even heard of this one. Then I caught it on Bravo a few weeks ago and it knocked me out! It's a gritty, tough British crime film in the tradition of THE LONG GOOD FRIDAY. The cast is very good - of course, Keitel is excellent as a weary American liaison to the English police, but Craig Kelly (currently in the Brit TV series QUEER AS FOLK) is also impressive as Chris, a young man struggling to survive the mean streets of London. This film is truly a pleasant surprise.

This was an excellent film. I was confused at first, but then it all clicked about thirty minutes in. There were some really intense scenes that made me jump right off the couch. Loved this film!

I watched this movie when the title caught my attention. As a young kid growing up in a highly disfunctional family I read a book with the same title. This was my favorite book through my entire youth as well as highschool. It was my escape.

The movie is loosely based on the book in the charactors and the plot. However the book was so much deeper in the respect of how JJ learns to live in the park. As soon as the Kathleen Turner charactor is shown you know exactly where this thing is going. JJ never seems to be more than a few days at summer camp sleeping in a really cool cave.

He never gets sick from eating out of garbage cans. He never breaks into Taven on the Green for food. He never build a tree house using ropes because he can't hurt the tree.

This book is out of print but if you can find a copy or get it at your library READ IT! You will remeber it forever.

This post is for Doreen Sullivan. You should look for the (1977) version of Prince of Central Park. It's truer to the book, it includes his sister and the treehouse. It's not out on video, but you might be able to find it at your local video store.

I have just ordered this movie on DVD, after I seen it for the first time on HBO. I really liked what I seen. The movie had great actors and used great footage of Central Park and other parts of Manhattan(New York). The little boy named JJ, played by Frankie Nasso lives in a small cave in Central Park and is beat up on by the bullies. In my opinion, JJ shows a good example that if you set your mind to something, you can always accomplish it. He goes to Manhattan in search of his mother and soon after meeting this couple, whose marriage is falling apart.. he discovers that his mother is dead. :( In the end he lives with the couple and lives a great life.

Paul, an only child, loves visiting the Dabney family. The Dabneys have seven children, and they're a much poorer family. During Paul's tenth summer, set in the 1930s, a family member he never even met passes away, and he goes to stay with the Dabneys while his parents go off to the funeral. That's when he meets Shadrach, a 99-year-old black man that was born a slave and was sold off to Alabama, being separated from his family in Virginia. He's been gone all these years. Sensing death in his old bones, he travels back to his native Virginia, wanting to be put to rest where he belongs. Shadrach happens to be a Dabney, just like the white family he came to. Will this family be nice enough to do for him what he wants to be done? What will happen along the way?

"Shadrach" is a heartwarming and extremely realistic film. Being raised in Alabama, I can relate to the underlying plot of the film a lot. One thing that's really shocking is that Paul looks almost just like my little brother, making me kind of watch the movie as if it was through my younger sibling's eyes. Both of those facts along with the great acting by everybody, especially Harvey Keitel, made "Shadrach" really hit home for me in a way. Not to mention that it reminds me of my own childhood, when I was looked at as being middle to upper class, but almost all of my friends were less fortunate, and I never thought a thing about it.

It's a shame that "Shadrach" seems to be relatively unknown. It's just a simple drama movie with elements of a coming of age film, but it's a real good one that will hit home for certain people, maybe in more than one way. All I did was rent it after hearing that it's "a good southern movie." I'm glad I did, because now I look to purchase it one day in the future. As long as the cussing nearly every other word doesn't bother you (it shouldn't; that's just the film trying to be realistic of the times), you'll love "Shadrach".

This is one of the best movies I've ever seen!

I have seen Shadrach 6 times; recommended it to all my friends and they all loved it. Our community rented it so many times we wore it out. I grow up in the South so I could relate. The casting was excellent. Harvey Keitel, Andie and the rest were terrific. I am looking to buy it. I think it needs to go in my library along with The Little Prince and Herald and Maude.
John Sawyer and the whole cast should have received an award.

Adam Sandler does a great job repackaging the same character from film to film. He is always the tender-hearted, mis-understood man with low self esteem who is ultimately rescued by the love an unlikely girlfriend. In this movie, however, good acting notwithstanding, comedy dies a thousand deaths.

Sandler plays Nicky, youngest son of the Devil. Lucifer, who retired as the Devil 10,000 years earlier, is played in short cameos by Rodney Dangerfield. The current Devil, played by Harvey Keitel, is the doting father of his 3 sons. Now that his 10,000 year reign as the current Prince of Darkness draws nigh, Nicky's older brothers, Cassius & Adrian, are vying for their dad's throne.

After a varied turn of events, Nicky (who suffers from a malformed face and a speech impetiment... among other things) must go to Earth on a mission to save his father from decomposing in Hell. Despite his demonic roots, Nicky is too kind-hearted to be too devlish, and is terribly out of his element on Earth, where he is misunderstood and always confused.

The film is star studded with professional athletes and with Sandler's former SNL cast-mates.

Stereotyped religious zealots, demonic possesions, belching fire and peeing acid... these are the many sight gags used through out that just don't seem to work. The special effects are good enough for a film of this calibre, but the whole story is just so perposterous. With this type of story, you're expected to suspend some facts from memory - but this film asks you suspend your cerebral cortex and your brain stem... only the medula oblongata has a chance of sitting through this dry tale.

The blasphemous occurances may have experienced some redemption if the film had actually been funny. As always, Sandler proves himself as an accomplished actor in any role - whether as a leading man or as a bafoon - but even his talents are not enough to ressurrect this from the bowels of movie hell.

This is not the worst film I've ever seen by a long shot - but it is still pretty stinking awful.

This is one of the worst movies you'll ever love. Adam Sandler plays his stock character, that loveable loser that gets the girl and finally makes good, but this time with a little different twist. Here, he's the "good" son of Satan, and he's on a mission to keep his other two brothers from deposing his beloved father and taking over hell. Replete with raunchy humor, great actors/cameos (Ozzy Osbourn, Rodney Dangerfield, Henry Winkler, Rob Schneider, Reese Witherspoon, Jon Lovitz, Quentin Tarentino), and the worst speech impediment you'll ever hear, "Little Nicky" should keep you laughing for most of the film. There are, of course, glaringly unfunny moments, but overall it is surprisingly entertaining. I put off watching this one for quite awhile because it just looked so awful, but I was very pleasantly surprised. Fans of Adam Sandler should love it, and those who appreciate some low-brow politically incorrect humor will find lots here to enjoy.

In the comedy LITTLE NICKY, Adam Sandler plays Nicky, a heavy metal rock fan who also happens to be the son of the devil. When it is announced that his father will not give up the throne and continue to rule hell for the next 10,000 years, Nicky's evil brothers go up to Earth to steal human souls and generally create hell on earth. Now, Nicky is charged with the task of bringing both of his brothers back to hell in order to restore the balance between good and evil all over the world and to save his father from rapidly decomposing. This movie is totally halarious with alot of perverted humor thrown in for good measure and it actually helps the story move along. Also includes cameo appearences by Rodney Dangerfield, Kevin Nealon, Reese Witherspoon, Jon Lovitz, Dana Carvey, and Ozzy Osbourne. The DVD edition of this film contains special features such as the theatrical trailer for the film, a behind-the-scenes documentary on the making of the film, an excellent documentary on heavy metal music, and a halarious commentary track.

Adam Sandler does a great job repackaging the same character from film to film. He is always the tender-hearted, mis-understood man with low self esteem who is ultimately rescued by the love an unlikely girlfriend. In this movie, however, good acting notwithstanding, comedy dies a thousand deaths.

Sandler plays Nicky, youngest son of the Devil. Lucifer, who retired as the Devil 10,000 years earlier, is played in short cameos by Rodney Dangerfield. The current Devil, played by Harvey Keitel, is the doting father of his 3 sons. Now that his 10,000 year reign as the current Prince of Darkness draws nigh, Nicky's older brothers, Cassius & Adrian, are vying for their dad's throne.

After a varied turn of events, Nicky (who suffers from a malformed face and a speech impetiment... among other things) must go to Earth on a mission to save his father from decomposing in Hell. Despite his demonic roots, Nicky is too kind-hearted to be too devlish, and is terribly out of his element on Earth, where he is misunderstood and always confused.

The film is star studded with professional athletes and with Sandler's former SNL cast-mates.

Stereotyped religious zealots, demonic possesions, belching fire and peeing acid... these are the many sight gags used through out that just don't seem to work. The special effects are good enough for a film of this calibre, but the whole story is just so perposterous. With this type of story, you're expected to suspend some facts from memory - but this film asks you suspend your cerebral cortex and your brain stem... only the medula oblongata has a chance of sitting through this dry tale.

The blasphemous occurances may have experienced some redemption if the film had actually been funny. As always, Sandler proves himself as an accomplished actor in any role - whether as a leading man or as a bafoon - but even his talents are not enough to ressurrect this from the bowels of movie hell.

This is not the worst film I've ever seen by a long shot - but it is still pretty stinking awful.

This is one of the worst movies you'll ever love. Adam Sandler plays his stock character, that loveable loser that gets the girl and finally makes good, but this time with a little different twist. Here, he's the "good" son of Satan, and he's on a mission to keep his other two brothers from deposing his beloved father and taking over hell. Replete with raunchy humor, great actors/cameos (Ozzy Osbourn, Rodney Dangerfield, Henry Winkler, Rob Schneider, Reese Witherspoon, Jon Lovitz, Quentin Tarentino), and the worst speech impediment you'll ever hear, "Little Nicky" should keep you laughing for most of the film. There are, of course, glaringly unfunny moments, but overall it is surprisingly entertaining. I put off watching this one for quite awhile because it just looked so awful, but I was very pleasantly surprised. Fans of Adam Sandler should love it, and those who appreciate some low-brow politically incorrect humor will find lots here to enjoy.

In the comedy LITTLE NICKY, Adam Sandler plays Nicky, a heavy metal rock fan who also happens to be the son of the devil. When it is announced that his father will not give up the throne and continue to rule hell for the next 10,000 years, Nicky's evil brothers go up to Earth to steal human souls and generally create hell on earth. Now, Nicky is charged with the task of bringing both of his brothers back to hell in order to restore the balance between good and evil all over the world and to save his father from rapidly decomposing. This movie is totally halarious with alot of perverted humor thrown in for good measure and it actually helps the story move along. Also includes cameo appearences by Rodney Dangerfield, Kevin Nealon, Reese Witherspoon, Jon Lovitz, Dana Carvey, and Ozzy Osbourne. The DVD edition of this film contains special features such as the theatrical trailer for the film, a behind-the-scenes documentary on the making of the film, an excellent documentary on heavy metal music, and a halarious commentary track.