Jack-Nicholson Movie Reviews

'The Last Detail' is a downbeat, very 70s 'On The Town'. The stark simplicity of its story - two Shore Police escort a teenage sailor from Norfolk naval base to prison in Boston - is its stroke of genius. Uncluttered by the need to drive the plot forward, undiverted by external conflict, the film can concentrate on the interplay of three very different, very brilliant actors, and the internal struggles of their characters. The two policemen in particular find themselves torn between their professional duty, and their friendly empathy with a gangling youth who, to their disbelief, is being sentenced to eight years imprisonment for being caught stealing money from the polio kitty. It is a film full of unobtrusive ironies - these are three sailors who spend the movie crossing the continent on land; the two policemen, who foul-mouthedly shout their rebelliousness against authority, are intensely conservative, while the god-fearing mamma's boy is the one who eventually tries to break the status quo. He's going to jail, but the other pair will rot in the navy as 'lifers'.

The plot simplcity lends the film the impetus of an Allegory, which, thankfully, is lightly done. 'Detail' reverses the movement of the traditional Western with its promise of freedom from civilisation, by heading West-to-East towards jail (and Portsmouth, Boston, the very source of modern America itself). The visuals and locations are flat and largely anonymous, increasing the sense of a Symbolic Arena, but also evoking a mid-70s disenchantment and diminishment. As the policemen try to give the virginal prisoner one last good time before jail, we find the sour remains of the failed 60s counterculture, the debasement of Eastern mysticism into selfish babble; the impotence of drugs; the despair behind 'free love'. In fact, the whole thing would be far too depressing if it wasn't for these performers, whose characters don't have anything particularly witty or insightful to say, but talk and joke and waffle and improvise and laugh and fight and lose control and trash hotels and cry like real, very flawed people in an even more monstrously flawed America.

This is one of my favorites, but it's also one of the most difficult movies to describe to people. Yes, it's about two experienced guys in the Navy who are assigned to escort a young charge (whom they don't know) to Naval prison. And yes, they have some fun along the way, knowing how sad the situation really is. But there's an indescribable something about "The Last Detail" that just gets to me on a pretty deep level. First of all, it's the acting. I mean if you ever question Jack Nicholson's talent and depth as an actor, then watch this movie. I beg to argue about who on earth could have ever embodied this role this deeply. I don't think any of the other big and great actors of his time could have pulled it off this perfectly (Gene Hackman, Al Pacino, George C. Scott, Robert DeNiro). Also, Otis Young and Randy Quaid are pitch-perfect in their roles as well, though the movie clearly belongs to Nicholson. This is a GREAT PERFORMANCE!! It's the definition of one!

But in addition to the acting, the photography of the film is brilliant. It captures the times and places in a rather bleak yet very haunting way. The guys drinking beer in the parking garage in D.C. The three of them pressed into the small hotel room in D.C., along with all those empty beer bottles. Walking a quiet and snowy residential block in Camden, NJ. Walking the streets of nighttime NYC. Playing darts in a bar in NYC. Going to a late night party in an NYC apartment. Going to a Boston brothel. Trying to grill and have a picnic in the middle of a snowy park in Boston! I don't know if it's just my fascination with the time that causes me to find it so darn striking, but it just is. I find these scenes so haunting, and so REAL.

To me, those two things are what make this film so exceptional. The dialogue is also brilliant, as is the complexity of the emotions that are raised by the story. I guess it works on a lot of levels. Just don't miss it, whether you're a Nicholson fan or not. But if you are a Nicholson fan, don't miss out on what is probably his greatest performance!!

When this film was completed 30 years ago, executives at Columbia Pictures really did not know what to do with it and probably would have allowed it to disappear had Nicholson not received an award as best actor at the Cannes Film Festival. Based on Darryl Ponicscan's novel, it traces the one-week journey of two "lifers" in the U.S. Navy (Nicholson and Young) who are ordered to transport and deliver another seaman (Quaid) who has been convicted of theft and sentenced to eight years in military prison. Brilliantly directed by Hal Ashby in a breakthrough role as "Badass" Buddusky, Nicholson takes pity on Meadows and convinces his associate Mulhall to allow Meadows one last fling before imprisonment. En route north from the naval base in Virginia, they treat him to several rounds of drinks and even arrange for him to spend some time with a prostitute (Carol Kane). Finally, they complete their assignment and the film ends. The energy of the plot (developed within a screenplay by Robert Towne) has much less to do with physical action than with the profane language which correctly indicates Buddusky's subversive attitude toward authority. (Why a maverick such as Buddusky was selected for service as a military policeman is never explained.) When seeing this film for the first time many years ago, my initial reaction was that Buddusky and Mulhall improvise their own version of a "right of passage" for their young charge. I still think so. Of course, Meadows is a willing, indeed eager participant. For me, it is almost impossible to ignore Nicholson whenever he appears on screen and that is especially true of this film (and of several others, notably One Flew over the Cuckoo's Nest and As Good as It Gets) in which his presence dominates each scene. The relentlessly profane language seems appropriate as Buddusky's confrontational personality energizes their own conversations as well as their encounters with civilians. When the film ends, Meadows begins to serve his eight-year term and presumably Buddusky and Mulhall return to the naval base in Virginia. They will never forget their week together and neither will I.

Apart from sporting the most powerful newsroom dynamics since His Girl Friday, this film is a lasting account of the delicate balance between intelligence, power, and sexual attraction, and that manages to gently skewer the news industry at the same time.

It is a simple yet intelligent romantic comedy, held up by crisp witty dialogue and topnotch performances by Holly Hunter and William Hurt both at the top of their game. Albert Brooks was nominated for an Oscar for his portrayal of a TV reporter who wants to be an anchor (even Jack Nicholson and John Cusack in little know roles turn in a surprise guest performance).

One could speculate that this movie didn't walk away with any statuettes depite being nominated in several Oscar categories -- and this is my main gripe with the movie -- because the very interesting build-up did not really culminate into a very satisfying ending. Sort of leaves me wanting for something more everytime.

Nevertless, the bustle of the entire movie is definitely worth a ride, if only due to its convincing examination of the atavistic social obsession with physical appearance and its ultimate triumph over intellect as a valued human attribute (personified by the meteoric career success of William Hurt's character in contrast to Brookes relative decline). I have seen this movie about 11 times now, and I can still take it -- that is saying something.

What can I say about this film that hasn't already been said? I've seen it countless times, and I still love it. A few years ago I watched it on the suggestion of my mother, since it is one of her favorite movies and I loved it too. Albert Brooks' performance as Aaron is comedic genius. He had so many funny lines, and was an all-around likeable guy, despite the fact that he did come off as whiny on occasion. Holly Hunter played the part of Jane very well, and she seemed like a very real person struggling with her hectic work life and lack of a social life, especially in her scheduled crying jags. William Hurt totally had it in him to play the "all flash, no substance" news reporter who may be slightly lost in the big, bad world of news anchoring, but somehow managed to pull it off. Brooks, Hunter and Hurt all deserved to be given the awards that were unfairly received by other actors. This is, and will always be, one of my favorite movies.

BROADCAST NEWS marks the first time I saw Holly Hunter, and I was mesmerized at her focus, quickness, passion, and finally her eccentric prettiness and sex appeal. The movie is hers from start to finish, and makes the 'love triangle' subplot almost unnecessary. She's so smart in the film (a rarity for a lead female character) that you almost think if her only romantic choices are William Hurt's style-but-no-substance anchor or Albert Brooks's neurotic but intellectually arrogant reporter, she'd be better off with Robert Prosky. I guess some of my feelings mirror what San Diego Darren said down below, but it dosen't stop me from being a bit p'od at Albert Brooks. His was the character I identified with the most- the guy who's always seen as a 'brother' to the girl he really loves, and my favorite scene in the whole film is him getting the chance to kiss Hunter romantically. (It's preceded by a truly poignant moment of him confessing how much he loves her.) When he goes petulant later in the story, it's a bit hard to take. Fortunately, the James Brooks script and direction are a joy throughout, culminating in two perfect scenes: one with Joan Cusack unraveling seconds before a tape feed, and a marvelous 360 (?) pan thru the studio showing a live news feed from producer to anchor in one shot.

Another great early Nichols. He was on one mean ... streak I tell ya. Virgina Wolf, the The Graduate, Catch 22, and then this film. Which is: Very well done, Very mature, extremely confident in it's telling, thought provoking, well acted, well written, etc.

Jack Nicholson and Art Garfunkle star as best buds in this story that follows their sexual encounters from college to middle age. That's really it. No other action takes place in this movie that doesn't have something to do with, yup, Carnal Knowledge. Good title too. Don't you think? Just grabs you.

Like Catch 22, which I just saw, this movie is all about great framing and long one takes. Even though this movie takes place almost completely inside and is very much like a play, it is very cinematic. Nichols always has the camera in the right place, or at least an interesting place. The structure of the film is also so interesting. It just pops around from sexaul encounter to sexual encounter. And it addresses the whole spectrum...: first love, to marriage, to adultery, to apathy, to..well, it covers a lot. And though it tends to focus mainly on the negative, which can be a little bleak, it sure is real.

At times it can be a little slow and a little tedious (you sort of feel Nichols getting a little TOO into some of these long takes), but this remains a very good, intelligent, unflinching movie. Check it out.

B, B+

This film tells the truth. Not such an old film, the mature adult situations are still happening today even in this decade. Very controversial film of its time. Almost was not released and could not be shown on Network TV at all. Finally in the mid-1980's it was finally allowed to be shown on the then-independent KTLA Channel 5 Los Angeles tv station. Hard-hitting drama about two male roomates. One man (played by Art Gurfunkel as "Sandy") is more sensitive to woman while the other man played by Jack Nicholson feels so macho he must have more than tweleve women a year. When Art falls in love with Candice Bergen (she plays a virgin) it starts as a good friendship until Jack Nicholson buds in. He secretly makes a phone call to her without Art knowing. Jack dates Candice and she loses her virginity by the macho man who can get any woman he wants anywhere, anyway. (So why, Candice?) When Jack talks about his "girlfriend", Art dos not know it's the same woman he loves. When Candice decides to break it off with Jack, Jack becomes a cad and thinks he can break it off first. Well, Jack now has to keep his mouth shut whenever Art and Candice are in the same room together with him. Jack finally comes to the realization that he is getting older and can't get as many woman as he used to. He feels bad when he sees Candice and Art together (metal break-through finally!) Then, the sizzling Ann-Margret enters the picture. Who becomes the more mature man? Who is given LOVE, not just LUST & LEAVE. Some men will find this film a bit hard to swallow. Some women who see this film will say "AMEN!" by the end of it. There is a lesson to be learned here. Get the message of the film. Carol Kane and Rita Moreno are also in the cast. No special features on this DVD. Wide-Screen and Full-Screen available on either side of DVD.

Mike Nichols was on a roll after "The Graduate" and "Who's Afraid of Virginia Woolf?" "Carnal Knowledge" is his most intimate film, and one of the most daring of the 1970s. Its frankness in dealing with young men's sexual psychology has not lost its edge after thirty years. On top of it all, it gives us Nicholson's first truly great performance. The early scenes between him and Garfunkel are fresh and sincere. Spanning some three decades of their friendship, we see how their attitudes towards sex, and women in general, shape their lives. Both actors do a fine job of communicating the gravity of those years, and the most devastating scene is the one where Jack delivers a long and furious tirade at Ann-Margret. "I don't want a job, I want you," she says, to which he replies, "I'm taken...by me!" Brutally honest, yes, but because we've seen what comes before, it's perfectly logical. These men are still affected by the innocence of their younger years, but that innocence is violently clashing with their adult understanding (or lack thereof)--the understanding that the personality is in perpetual motion, and that it becomes difficult to keep up. The movie is often bleak in its settings and its subject matter, but the characters are very real--they challenge you to challenge them. Their dysfunctions may enlighten you, and there is nothing bleak about being enlightened. Oh, and Ann-Margret achieves bombshell status with this movie, playing a woman who at first seems to be the answer to all of Nicholson's fantasies. "Bye Bye Birdie" it ain't.

Five Easy Pieces is one of the landmark films of American Cinema in the 1970's. Hot off the success of Easy Rider, Jack Nicholson made the transition to leading man after wallowing in Roger Corman B-movie obscurity since the late fifties. Nicholson stars as Robert Dupea, one of his most complex and challenging roles. Robert is a tortured soul. Once a promising pianist, he left that lifestyle and his family and moved to work on an oil rig in Texas. Unable to connect with other people he hides himself behind a sarcastic and icy facade. His only friends are Ray ( Karen Black) a simple, yet nurturing woman with aspirations to become a singer and whom is Roberts girfriend and Elton ( Billy Green Bush) who works with him on the oil rig. Robert, disillusioned with his life and unsure of the future learns that his father is ill in Washington and travels to see him with Ray in tow. The middle act turns into a slapstick road movie with Helena Kallianinotes hilarious as a hitchhiker they pick up along the way. After arriving at his old home, Robert must comes to terms with his dysfunctional family and the musical career he abandoned. He also meets a woman named Catherine ( Susan Anspach) an aspiring pianist whom he feels attractive to and who has the passion for music that he once had or did he? One particular vivid scene that stands out for me toward the end of the film is when Robert tries to have a coversation with his estranged father, who is disabled by a stroke and wheel chair bound. The nuanced performance of Nicholson as he goes through a series of complex emotions before breaking down and crying in front of his father is heartbreaking. Ultimately Robert decides to escape from everything for the the last time and start over with a clean slate, as his existential journey begins at the end of the film. We the viewer are left uncertain, but satisfied .

Jack Nicholson is a wonderful actor, but since the early 1970s, virtually all of his performances have been variations of Jack playing Jack. This is not to say that he has not been terrific doing this, but there is a distinct impression that there hasn't been much of a stretch in his acting since Chinatown. Not so with Five Easy Pieces - Nicholson completely loses himself in the character of Bobby Dupee, and gives what is arguably his best performance ever. What's more, the film, which opened in 1970, depicts better than any other film the alienation of the generation of the late 1960s-early 1970s. Nicholson's Bobby Dupee is a talented classical musician who comes from a family of talented classical musicians. He has, however, chosen to deny his past by living (one might almost say "hiding") with his girl friend, Rayette (a terrific Karen Black) among blue collar workers. The bulk of the film centers on Bobby's return home to visit his father, who has suffered a stroke, and the interaction of Bobby (and Rayette) with various members of the household. Nicholson's acting talent was never more apparent than in the scene where he is out walking with his wheel-chair bound father and tries to explain why he has chosen the path he has taken. The scene has an improvisational quality, and Nicholson is both natural and moving. It is a moment that can stand with anything he has done since.

This is one of my favorite films.

A depiction of the two conflicting lifestyles of one man is what "Five Easy Pieces" depicts. Bobby Dupea's downfaults have led him to a less rewarding life than what he could have potentially had. This is exposed even in the two main female interests of Bobby Dupea in the film. His girlfriend Rayette ; a loving yet simple Tammy Wynette-singing country waitress that he cheats on unjustly. Then there is Catherine; a sophisticated , intelligent , classically trained musician. Catherine is a partial reflection of what his life could have been and in the end of the film he is caught between returning to his ho-hum red neck life that he currently leads to returning to and embrassing a richer life he should have had with a much more sophisticated woman that he sincerely loves.
There are classic moments in this film that I don't really need to go over because we already know them but for me the film becomes more intriguing when he finally arrives at the island to visit his ill father and encounters Catherine.
I like to believe that at the very end of the film that he is returning back to the island to win Catherine and start a new life with her but , knowing the character of Bobby Dupea , he's probably running away from his current life to a completely new and uncertain one and that is the tragedy of Bobby Dupea; he is running away....again. Where he is going we don't truely know. We can only assume.
This film is deceptively complex because of the dynamic humanistic detail thats shown of all the characters in this film and how they relate to one another.

Great film! One of Jack Nicholson's best work and Karen Black is unforgettable as Rayette.....and its letterboxed too.

My wife and I both agree that the DVD seemed to be missing some scenes and lines, particularly "We don't need no stinkin' batches" by Belushi.

I have watched this movie many times and never get tired of it. I have shown it to many of my friends and they all enjoy it. Jack Nicholson cracks me up every time. No-one could carry this part off as well. Watch this movie and be entertained as you want to be.

Jack rocked this. He played his part perfectly. I laughed myself silly watching this movie. It was predictable but hell we all like a movie that touches home base every once in a while don't we. If you rent this movie you will probably want to buy it so just buy it first and watch it with style. A clear picture is worth an extra few bucks. VHS is fading away in front of your eyes.

Here is another in the great line of movies that will have you quoting lines to your friends for years to come. For those who live to quote movie lines, this film is second only to "Army of Darkness" for memorable lines.

Now, does that make it a five star movie. No, don't be silly. This movie earns its stars for a great story played out by a fantastic cast under the wonderful direction of Rob Reiner. Tom Cruise has the biggest role and delivers a fantastic performance as a slacker lawyer who discovers his abilities just in time to try the case of his life. Moore and Nicholson add star power and each is brilliant in their role. But, the three big stars aside, this movie is really made by the supporting cast. The list of actors who shine in support in this film is endless. Walsh, Pollack, Bacon, Gooding, Burnley, Dane, Fultz, Sutherland, et. al. make up the real legal dream team. This is truly a great ensemble cast (and fertile ground for the Kevin Bacon Game).

The courtroom scenes will drive trial lawyers crazy, but that criticism misses the point. The writers may have been sick the day they taught law in law school, but that is just the difference between paper law and trial law. So, while the lawyers may object strenuously, I say this film is matched only by "The Caine Mutiny" as great courtroom movies.

Don't miss this one, it is a masterpiece.

This movie is one amazing piece of work. A Few Good Men leaves you sitting in astonishment, as you can't believe the remarkable movie you just had the absolute pleasure of watching.

I am not a big Tom Cruise fan, but he truly performed on Oscar level in this film. I really enjoyed watching his character mature as the moive progressed. Jack Nicholson was simply "Jack" - enough said. This role was seriously made for him. Throw in Demi Moore, Kevin Bacon, and an exceptional performance by Kevin Pollack, and you have one blockbuster of a film. Cuba Gooding Jr. and ER's Noah Wiley also had minor roles in this film, and if that wasn't enough, add in the directing genius of Rob Reiner. Need I say more?

The film flowed extremely well, and the acting was far better than superb. The storyline was forever changing, allowing the suspense to be overwhelmingly good. The courtroom scenes, although slightly unbelievable, were so dramatic and enticing that you couldn't help but feel like you were on that jury witnessing all of the theatrics involved.

A Few Good Men will leave you wanting more, and the ending, somewhat unpredictable, will knock you out of your seat. This is one great film, and would make an excellent addition to anyone's film library.

Have you ever seen one of those movies that you could watch again and again? This is it for me! I can't being to tell you how many times I have stopped in the middle of cleaning the house, doing homework, eating dinner, whatever to watch A FEW GOOD MEN if it was on tv, cable, whatever. This movie is a great movie with a tremendous cast. Jack Nicholson, Tom Cruise, Kevin Bacon, Demi Moore all give amazing performances. This is a movie that everyone should watch atleast once.
Even today I went to my dvd collection to pop it in the DVD player just to watch it again. I think this movie is a real treat for anyone who enjoys court room dramas, movies about military that is not about war, and who loves the actors listed above because I can't imagine any one else in these roles than the great cast in this line up! RENT AND ENJOY! No wait...BUY IT! You won't regret it!!

Adapted from a long-running Broadway hit starring Julie Harris and John Cullum, "Clear Day" was supposed to be a big hit. But the timing was a little off; "Easy Rider" was IN, and audiences wanted grit. No grit here. So disappointing box office receipts got this one labelled a bomb. It's not. It's more than passably entertaining, and everyone admits it's gorgeous. Minnelli was known for sumptuous, and the Brighton Pavilion scenes are among the most scrumptious ever filmed. "Clear Day" holds up remarkably well, however, thanks to the renewed interest in reincarnation and ESP from the New Age eighties. Streisand is marvelous - complete with a couple of English accents - as the girl who wants to quit smoking, goes to a hypnotist, and regresses to her past lives (all of which were more enticing than the one she was living in 70s New York). Yves Montand never did register particularly well in American films (with the possible exception of "Grand Prix") but fares better here than usual. He's thoroughly the continental European, and nobody in 1970 was really braced for that. I was. I also liked Bob Newhart and Jack Nicholson in minor roles. So it you're up for a really old-fashioned musical, enjoy!

I realize it's a bit campy, but I just love this film, and I'd love to see it on DVD in widescreen. But I've no idea why this hasn't been done. The music is great and la Streisand is in top, youthful musical form here. (Forget about Yves). But, don't miss a young Jack Nicholson as Daisy's half-brother. "Love with all the trimmings" has to be one of the sexiest numbers ever filmed, not to mention a great song. I love this film. Please, someone! Do a DVD!!!

Both the score and the movie itself are fantastic.

On A Clear Day is probably the last of the old time, "big" movie musicals. Opulent in every detail, Vincente Minelli and Streisand make quite a team. Every aspect and detail of the film is flawless.

Of particular note is the English country estate scene. Cecil Beaton designed some of the most beautiful costumes ever photographed and Barbra, singing a smashing number "Love With All The Trimmings", was never more lovely. Somewhat reminicent of the dining scene in Tom Jones, it plays quite funny and totally sensual.

The songs, scoring, acting and directing are all noteworthy. In fact, this is as near a perfect film as you are likely to find.

Originally it was three hours in length but, to accomodate more showings per day in the theaters, it was cut down considerably. If the "lost" footage is half as good as what remains here, I wish somebody would come up with a Director's Cut of the film.

Originally, the play was conceived as a vehicle for Richard Rogers. He backed out and Alan Lerner kept at it. Produced on Broadway, it did so-so business; it was the song "What Did I Have I Don't Have Now" that saved the musical from obscurity. Barbra takes that song and makes it an unforgettable tour de force. As she goes back and forth between Daisy and Melinda (her English accent was carefully tutored by Deborah Kerr), the transformation is stirring.

If you are looking for a good time, feel good, family film, treat yourself to On A Clear Day. Everything about this movie is perfect.

I think, if I'd never spent any time in the military, and didn't know how the military, and the people who make it up, operate (like, for instance, the writer and director of this movie don't), I'd have liked it a whole lot more. But having spent 10 years on active duty in the Army, there were two things about this movie that spoiled for me most of the enjoyment I might otherwise have gotten from it:

(1) The Tom Cruise character constantly smarts off to the Demi Moore character. His boss. His superior officer. He's a lowly Lieutenant, she's a Lieutenant Commander. In other words, he's a company grade officer; she's a field grade officer. This is a big deal in the military. My experience dealing with women of rank in the military is that, having invaded and excelled in a male dominated field of endeavor, they tend to be very concerned the men under their command won't respect them. Therefore, they DEMAND you respect them. But every time Moore tells Cruise to do something he ignores her, every time she gives him an order he has some smartass comeback and he refuses. And she just takes it. No woman who'd risen to the rank of Lieutenant Commander in the United States Navy could be such a milquetoast. Forget for a moment she's a woman. ANY officer worth their salt would have yanked Cruise bald the first time he lipped off. Metaphorically speaking (probably).

Finally, he pops off to her in front of the Nicholson character, who says to him, "You know, I just realized something. She outranks you." At which point, sitting there in the darkened theatre, I muttered to myself, "Thank God someone in this movie finally noticed that."

(2) The entire premise of the movie is bogus. Okay, two young Marines have beaten a fellow Marine, and because of a previously undetected medical problem he dies. So far so good. BUT the Cruise character, a JAG officer of years of experience, believes that if he can prove they were ordered to beat the dead Marine, they'll be let off. Because they were only following orders. Which is what soldiers/Marines are supposed to do, right? And Moore, with even greater experience than he, agrees. So we've got Tom Cruise, working and slaving and agonizing over how he's going to prove Kiefer Sutherland ordered these two Marines to beat another Marine, and that Jack Nicholson knew about it.

Uno-teeny-tiny problemo. According to military law, no military member has a duty to obey an unlawful order. On my first day in Basic Training at Fort Jackson, South Carolina, they taught us that "I was just following orders" is not a valid defense if you break military law, that being ordered to break the law does not relieve you of the moral and intellectual responsibility to realize what you're being told to do is wrong, and refuse to do it. As a matter of fact, one of the first things - literally - they taught me in the Army was how to refuse an illegal order without being insubordinate. But Cruise - who should know better - figures if he can prove these guys WERE ordered to commit the actions that resulted in manslaughter he can skate them free. In the real world, any JAG officer with two brain cells to rub together knows that's not the case. Realistically, at most, he can take Sutherland and Nicholson down with them, for their part in the crime, but there's no way on God's green earth his clients aren't going to be convicted. But he doesn't realize that. And he should.

This was obviously a movie written and directed by people who've never been in the military, who don't understand how the military, and military law, works. This is a fatal flaw in a movie dealing with the military, and military law. They believe that soldiers/Marines are dogged robots who just mindlessly follow orders. And if you can prove they were following orders, they can't be held accountable for their actions. False. I've heard the attitude that the end of this movie, when the two Marines are convicted and sentenced for their actions, is a horrible, horrible thing. It's not. It's what would have happened in a real military trial. At least they got that much right.

On the other hand, Jack Nicholson as a hardcore Marine full bird Colonel (talk about casting against type) is worth two stars all on his own.

Jack Nicholson proves that you can do your best regardless of the others around you. This movie is cliched all around, weak plot, weak lead actors, yet he earned his second Oscar for a supporting role.

In short, Nicholson is the only reason to watch A Few Good Men. Of course, if you enjoy pretentious drama, or Demi Moore's looks, you may pick this up just for fun.

This is a great movie.

It has everything you need:
Good actors
Good plot
Good story

Go for it, you will love the movie!

The pleasure of the movie derives from watching a splendid cast of vintage horror stars giving full value to Richard Matheson's elegant script , and clearly delighting in the whole experience.

Vincent Price is "Dr Craven" -a magician and the scion of a now deceased magician of some repute.While reading alone in his study he is interrupted by the titular raven,who turns out to be Peter Lorre, transformed into the unpreposessing avian by the evil Scarabus (Karloff).They venture to Scarbus castle -accompanied by Lorre's son ,a very young and callow Jack Nicholson.Scarabus is the new paramour of Craven,s love Lenotre whom he had thought dead.
Scarabus seeks Craven's power of magic by hand signals and the climax features a duel between the two sorcerers .
The tone is light and the movie is a lively inventive delight which shows what splendid actors its leads were.
Not one for gross out merchants but a fun horror comedy.

Take a Richard Matheson comedy screenplay on a Poe story, direct it by Roger Corman, throw in some overpretentious spooky castle sets, a good deal of Boris Karloff, Vincent Price and Peter Lorre, all in their best mood, and a dash of Jack Nicholson.
Mix and...
Voila!
The result could only turn out as a dream for a true horror-flick fan. This is a treat for any fan of Boris, Vincent, Peter, Roger, Jack or the genre (some kind of bizarre horror-comedy) in general.
The story owes very little to Poes original poem, it has only borrowed vague elements from it in the opening scenes, but is still one of the real treasures in the Poe/Corman series.

Storyline sum-up: (SPOILER WARNING)
The film opens on a "midnight dark and dreary" with Vincnet Prices creepy voice reading the Poe poem "The Raven". We soon find ourselves in some kind of strange D&D land, early 16th century. Dr Erasmus Craven (Vincent Price)is a sorcerer mourning his late wife Leonore in his old castle. He is surprised by a raven "entreating entrance at his window lattice." He learns that the raven is amateur sorcerer Dr Adolphus Bedloe (Peter Lorre)who has been enchanted by the evil grandmaster of all sorcerers, Dr Scarabous, and from here on the film takes on an abruptly comical turn.
The set of to the dungeon laboratory to find an antidote for Bedloe. After some complications Bedloe returns to normal and recognizes a photograph of Leonore, claiming that he saw her in Scarabous castle that very evening. Cravens doubt him at first, but after Bedloe convincing him, Craven, Bedloe, Bedloes son, Rexford (Jack Nicholson !), and Cravens daughter Estelle (Olivia Sturgess)sets of to Scarabous remote mountain castle.
After an adventuric journey the arrive at the creepy castle (sets reused in "The Terror"). Inside they are confronted by Scarabous (Karloff in his very best, he REALLY seems to enjoy the part) who asures them that he has nothing to do with Cravens wife, and has not taken control over her spirit, as Craven believs. Scarabous manages to convince Craven and invites them to dinner, at wich Bedloe gets drunk and challanges Scarabous on a magic duell in wich he is "accidentally" turned into a pile of rasperry jam.
Scarabous who has created a thunder storm gets the company to spend the night at his castle. Know it is revealed that Leonore (Hazel Court) is alive, she has left Craven for Scarabous welth and power. Scarabous has a plan, in wich Bedloe helps him, to conquer the powers of Craven.
...

The potion mixturing scene, the duell between Scarabous and Bedloe and the final battle is masterpieces of comedy, and some moments they can get completely hilarious.
Vincent Price does an average good performance. He doesn't really reach up to the class of "House of Wax" or "Dr Phibes" but is stil highly enjoyable, with his usual charm and elegance. If you want to see a Poe film with Price at his absolutely best, watch "House of Usher" or "Pit and the Pendulum" instead.
Karloff, aging as a fine wine, never seem to had more fun. He is totally unrestrained as he smiles, glees, laughs and completely chew the scenery up with his hammy, lisping british accent, with wich he innocently asures; "Afraid, my dear? Theres nothing to be afraid of..." Look out for other highlight lines such as "Oh, dear! He really shouldn't have tried for that particular experiment, it requires such an enormous concetration" and his absolutely hilarious final line; "I'm afraid i just dont have it anymore".
Peter Lorre is superb as the total coward, uncureable drinker and rotten villain, Dr Bedloe. He gets the greatest share of good lines and brings up many laughters during the films 90 minutes playtime. The scene with the mad servant in Cravens castle, the dinner at Scarabous home and the final scenes is his absolute highlights.
And as for Jack Nicolson, well, he seems to have been in desperate need of a paycheck in 1963. Hes performance isn't really much to look for, despite his charisma, but a fan can make a nostalgical fiest only by his presence.
A fantastic horror-comedy, perhaps the greatest ever made. It isn't very frightening, but a masterpice none the less. Highly recommended for any classic horror fan and a real "clash of the titans".
A delicate mix to watch over and over again!

This has been one of my favorite movies since I first saw it years ago. It is a beautiful piece of Dark Comedy with an unbeatable cast. When you put Vincent Price and Peter Lorre together and let them ad lib you get some amazing stuff. Boris Karloff was amazing as usual even with his health problesm(you may notice they cut away on the scene with him on the stairs because he could not climb down them well). Also, this movie is graced by an extremely young Jack Nicholson. Not a bad acting job and if you want to see more then go see The Terror. It was filled right after The Raven since they had some left over money. You cannot beat spooky castles, ravens, dead bodies, bats blood, magical duels and scenes of the same firey wall falling. If you like Roger Corman or any of the actors in the movie then this is a must see along with The Comedy of Terrors, another black comedy made after the Raven was so successful. Keep the faith, dExtrosien

This movie was a very good movie. I think it fully deserved its Oscar.

The only thing that bothered me was how predictable the ending was.

For me, Jack Nicholson was the highlight of the movie. He really was Shirley MacLaine's (character's) answer to her prayer

I do recommend this movie, mostly to women. It is a "tear-jerker" i guess (thats the category my local Blockbuster put it in,, but it wasnt for me) and men don't seem to interested in those type of movies.

So if you need a good cry, or if you wanna watch some good acting, check out "Terms of Endearment".

~Candace
Seattle Reviewer...

By all accounts Debra Winger wasn't an easy actress to tolerate, either on or off the set. But before she disappeared from the Hollywood scene she proved that she was, among other things, one hell of a good actress. Here she plays Emma, a newlywed, stricken with cancer and the antics of a philandering husband (Jeff Daniels). But the real shine to this film comes from Shirley MaClaine as Emma's mom, Aurora Greenwood. MacClaine is so on pitch in this movie, as both the grieving, concerned and manipulative mother that it's no wonder she took home the Oscar for this performance. Also stars Jack Nicholson, who took home the Oscar and Danny Devito in a cameo.
Paramount Home Video has issued this movie in anamorphic widescreen. Colors are well balanced, though details get lost in darker scenes. The characteristic of the picture, overall, is one of dated 80's quality with film grain, grit and some smearing of colors and fading of fine details. Still, it's free of pixelization, edge enhancement and shimmering artifacts. The sound is flat but nicely restored. NO EXTRAS! Hey Paramount - you really need to do justice to the film's that made you a household name. This film is but one reason why we love Paramount movies. Do something special to mark the occasion. Especially for an Academy Award Winning Best Picture!
*Aside - this film received a follow-up installment "The Evening Star" nearly a decade later that is really disappointing and totally pointless. It also replaced a lot of the cast members with other actors playing the same role, hoping against hope that no one would notice the switch. Oops! -we did! BOTTOM LINE: GREAT MOVIE! GOOD BUY! SOME WORK LEFT TO BE DONE OVER AT THE 'MOUTAIN'!

When we're channel surfing and this movie is on, my husband just hands over the remote b/c he KNOWS I cannot pass up watching it for the 200th time. It reels me right in. Even though I KNOW I am going to be blubbering and sobbing at the end. Even though I KNOW I am going to sit there and WISH I could somehow change the course of the movie... that somehow, this time, things will work out differently... Just a materpiece of film making in the true sense of the word. No special effects, no plot twists. Just good old characterization and human interaction. EXCELLENT.