Lee-Evans Movie Reviews

this one was very daring for it's time. the opening score is one of the most ominous music compositions i've ever heard. it's simple but terrifying. you know from the beginning that "something" is going to happen and it does. a woman is manipulated and extorted and threatened all in the first 10 minutes, inevitably compelled to involve the FBI. to divulge any more of this ominous little film would be unfair. a thriller in the most definitive form of the word. it boasts two of the best actors ever to grace the silver screen: Glenn Ford and Lee Remick. this was director Blake Edwards sole attempt at a dramatic film. this attempt proved to be sufficient. it's a cinematic masterpiece. watch it with the lights out!!!!

as for the DVD, not much in extras but the transfer and audio are very good.

Take an early, lean Blake Edwards, a tension filled script, a cast of fine actors, great San Francisco location shooting and a suspenseful score by Henry Mancini and you have "Experiment in Terror"---one of the best suspense thrillers ever made. Adapted by the story's authors, it pits innocent bank clerk Lee Remick against asthmatic madman Ross Martin who terrorizes her in an extortion plot to rob her bank. His threats include harming her kid sister Stefanie Powers. When Remick contacts the FBI, agent Glenn Ford and his associates barrel into action. The result is a bizarre cat & mouse game between Remick, Martin and Ford. Martin is slick and murderous. But he manages to finance expensive hip surgery for a 6 yr.old Asian boy whose mother he's seeing. His heavy breathing is some of the most realistic I've ever heard in a film. Edwards directs "Experiment" in a fast paced style that keeps you glued to the screen all the way to the Giants game finale. Again, his on location shooting is superb. He never goes for the cheap shot in this film. Some scenes are just down right creepy. "Experiment in Terror" gets my vote as one of the best DVD finds around and deserves collector's status. It's wonderful b&w photography is preserved in a nice crisp print and the sound is fine. This is a first rate keeper all the way. Enjoy.

In a time when one is supposed to have the wits scared out of you by graphic depictions of violence on the screen you would think that a film like "Experiment In Terror" (1962)would be out of place. There is no graphic violence what so ever; not even a harsh word. I can assure you however that it will scare the wits out of you.It might not depict graphically but does something even more unsettling; leaving it to your imagination. Through the stark use of light and shadow combined with a superb script director Blake Edwards will have you on the edge of your seat through what is basically a simple police procedural.
It is quite simple ; a bank teller (Lee Remick) is coerced by someone unknown ,but who knows her, to steal from a bank. The coercer is , until the end, not seen even though he appears in several scenes. That effect is brought about by Edwards use of those stark shadows. With the help of an FBI agent (Glenn Ford) a cat mouse game procedes as the FBI narrows in on a suspect more sinister than first believed. The climax is superbly crafted and to the point. One of the crucial elements of the film is Henry Mancini's very unnerving and edgy score that will come as a shock to those who only know him through such lighter fare as The Pink Panther which oddly enough Blake Edwards also directed. One for the edge of your seat and not easily forgotten.

This movie was so fascinating, I just was completely engrossed in it. And its based on a true story. See this it is great!

A true story about Lalu, sold by her father to become a wife/slave in 19th Century America, during the time of the Gold Rush. Sold to a rich Chinese prospector in an Idaho mining town, she quickly learns the harsh realities of the 'Old West'. A superbly-filmed tale, with the extremely capable Rosalind Chao as the strong Lalu, who learns that real friends don't come from obvious sources.

A romantic adventure of chinese immigrants into Alaska who suffered a fate similar to others in North America. Only the poorest gold mining opportunities were allowed and were retaken if the Chinese succeeded where others failed. Discrimination and deprivation are shown in a pleasant, well acted story.

My 2year old horse lover can never get enough of this film. He loves not only the horses but Dale, Roy and Grandpa. Trigger, Jr. can outrace "Bert and Ernie" on any day.

Trigger, Jr. provides my two-year old horse lover with just enough action to keep him occupied through the entire film. He never tires of watching Trigger's mane, the birthday party and
he loves Roy, Dale and Grandpa. Trigger outraces Bert and Ernie
everytime!

Roy and his sidekicks operate a circus and run afoul of a range patrol protection racket. Roy actually owned two Triggers, but this movie and "The Golden Stallion," to which this is a semi-sequel, were the only ones in which Little Trigger, a backup for "the smartest horse in the movies," actually got to play a separate horse, as Trigger Jr. This is not for viewers saddened by horses dying in movies; the plot involves the baddies setting a killer stallion loose on ranchers' stock. Trigger is temporarily blinded battling the white "phantom" horse (who is a pretty good actor himself), but their return match under Witney's direction is great.

My 2year old horse lover can never get enough of this film. He loves not only the horses but Dale, Roy and Grandpa. Trigger, Jr. can outrace "Bert and Ernie" on any day.

Trigger, Jr. provides my two-year old horse lover with just enough action to keep him occupied through the entire film. He never tires of watching Trigger's mane, the birthday party and
he loves Roy, Dale and Grandpa. Trigger outraces Bert and Ernie
everytime!

Roy and his sidekicks operate a circus and run afoul of a range patrol protection racket. Roy actually owned two Triggers, but this movie and "The Golden Stallion," to which this is a semi-sequel, were the only ones in which Little Trigger, a backup for "the smartest horse in the movies," actually got to play a separate horse, as Trigger Jr. This is not for viewers saddened by horses dying in movies; the plot involves the baddies setting a killer stallion loose on ranchers' stock. Trigger is temporarily blinded battling the white "phantom" horse (who is a pretty good actor himself), but their return match under Witney's direction is great.

"The Lookalike" is one of those neat little mysteries that keep you guessing until the very end - and that's a difficult achievement in this day of so many movies with almost every plot imaginable having been seen.

Melissa Gilbert, as always, gives an under-stated performance that makes a viewer be on her character's side and want her to solve the mystery.

Even though this is a mystery, and not horror, it does have some eerie moments, and is well worth the watching.

This is one of the best movies to come along that I would describe as an emotional thriller.

There is so much emotion in the mothers search for her dead daughter, she knows she not seeing things, but how do you begin to convince others that you are not crazy. The process can make you insane.

When the woman finds out that her "mother" actually killed her real mother the emotion of pity comes into play with very stong emotions of hate.

Plus you have the wonderful character of the boss in the department store who doesn't help matters by creating a manaquin of Gina.

It's just a wonderful movie

This movie kicked butt in English and then I saw it in Paris in the theater and it kicked even more butt!!!!

Dinner at Eight offers a chance to see some of the greatest stars of the early Thirties all together in one film. Lionel Barrymore stars as a failing businessman whose wife, Billie Burke, is putting on a dinner party for an English nobleman. Their engaged daughter Madge Evans is in love with an alcoholic has-been actor John Barrymore, while Lionel's doctor Edmund Lowe is having an affair with Jean Harlow, the wife of Lionel's business opponent Wallace Beery. Added into this mix is Marie Dressler as an aging former actress and friend of Lionel's who is in need of money. It's quite a collection of characters coming together for one evening, especially when they are played by the actors in these roles. Jean Harlow gives one of her best performances as the tough social climber, and her fight scenes with Beery are well played by both. The Barrymore brothers have the serious roles in the film and play them with great skill, with special credit going to John who comes so close to playing himself it's almost uncomfortable to watch. Burke is very funny as the hostess trying to impress everyone as her party falls apart. However, it's Dressler who has some of the best lines, and she plays them with relish. Her acting in the closing scene alone makes the video worthwhile. Yes, it is very talky and episodic as it moves from one subplot to another, but it all comes together at the end very well. I do wish music had been included on the soundtrack, but this was early in the era of sound. But it's a funny, honest, and sophisticated comedy, and movie fans will want to seize the opportunity to see so many great stars in peak form!

DINNER AT EIGHT is great fun to watch due to the stellar cast of these uniquely talented stars of the early thirties. Marie Dressler is fun as the stage actress Carlotta Vance - she's both natural and hilariously affected in her broad playing of a grande dame who's seen better days financially. When Oliver Jordan's fifty - something secretary, (Elizabeth Patterson) tells Carlotta that she relished seeing Vance in her swan song performance - when she was a little girl - Carlotta retorts with a venomous glare "HOW EXTRAORDINARY"! - "We must talk of the CIVIL WAR someday, just you and I"! Lionel Barrymore succeeds in getting sympathy from the audience as Oliver Jordan, the dying shipping magnate: he's hiding the inevitable from his self-centered, social climbing wife. Jean Harlow plays Kitty Packard, a sexy, wisecracking floozie: her afternoon exercise is reading movie magazines and eating bon bons in bed. Wallace Beery plays the uncouth Dan Packard with whom Kitty has a sensational squabble about her origins and his flat-chested first wife. Billie Burke gives a downright sparkling performance as the foolish, fluttery and totally self-absorbed Millicent (this is, perhaps her best performance.) John Barrymore is always a fascination, yet his playing seems rather hammy and obvious in this, Madge Evans is a 1933 moderne and Lucy is played by the antiseptic Karen Morley. Lee Tracy is brilliant and chilling as Barrymore's agent who has to reveal to the once great star that he's THROUGH. Hilda Vaughn is Harlow's conniving maid; she slyly suggests that a diamond bracelet would suffice just fine in exchange for keeping mum about the doctor (Edmund Lowe) who makes Kitty "feel better" during the day! You will be enchanted by this Cukor classic which is a star-studded delight from 1933.

This great MGM classic "Dinner at Eight", would surely have to be one of the best drama/comedy compilations to come out of Hollywood in the 1930's. Always labelled one of the "all star" specials produced by the studio at this time, that is to do this wonderful film an injustice as it contains excellent writing and well crafted performances as well as an excellent cast that performs this witty and at times also tragic story to perfection. And what a cast! It exemplifies MGM at its finest with Lionel and John Barrymore, Marie Dressler, Jean Harlow, Wallace Beery and Billie Burke among many others helping to make "Dinner at Eight" a viewing experience to cherish.

Using the scenerio of an upcoming dinner party the writing team of Herman J. Mankiewicz and Edna Ferber fashioned a unique screenplay from the popular Moss Hart/Edna ferber stage play that tells of the 24 hours in the lives of a small group of individuals who have received an invitation to the dinner in question. Hosted by the fluttery Millicent Jordan (Billie Burke in another of her dippy society matron roles), who has managed to bag English gentry for the swank evening, she experiences all sorts of unforseen complications as the evening approaches. The dinner also sets off all sorts of dilemmas for the invited guests too as we see the final decline of once famous actor Larry Renault (John Barrymore in a brilliant performance) into alcoholic destruction that finds him demoted from the lead in a new play which was to be his great come back, to a walk on part which propels him to suicide. Shipping Magnate Oliver Jordan, Millicent's husband (Lionel Barrymore) comes to terms with his terminal heart troubles with the realisation that his business is also going under. Carlotta Vance (Marie Dressler)experiencing money troubles reluctantly excepts the dinner invitation and finds herself caught between Millicent's daughter Paula (Madge Evans) and her secret love for Larry. Dan and Kitty Packard, the feuding, foul mouthed upstart couple have their own reasons for excepting the invitation, Kitty because she wants to rub shoulders with high society uttering the immortal line ,"I want to become a real lady if it kills me!" and Dan wants to go to be able to conclude his business deals and buy up some valuable stock in Oliver's company.

The actual dinner of the title begins as the film concludes but leading up to it we as viewers are treated to some top class acting from this superb ensemble of gifted actors. MGM quoted as having "more stars than there are in heaven" definately proves that here with its top rate cast at their peak. However it is the sure direction of George Cukor and the strong writing that make this a memorable viewing experience and an accurate and at times scathing documenting of depression era values of all classes in society. John Barrymore has rarely been better than as the tragic washed up actor which sadly resembles himself in later life and Jean Harlow really broke through into the upper levels of the MGM hierachy with her playing of the loud, brassy strumpet climbing the society ladder. As with the earlier all star effort "Grand Hotel", no expense was spared here from Cedric Gibbons beautiful interiors ranging from over the top for Jean Harlow's garish bedroom to sedately tasteful for the Jordan residence. Adrian's sublime designs for the women were some of his most famous ever with Jean Harlow's clothes in particular going down into 1930's film costume folklore.

I find "Dinner at Eight", to be by far the best of the multi plot all star stories produced during the 1930's and it constantly amazes me at the sheer star power the major studios and MGM in particular had at their disposal in the golden era. To see such stars of the 1930's as Jean Harlow and Marie Dressler, who were both to pass away before too many years had gone by is a rare treat for film buffs nowadays. This film really is what classic Hollywood is all about and even with the passing of time it is still as witty and relevant in it's character studies as it was in 1934. Dont miss this dinner party under any circumstances!

Dinner at Eight offers a chance to see some of the greatest stars of the early Thirties all together in one film. Lionel Barrymore stars as a failing businessman whose wife, Billie Burke, is putting on a dinner party for an English nobleman. Their engaged daughter Madge Evans is in love with an alcoholic has-been actor John Barrymore, while Lionel's doctor Edmund Lowe is having an affair with Jean Harlow, the wife of Lionel's business opponent Wallace Beery. Added into this mix is Marie Dressler as an aging former actress and friend of Lionel's who is in need of money. It's quite a collection of characters coming together for one evening, especially when they are played by the actors in these roles. Jean Harlow gives one of her best performances as the tough social climber, and her fight scenes with Beery are well played by both. The Barrymore brothers have the serious roles in the film and play them with great skill, with special credit going to John who comes so close to playing himself it's almost uncomfortable to watch. Burke is very funny as the hostess trying to impress everyone as her party falls apart. However, it's Dressler who has some of the best lines, and she plays them with relish. Her acting in the closing scene alone makes the video worthwhile. Yes, it is very talky and episodic as it moves from one subplot to another, but it all comes together at the end very well. I do wish music had been included on the soundtrack, but this was early in the era of sound. But it's a funny, honest, and sophisticated comedy, and movie fans will want to seize the opportunity to see so many great stars in peak form!

DINNER AT EIGHT is great fun to watch due to the stellar cast of these uniquely talented stars of the early thirties. Marie Dressler is fun as the stage actress Carlotta Vance - she's both natural and hilariously affected in her broad playing of a grande dame who's seen better days financially. When Oliver Jordan's fifty - something secretary, (Elizabeth Patterson) tells Carlotta that she relished seeing Vance in her swan song performance - when she was a little girl - Carlotta retorts with a venomous glare "HOW EXTRAORDINARY"! - "We must talk of the CIVIL WAR someday, just you and I"! Lionel Barrymore succeeds in getting sympathy from the audience as Oliver Jordan, the dying shipping magnate: he's hiding the inevitable from his self-centered, social climbing wife. Jean Harlow plays Kitty Packard, a sexy, wisecracking floozie: her afternoon exercise is reading movie magazines and eating bon bons in bed. Wallace Beery plays the uncouth Dan Packard with whom Kitty has a sensational squabble about her origins and his flat-chested first wife. Billie Burke gives a downright sparkling performance as the foolish, fluttery and totally self-absorbed Millicent (this is, perhaps her best performance.) John Barrymore is always a fascination, yet his playing seems rather hammy and obvious in this, Madge Evans is a 1933 moderne and Lucy is played by the antiseptic Karen Morley. Lee Tracy is brilliant and chilling as Barrymore's agent who has to reveal to the once great star that he's THROUGH. Hilda Vaughn is Harlow's conniving maid; she slyly suggests that a diamond bracelet would suffice just fine in exchange for keeping mum about the doctor (Edmund Lowe) who makes Kitty "feel better" during the day! You will be enchanted by this Cukor classic which is a star-studded delight from 1933.

This great MGM classic "Dinner at Eight", would surely have to be one of the best drama/comedy compilations to come out of Hollywood in the 1930's. Always labelled one of the "all star" specials produced by the studio at this time, that is to do this wonderful film an injustice as it contains excellent writing and well crafted performances as well as an excellent cast that performs this witty and at times also tragic story to perfection. And what a cast! It exemplifies MGM at its finest with Lionel and John Barrymore, Marie Dressler, Jean Harlow, Wallace Beery and Billie Burke among many others helping to make "Dinner at Eight" a viewing experience to cherish.

Using the scenerio of an upcoming dinner party the writing team of Herman J. Mankiewicz and Edna Ferber fashioned a unique screenplay from the popular Moss Hart/Edna ferber stage play that tells of the 24 hours in the lives of a small group of individuals who have received an invitation to the dinner in question. Hosted by the fluttery Millicent Jordan (Billie Burke in another of her dippy society matron roles), who has managed to bag English gentry for the swank evening, she experiences all sorts of unforseen complications as the evening approaches. The dinner also sets off all sorts of dilemmas for the invited guests too as we see the final decline of once famous actor Larry Renault (John Barrymore in a brilliant performance) into alcoholic destruction that finds him demoted from the lead in a new play which was to be his great come back, to a walk on part which propels him to suicide. Shipping Magnate Oliver Jordan, Millicent's husband (Lionel Barrymore) comes to terms with his terminal heart troubles with the realisation that his business is also going under. Carlotta Vance (Marie Dressler)experiencing money troubles reluctantly excepts the dinner invitation and finds herself caught between Millicent's daughter Paula (Madge Evans) and her secret love for Larry. Dan and Kitty Packard, the feuding, foul mouthed upstart couple have their own reasons for excepting the invitation, Kitty because she wants to rub shoulders with high society uttering the immortal line ,"I want to become a real lady if it kills me!" and Dan wants to go to be able to conclude his business deals and buy up some valuable stock in Oliver's company.

The actual dinner of the title begins as the film concludes but leading up to it we as viewers are treated to some top class acting from this superb ensemble of gifted actors. MGM quoted as having "more stars than there are in heaven" definately proves that here with its top rate cast at their peak. However it is the sure direction of George Cukor and the strong writing that make this a memorable viewing experience and an accurate and at times scathing documenting of depression era values of all classes in society. John Barrymore has rarely been better than as the tragic washed up actor which sadly resembles himself in later life and Jean Harlow really broke through into the upper levels of the MGM hierachy with her playing of the loud, brassy strumpet climbing the society ladder. As with the earlier all star effort "Grand Hotel", no expense was spared here from Cedric Gibbons beautiful interiors ranging from over the top for Jean Harlow's garish bedroom to sedately tasteful for the Jordan residence. Adrian's sublime designs for the women were some of his most famous ever with Jean Harlow's clothes in particular going down into 1930's film costume folklore.

I find "Dinner at Eight", to be by far the best of the multi plot all star stories produced during the 1930's and it constantly amazes me at the sheer star power the major studios and MGM in particular had at their disposal in the golden era. To see such stars of the 1930's as Jean Harlow and Marie Dressler, who were both to pass away before too many years had gone by is a rare treat for film buffs nowadays. This film really is what classic Hollywood is all about and even with the passing of time it is still as witty and relevant in it's character studies as it was in 1934. Dont miss this dinner party under any circumstances!

Dinner at Eight offers a chance to see some of the greatest stars of the early Thirties all together in one film. Lionel Barrymore stars as a failing businessman whose wife, Billie Burke, is putting on a dinner party for an English nobleman. Their engaged daughter Madge Evans is in love with an alcoholic has-been actor John Barrymore, while Lionel's doctor Edmund Lowe is having an affair with Jean Harlow, the wife of Lionel's business opponent Wallace Beery. Added into this mix is Marie Dressler as an aging former actress and friend of Lionel's who is in need of money. It's quite a collection of characters coming together for one evening, especially when they are played by the actors in these roles. Jean Harlow gives one of her best performances as the tough social climber, and her fight scenes with Beery are well played by both. The Barrymore brothers have the serious roles in the film and play them with great skill, with special credit going to John who comes so close to playing himself it's almost uncomfortable to watch. Burke is very funny as the hostess trying to impress everyone as her party falls apart. However, it's Dressler who has some of the best lines, and she plays them with relish. Her acting in the closing scene alone makes the video worthwhile. Yes, it is very talky and episodic as it moves from one subplot to another, but it all comes together at the end very well. I do wish music had been included on the soundtrack, but this was early in the era of sound. But it's a funny, honest, and sophisticated comedy, and movie fans will want to seize the opportunity to see so many great stars in peak form!

DINNER AT EIGHT is great fun to watch due to the stellar cast of these uniquely talented stars of the early thirties. Marie Dressler is fun as the stage actress Carlotta Vance - she's both natural and hilariously affected in her broad playing of a grande dame who's seen better days financially. When Oliver Jordan's fifty - something secretary, (Elizabeth Patterson) tells Carlotta that she relished seeing Vance in her swan song performance - when she was a little girl - Carlotta retorts with a venomous glare "HOW EXTRAORDINARY"! - "We must talk of the CIVIL WAR someday, just you and I"! Lionel Barrymore succeeds in getting sympathy from the audience as Oliver Jordan, the dying shipping magnate: he's hiding the inevitable from his self-centered, social climbing wife. Jean Harlow plays Kitty Packard, a sexy, wisecracking floozie: her afternoon exercise is reading movie magazines and eating bon bons in bed. Wallace Beery plays the uncouth Dan Packard with whom Kitty has a sensational squabble about her origins and his flat-chested first wife. Billie Burke gives a downright sparkling performance as the foolish, fluttery and totally self-absorbed Millicent (this is, perhaps her best performance.) John Barrymore is always a fascination, yet his playing seems rather hammy and obvious in this, Madge Evans is a 1933 moderne and Lucy is played by the antiseptic Karen Morley. Lee Tracy is brilliant and chilling as Barrymore's agent who has to reveal to the once great star that he's THROUGH. Hilda Vaughn is Harlow's conniving maid; she slyly suggests that a diamond bracelet would suffice just fine in exchange for keeping mum about the doctor (Edmund Lowe) who makes Kitty "feel better" during the day! You will be enchanted by this Cukor classic which is a star-studded delight from 1933.

This great MGM classic "Dinner at Eight", would surely have to be one of the best drama/comedy compilations to come out of Hollywood in the 1930's. Always labelled one of the "all star" specials produced by the studio at this time, that is to do this wonderful film an injustice as it contains excellent writing and well crafted performances as well as an excellent cast that performs this witty and at times also tragic story to perfection. And what a cast! It exemplifies MGM at its finest with Lionel and John Barrymore, Marie Dressler, Jean Harlow, Wallace Beery and Billie Burke among many others helping to make "Dinner at Eight" a viewing experience to cherish.

Using the scenerio of an upcoming dinner party the writing team of Herman J. Mankiewicz and Edna Ferber fashioned a unique screenplay from the popular Moss Hart/Edna ferber stage play that tells of the 24 hours in the lives of a small group of individuals who have received an invitation to the dinner in question. Hosted by the fluttery Millicent Jordan (Billie Burke in another of her dippy society matron roles), who has managed to bag English gentry for the swank evening, she experiences all sorts of unforseen complications as the evening approaches. The dinner also sets off all sorts of dilemmas for the invited guests too as we see the final decline of once famous actor Larry Renault (John Barrymore in a brilliant performance) into alcoholic destruction that finds him demoted from the lead in a new play which was to be his great come back, to a walk on part which propels him to suicide. Shipping Magnate Oliver Jordan, Millicent's husband (Lionel Barrymore) comes to terms with his terminal heart troubles with the realisation that his business is also going under. Carlotta Vance (Marie Dressler)experiencing money troubles reluctantly excepts the dinner invitation and finds herself caught between Millicent's daughter Paula (Madge Evans) and her secret love for Larry. Dan and Kitty Packard, the feuding, foul mouthed upstart couple have their own reasons for excepting the invitation, Kitty because she wants to rub shoulders with high society uttering the immortal line ,"I want to become a real lady if it kills me!" and Dan wants to go to be able to conclude his business deals and buy up some valuable stock in Oliver's company.

The actual dinner of the title begins as the film concludes but leading up to it we as viewers are treated to some top class acting from this superb ensemble of gifted actors. MGM quoted as having "more stars than there are in heaven" definately proves that here with its top rate cast at their peak. However it is the sure direction of George Cukor and the strong writing that make this a memorable viewing experience and an accurate and at times scathing documenting of depression era values of all classes in society. John Barrymore has rarely been better than as the tragic washed up actor which sadly resembles himself in later life and Jean Harlow really broke through into the upper levels of the MGM hierachy with her playing of the loud, brassy strumpet climbing the society ladder. As with the earlier all star effort "Grand Hotel", no expense was spared here from Cedric Gibbons beautiful interiors ranging from over the top for Jean Harlow's garish bedroom to sedately tasteful for the Jordan residence. Adrian's sublime designs for the women were some of his most famous ever with Jean Harlow's clothes in particular going down into 1930's film costume folklore.

I find "Dinner at Eight", to be by far the best of the multi plot all star stories produced during the 1930's and it constantly amazes me at the sheer star power the major studios and MGM in particular had at their disposal in the golden era. To see such stars of the 1930's as Jean Harlow and Marie Dressler, who were both to pass away before too many years had gone by is a rare treat for film buffs nowadays. This film really is what classic Hollywood is all about and even with the passing of time it is still as witty and relevant in it's character studies as it was in 1934. Dont miss this dinner party under any circumstances!

You just can't go wrong with Corey movies but where in the hell is the other Corey? They were like brothers in the 80's. Oh, yeah he's in rehab. Anyways some old people get knocked off and it's up to Corey and the chick with big jugs to bring them back to life but Corey's arch enemy is a guy in a blue suede jacket with fringes that uses his fingers to annoy people. What's up with that?

At first glance, the "Dream a Little Dream" soundtrack was a track we thought we'd never hear again. After all, it was targeted at a miniscule audience: Corey Haim and Corey Feldman were a tag team aimed squarely at GenXers in the eighties. This soundtrack gave the movie a big boost of sophistication by getting away from the techno-hip-I-just-bought-a-new-synthesizer genre of the mid-eighties.

The "Into the Mystic" track is a beautifully recorded acoustic by Van Morisson, an actual studio version that surpasses the one on his "greatest hits" album. Also adding some prestige to this album is Otis Redding's "I've Got Dreams to Remember." (This song really made the movie's most mental scene work.) This is a song we'd never remember to buy if we were browsing for something on the shelf: Sometimes a good album lures you into good music.

When it does play some of the music of its time, this soundtrack gives you two songs that stand for the good things about eighties music: End of the World by R.E.M. cooks the way it ought, and the lyrics of "Time Runs Wild" remind you just how tough it was to be a kid, which may (or may not) have been the theme of the movie. It finally combines the old and the new with its second version of "Dream a Little Dream", where a fifties-style singer duets with an eighties-type singer. The contrast is almost educational.

Let me sum up this soundtrack this way: I bought the cassette back in 1988 or so because it had R.E.M.'s "End of the World". That tape being history, I want the CD because of Van Morisson and Otis Redding. How's that for some sophistication?

Awe inspiring. That is my basic review for the film, "Dream A Little Dream". Now, here is my review for a soundtrack that is, much like its film counterpart, often over-looked and under-appreciated. The film stars our boys Corey Feldman and Corey Heim, who were, in my opinion, two of the best teen actors of the 1980's. I saw this film about a year after it came out, and the soundtrack is, in part, what attracted me to this film. My favorite song in the movie... Well, I have no real favorite, but a few high ranking pieces would have to be "Rock On", "Dreams Come True", and "Where is She" (a title which, sadly, is not included on the soundtrack, and as far as I know, was never released on CD. The artists behind the song were Blue Future). The "Dream A Little Dream" rock themes were extremely nice to hear, and I love both variations. This film is a true gem, as is the soundtrack. If anyone who loved this film reads this, take my advice and buy this soundtrack. (Hey, this is coming from a guy who listens to the Offspring and the occasional Rob Zombie. Trust me when I say that ANYONE can enjoy the music of "Dream A Little Dream, young and old alike)