Michael-Bay Movie Reviews

It feels almost criminal not to give the obligatory five stars and effusive accolades to this film. But, expecting a prototype of The Apostle, I was a little let down by Tender Mercies. Both films deal with the similar theme of redemption, of getting a second chance in life, but The Apostle hits you much harder. In that film, Duvall takes you on a rollercoaster ride from hell to heaven. Tender Mercies does not. It takes a quieter road and this doesn't always help it. As one reviewer said, it has a 'laconic sparseness,' much like its high plains backdrop. And sometimes this skeleton would have done better with a bit more meat on its bones.

Duvall can't be faulted though. His performance as Mac Sledge, down and out ex-country legend, tormented by alcohol and the debris of divorce, is first class. Mac is taut and restrained. None of the explosive volatility of Sonny from the Apostle. By holding back, Duvall can still say everything and does, but I would have liked to have seen more tears, more rages.

Having hit rock bottom in some podunk Texas motel room, salvation arrives in the form of Tess Harper's character. A Vietnam widow, she eeks out a living for herself and for her son by managing a rundown motel. She decides to give her boozy tenant a chance to start over in life. Seeing what he was and what he could still be, her faith in Mac inspires him to change.

The only problem is that Tess's character doesn't really work. She doesn't have any depth. We never know why she opens her heart to this stranger. Ok, love...but their relationship is pretty passionless. At least from her side. With her simple wholesomeness and quiet piety, she seems a mere foil to Mac's worn-out worldliness.

The characters of Mac's ex and daughter are far more fleshed out. And better acted as well. Mac's ex seethes with the bitterness of their divorce and thus gives the film a jolt of life with her high strung antics. Jealous of Mac both professionally and personally, she can't accept his new life, his new happiness. Their daughter, played by Ellen Barkin, is the surprise of the film. Without a doubt, the best female character of the film, she subtly plays out the pains of a girl in search of her daddy. Whom she nevers really finds. Again, the complexities of the father-daughter relationship are poignantly hinted at, but taken no further.....

As is the spiritual change that inspires Mac to become baptized in the local church. What's the motivation behind it? Merely love for Tess's character or did he himself feel the need for it? Unexplored territory. Such unanswered questions often times increase the suspense of things, but here, too little was just too little.

The ending though makes up for these grey areas. Tragedy stikes as one door of life is closed and another opens. Mac dies to his past so he can start again. But at a tremendous cost. With the ending, Beresford does a truly masterful job of mixing pain with hope, as the ultimate message of the film is revealed. The Lord does indeed shower us with His 'tender mercies.' As He taketh, He giveth.

Tender Mercies, despite its flaws, is indeed a powerful story. Well worth the watch and for Duvall fans, a must. A taste treat, it gives a hint of even better things to come.

Sometimes you can't do it any better. This is one of those times. Bruce Beresford has crafted a perfect film; one who's only drawback is that it ever has to end. Beresford, Robert Duvall and Tess Harper manage to create both characters and a world that allow you fall into the screen and forget you are watching a film. You will be moved to both tears and laughter, and left feeling very warm in a subtle way forgotten by most of today's Twist Your Emotions With Blunt Force films.

The story of a man, Mac Sledge, who has seen bright lights and soaring heights but has now fallen on extremely hard times. Drunk, broke, and looking none to trustworthy, Mac is befriended, and finally loved, by a young widow and her son. And that's basically it. There's a subplot involving Mac's estranged relationships with his daughter and ex-wife, but primarily it's about one man picking himself up, dusting himself off, and getting on with life after having been kicked in the pants.

The crux of the film is Duvall, and in more ways than one. First is his complex portrayal of Mac. Conditioned by so many formula movies, you keep waiting for Mac to fall of the wagon, only to redeem himself again somehow. But Mac never does fall, and Duvall lets you see just how difficult that is. How hard, but also how satisfying, it is for a man to stand up to life when all he wants to do is run and hide. And he does it without ever even doing so much as raising his voice.

But his acting isn't all Duvall gives to the film. Singing his own songs, Duvall makes you firmly believe that Mac Sledge has an ocean of musical talent. With not much of a voice, and singing rather simple, country tunes, Duvall nevertheless evokes powerful images of love, loss and redemption.

Certainly there is never a good reason not to see any movie starring Duvall, but this one is perhaps the finest of them all, with only The Apostle and Lonesome Dove ranking up there with Tender Mercies.

As I said, you don't want Tender Mercies to end. You want to spend just a few more minutes with Mac and his family, maybe getting to hear him croak out one more soft tune. But end it does, and it does so both subtly and abruptly. It's abrupt because you really aren't expecting the final scene to be the final scene. There's been no mammoth resolution of these people's lives, just slow and steady change and improvement. But that's why I also call it subtle. Because the sudden end fits in perfectly with the picture's meaning. Life doesn't end with swelling music and concrete resolutions, and stories about life are truer when they don't as well. Tender Mercies ends as it began, with a simple moment cut out of a man's life. And it's the triumph of the movie that it allows you to compare the simple final scene to the first one and realize that, for Mac Sledge, it's an accomplishment as dramatic as walking on the moon.

ROBERT DUVALL WON THE BEST ACTOR OSCAR FOR HIS ROLE IN THIS LITTLE FILM AND RIGHTFULLY SO.
HORTON FOOTES SIMPLE SCRIPT ALONG WITH NORTH TEXAS FLATLANDS FRAME THIS POIGNANT TALE OF AN ON THE SKIDS ONE TIME SOMEBODY IN THE WORLD OF COUNTRY MUSIC. ENTER MAC SLEDGE, DOWN AND OUT DRUNKARD WHO CANT EVEN PAY HIS MOTEL BILL.
HE ELECTS TO WORK IT OFF AND FALLS IN LOVE WITH THE WIDOWED MOTHER/OWNER OF THE RAMSHAKLE ROADSIDE INN.
TESS HARPER PLAYS THE CONSERVATIVE TEMPERANT CHRISTIAN WOMAN WHO HELPS MAC FIND HIS WAY AND MARRIES HIM IN THE PROCESS.
HE SLOWLY LICKS THE BOTTLE WHILE WARRING WITH HIS EX WIFE WHO IS CURRENTLY SUCCESSFUL IN HER OWN MUSIC CAREER.
THE EX COUPLE BATTLE OVER MACS RIGHTS TO SEE HIS ESTRANGED DAUGHTER PLAYED BY ELLEN BARKIN.
MAC RECORDS A SINGLE AND BEGINS PLAYING WITH A LOCAL BAND. SLEDGE GETS SAVED AND BAPTISED AT THE SPURRING OF HIS NEW WIFE AND WE BEGIN TO SEE THE LIGHT AT THE END OF THE TUNNEL FOR OUR PROTAGONIST.THIS IS NOT AN ACTION FLICK, A SCI FI FLUFF FILM OR A SLAP YOUR KNEE COMEDY. THIS IS A SIMPLE MOVIE WITH CHARACTERS AS RICH AS MILK CHOCALATE AND A STORY CRAFTED FROM QUALITY.

IT IS DOUBTFUL THIS FILM MADE MUCH MONEY AT THE BOX OFFICE. BUT THAT IN ITSELF SHOULD TELL YOU IT IS A THINKING PERSONS FILM

Action, Adventure, Lust and Romance, this has it all. I owned it on VHS and wore it out, had to get the DVD!
James Spader is very convincing in his role and Kim Richards just complements him.
Robert Downey Jr. is quality as always in his understated roles.
This is a must for anyone who enjoys the movies of the 80's!

BUY IT !!! IT'S A STEAL AT THIS PRICE. Besides it never was sold to television and I hear that Spader and the others may be embarrased by it since he and Downey Jr. went on to have "serious" acting careers. I have looked for it forever and I have never seen it on the late nite movies but it would be perfect for that. Former child star Kim Richards (Witch Mountain and numerous Disney Movies/Hello Larry sitcom/Meatballs II) plays a girl from the wrong side of the tracks who falls for a new boy in town played by James Spader. He is immediately befriended by a class clown played by Downey Jr. upon arriving to his new high school. When Kim's street-gang leader boyfriend played well by Paul Mones (actor/ writer/director of the excellent teen/coming of age flick: "The Beat", find it on vhs if you can, although I did catch it on late nite t.v. once) then all you know what starts between Mones and Spader. The movie plays out kinda like a cross between "Rebel Without A Cause" and "West Side Story". But overall "Tuff Turf" is truly alot of fun. The music is diverse and plentiful (Jim Carroll, Lena Lovich, Jack Mack and the Heart Attack) and really great throughout the movie as is the fine score by the now renowned film composer Jonathan Elias. Poet, Novelist, and Musician (The Basketball Diaries) Jim Carroll actually makes a rare cameo appearance and Kim always an angel to me gets to look sexy finally in a more mature acting(non-Disney) role. I have my old copy and I still to this day enjoy watching it. It's an underrated and lost gem from the 80's. Get it now!

I am constantly being sucked into this movie everytime I watch. I spent the better have of 3 years searching for the soundtrack. Surprisingly, one of the most overlooked of its genre. The sophisticated soundtrack sets the tone of the whole movie. Spader at his best. Forget all the carbon copies, this one is a true gem.

I got this film with memories of the tight plot and the cataclysmic twist at the end. Thirty years has dulled considerably the enjoyment I once felt.

Everyone else finds Caine's performance riveting. I found it silly and stilted. I never bought in, never experienced anything other than an actor saying his lines, and not especially good lines at that. The other characters are all minor actors who fulfilled the stereotypes required for this film.

But spy films live and die on plot, and this one is pretty lame. The ease with which Palmer locates his prey, and the anvil like clues about who is the good guy and who is the bad guy, did a good job at diminishing whatever suspense it created. The big conclusion left me laughing....was I really supposed to see a choice here? Never doubted for a moment. Anti-climax implies climax. This was just silly.

This was not bad, but an uncharismatic Caine and a predictable plot combined to create a mediocre experience. And DVD extras were quite nominal.

THE IPCRESS FILE does for espionage films what BULLITT did for police films; it provides what seems to be a realistic depiction of the trade as opposed to Hollywood glamourization. And it succeeds marvelously.

Caine turns in an excellent performance as Harry Palmer, a secret agent investigating the "brain drain" of leading government physicists who have been kidnapped only to reappear with their scientific knowledge erased. In additon to providing the audience with an alternative to James Bond, dealing daily with paperwork and beaurocracy and completely devoid of gadgets, the film gives the viewer real insight into counter-espionage techniques, portraying Plamer as more of a detective than a playboy (did James Bond ever take time away from the casino to locate Blofeld by tracking down the location of his most frequently issued parking tickets?).

I very much enjoy the direction of this film, which made impressive use of the widescreen format. Low, angled shots add to the drama immensely. My one complaint is that, while performances are all top-notch, the plot fizzles upon resolution and it seems as if apprehension of the key villain is as unimportant as reversing the "brain drain." The entire experience of THE IPCRESS FILE is good enough, however, that this does little to hamper the viewer's enjoyment of this film.

Magnificently directed by Sidney Furie, this terrific thriller has one of Michael Caine's most memorable performances, and a sensational score by John Barry.

Caine's Harry Palmer is a marvelous character...an anti-Bond...a guy in a dull job who suddenly finds himself in extraordinary circumstances. He has his quirks...he goes against authority, has his sharp wit, his gourmet food, and "that look" behind the horn rimmed glasses.

The plot revolves around a "brain drain" of scientists in England, and has spies, the CIA, and all the usual suspects...which in this case are a little harder to predict.

With brilliant writing (Bill Canaway/James Doran), superb cinematography (Otto Heller), and some good character actors (I love Alice the office lady...an anti-Ms. Moneypenny !) this is a film that will keep you interested for many viewings...suspenseful, amusing, and you'll just be wild about Harry.

I got this film with memories of the tight plot and the cataclysmic twist at the end. Thirty years has dulled considerably the enjoyment I once felt.

Everyone else finds Caine's performance riveting. I found it silly and stilted. I never bought in, never experienced anything other than an actor saying his lines, and not especially good lines at that. The other characters are all minor actors who fulfilled the stereotypes required for this film.

But spy films live and die on plot, and this one is pretty lame. The ease with which Palmer locates his prey, and the anvil like clues about who is the good guy and who is the bad guy, did a good job at diminishing whatever suspense it created. The big conclusion left me laughing....was I really supposed to see a choice here? Never doubted for a moment. Anti-climax implies climax. This was just silly.

This was not bad, but an uncharismatic Caine and a predictable plot combined to create a mediocre experience. And DVD extras were quite nominal.

THE IPCRESS FILE does for espionage films what BULLITT did for police films; it provides what seems to be a realistic depiction of the trade as opposed to Hollywood glamourization. And it succeeds marvelously.

Caine turns in an excellent performance as Harry Palmer, a secret agent investigating the "brain drain" of leading government physicists who have been kidnapped only to reappear with their scientific knowledge erased. In additon to providing the audience with an alternative to James Bond, dealing daily with paperwork and beaurocracy and completely devoid of gadgets, the film gives the viewer real insight into counter-espionage techniques, portraying Plamer as more of a detective than a playboy (did James Bond ever take time away from the casino to locate Blofeld by tracking down the location of his most frequently issued parking tickets?).

I very much enjoy the direction of this film, which made impressive use of the widescreen format. Low, angled shots add to the drama immensely. My one complaint is that, while performances are all top-notch, the plot fizzles upon resolution and it seems as if apprehension of the key villain is as unimportant as reversing the "brain drain." The entire experience of THE IPCRESS FILE is good enough, however, that this does little to hamper the viewer's enjoyment of this film.

Magnificently directed by Sidney Furie, this terrific thriller has one of Michael Caine's most memorable performances, and a sensational score by John Barry.

Caine's Harry Palmer is a marvelous character...an anti-Bond...a guy in a dull job who suddenly finds himself in extraordinary circumstances. He has his quirks...he goes against authority, has his sharp wit, his gourmet food, and "that look" behind the horn rimmed glasses.

The plot revolves around a "brain drain" of scientists in England, and has spies, the CIA, and all the usual suspects...which in this case are a little harder to predict.

With brilliant writing (Bill Canaway/James Doran), superb cinematography (Otto Heller), and some good character actors (I love Alice the office lady...an anti-Ms. Moneypenny !) this is a film that will keep you interested for many viewings...suspenseful, amusing, and you'll just be wild about Harry.

WHATEVER HAPPENED TO AUNT ALICE (1969) Dir: LEE H KATZIN Stars; Geraldine Page, Ruth Gordon, Mildred Dunnock, Rosemary Forsyth, Robert Fuller

Superlative campy thriller, brilliantly acted by its main protagonists. The fantastic Geraldine Page stars as a psychotic widow with a penchant for growing the very sturdiest and handsome of Pine trees - her secret is human fertiliser in the form of a series of butchered companions. Slowly suspicion rises and a friend of one of the deceased, now fertiliser fodder, begins to catch on to Page's dastardly deeds.

Geraldine Page delivers a tour de force performance as Claire Marrable - oozing a charming menace and evil with every breath. Yet there are severe undertones of humour and one senses that the actors involved would have a good cackle after every take. Page's performance rates with the most vintage camp EVER. She obviously relished and thoroughly enjoyed the role.

Ruth Gordon, best remembered from the wonderful Harold and Maude, delivers a typically feisty and spunky performance as the Aunt Alice of the title. It is vintage stuff and works equally successfully as a taut thriller but best of all as the blackest and most wicked of comedies. Please also appreciate the totally schizo music score that is so appropriate for the film. A gem from director Lee H. Katzin and producer Robert Aldrich who gave us another cult favourite, Whatever Happened to Baby Jane.

Don't let the title fool you. This is not a parody of WHAT EVER HAPPENED TO BABY JANE?. AUNT ALICE is its own little film, and what a nifty one it is. The great Geraldine Page stars as Mrs. Marrable, a widow whose husband left her only a stamp album. Unable(and unwilling) to cope with poverty, Mrs. Marrable is able to live up to her station by devising a plan that consists of hiring-then murdering housekeepers for their private incomes. The plan works very well until Mrs. Marrable makes the mistake of eliminating wispy Miss Tinsley(Mildred Dunnock) whose feisty friend, Mrs. Dimmock(the delightful Ruth Gordon), promptly applies for a position at the Marrable residence in order to solve this bizarre missing-persons mystery. Theodore Apstein's script(based on the novel 'The Forbidden Garden' by Ursula Curtiss) is a superlative mixture of spine-tingling suspense and dark comedy. The supporting cast performs competently enough, but the film ultimately belongs to Page and Gordon who both turn in positively flawless portrayals. The DVD is an absolute must for collectors. DVD lovers may at first be put off by the lack of extra material on this particular release, but it does include the original theatrical trailer(which isn't included on the VHS release), and the film itself never looked better. Highly recommended!

They do not make movies like this anymore. Geraldine Page plays a nutcase hell bent on murdering every housekeeper that comes to work for her. What makes it so memorable is how she discards of the bodies (I won't give anything away here). Also adding effect is the spectacular music. Ruth Gordon joins the cast as a housekeeper trying to catch her out. Bad move Ruth.
While this film might seem dated to many, no moviegoer can argue the brilliant acting and suspense. An all round favourite.

I love Zorro. The Z and all that! But this movie was not worthy of to 'wear the mask'.
What little story line it had didn't make sense. But that's not really that important for a Zorro is it?! It's the fun and the sword play. (That's important)
They didn't have any fun or sword play either.
Duncan Regehr might be able to act (I didn't see any proof of that on this movie) I'll give him the benefit of the doubt though; but he cannot fence! I am myself a fencer and sword fighter-whatever you want to call it. I've fought with Broad Swords, Rapiers, Short Swords, Knives, and even spears, and a whole bunch more medieval weaponry. I can tell you right now! Duncan Regehr can't sword fight. When I watch a Zorro I want to see somebody who might be able to beat me. The Sword fighting was pathetic. It makes me want to take on the whole Mexican army with my right hand tied behind my back!

Over the years, there have been many films made about the legendary masked rider of Old California, but only two serious television series. This tape, consisting of the four episodes from 1989 that began the four-season Family Channel series, introduces a Zorro that I rank among the top five, which include Regehr, Douglas Fairbanks Jr., Guy Williams, Alain Delon, and Reed Hadley. "The Legend Begins" tells the story of the origin of Zorro in a new way and with some changes to the traditional story: James Victor's "Sergeant Mendoza" is not the fat buffoon of previous "Sergeant Mendoza"s but a likeable and sympathetic supporting character; the villain is not the Commandante of the garrison but now the corrupt alcalde Luis Ramone; and Zorro's love interest is no longer the traditional senorita but now Victoria Escalante, the owner of the local tavern and a modern woman with a mind of her own who's not afraid to speak out against the alcalde's! injustice. This story adds details to Zorro's origin that many must have wondered at, and there is enough action, suspense, and swordplay for everyone to enjoy, not just fans of Zorro! END

I ordered this video from Amazon.com, and when it came today, I watched it. It was excellent! First on my list of praises would have to be Duncan Regehr, whom I first saw in the TV-movie "Earth Star Voyager". He created an intriguing Diego/Zorro, one whom I would really get along with. He has courage and intelligence, and he is a scientific tinkerer as well as an excellent swordsman. I also loved the way he snuck himself into the coffin for Zorro's "memorial". That made me laugh in appreciation! Then there's Patrice Camhi. She was a spirited Victoria in the tradition of the original Lolita Pulido and Lolita Quintero of Tyrone Power's movie, but Victoria's even more independent than those women because she was created in the late 1980s. Juan Diego Botto also made an excellent Felipe. I admired his loyalty to Diego/Zorro. I even thought Michael Tylo made an excellent villain as the Alcalde. In short, I loved it and would highly recommend this video to anyone who wants to know more about Zorro.

James Clavell (author of Shogun)wrote this story specifically for this movie. The Thirty Years War presents a unique setting for a movie and showing how religious fanaticism with political ruthlessness brings out the worst in people. The Thirty Years War is by far one of the bleakest conflicts to have touched Europe prior to the world wars of the 20th Century. The war brought utter misery and devastation across a vast stretch of Europe during the early 17th Century; mostly fought by mercenaries who had about as much religious ethos as their petty patron kings.

The story follows the story of Vogel (Sharif), a scholar who flees the horrors of the war and comes upon a secluded and pristine valley untouched by the war and populated by Catholics. At the same time, a band of mercenaries led by their captain (Caine) fighting for the Protestants arrive at the same time wrek havoc. With blood about to spill and his life at risk, Vogel acts as an intermediary and is soon appreciated by the Machiavellic captain who sees the valley as a valuable base of operation. The pristine beauty and prosperity of the valley acts as a sharp contrast to the outside world wrought with pestilence and war. The mercenaries decide to an uneasy truce with the villagers to hold out for the oncoming winter. Tempers boil and rivalries begin to flare in all sectors.

Great plot development but the casting of Sharif as a German scholar leaves much to be desired. Caine plays his role quite well as the Captain and even keeps up a good German accent. The script could have been a little more refined. The music seemed more like it was made for a T.V. show as opposed to a feature film. The special effects and props were also rather poor and seemed more like something for the stage. Worth watching at least once but I personally regret having purchased it: it makes a better rental.

"The Last Valley" is a visually stunning film. Set during the 30 years war in Europe during the 17th century the film depicts the brutality of the era and the distasterous consequences of religious intolerance. Author James Clavell makes a brave and ambitous directorial debut. Michael Caine gives an outstanding but underplayed performance. I find the movie gets better with each viewing. A number of people I know are pleased they made the effort to watch it and the reaction is always the same - how come they'd never heard of it before? It is well worth seeing - an undiscovered gem.

'The Last Valley" sunk almost without a trace back in the 70's when it was first released. The only comments I recall from that time were from critics who mercilessly panned Michael Caine's accent. It's difficult to see just why the film failed. The script contains hardly a dull line, Clavell's direction is very good, John Barry's score is quite simply superb and the acting, with the exception of Arthur O'Connell and Christian Roberts in minor roles, is first class. Michael Caine dominates the film and gets some marvellous dialogue to utter. No wonder he rates his performance so highly and no wonder he's registered profound disappointment over the negative reviews. It just might be that because the script vigorously berates both Catholic and Protestant religions with equal disdain, the film found itself without a champion from either side to defend it. As for the score, I am at a loss to understand why it at least was not nominated for the Academy Awards that year. John Barry is usually terrific, but his score for "The Last Valley" is his best ever - including "Dances With Wolves". The performance of Per Oscarrson as the priest is memorable also. A wonderful film that sits comfortably in my top 10 of all time.

James Clavell (author of Shogun)wrote this story specifically for this movie. The Thirty Years War presents a unique setting for a movie and showing how religious fanaticism with political ruthlessness brings out the worst in people. The Thirty Years War is by far one of the bleakest conflicts to have touched Europe prior to the world wars of the 20th Century. The war brought utter misery and devastation across a vast stretch of Europe during the early 17th Century; mostly fought by mercenaries who had about as much religious ethos as their petty patron kings.

The story follows the story of Vogel (Sharif), a scholar who flees the horrors of the war and comes upon a secluded and pristine valley untouched by the war and populated by Catholics. At the same time, a band of mercenaries led by their captain (Caine) fighting for the Protestants arrive at the same time wrek havoc. With blood about to spill and his life at risk, Vogel acts as an intermediary and is soon appreciated by the Machiavellic captain who sees the valley as a valuable base of operation. The pristine beauty and prosperity of the valley acts as a sharp contrast to the outside world wrought with pestilence and war. The mercenaries decide to an uneasy truce with the villagers to hold out for the oncoming winter. Tempers boil and rivalries begin to flare in all sectors.

Great plot development but the casting of Sharif as a German scholar leaves much to be desired. Caine plays his role quite well as the Captain and even keeps up a good German accent. The script could have been a little more refined. The music seemed more like it was made for a T.V. show as opposed to a feature film. The special effects and props were also rather poor and seemed more like something for the stage. Worth watching at least once but I personally regret having purchased it: it makes a better rental.

"The Last Valley" is a visually stunning film. Set during the 30 years war in Europe during the 17th century the film depicts the brutality of the era and the distasterous consequences of religious intolerance. Author James Clavell makes a brave and ambitous directorial debut. Michael Caine gives an outstanding but underplayed performance. I find the movie gets better with each viewing. A number of people I know are pleased they made the effort to watch it and the reaction is always the same - how come they'd never heard of it before? It is well worth seeing - an undiscovered gem.

'The Last Valley" sunk almost without a trace back in the 70's when it was first released. The only comments I recall from that time were from critics who mercilessly panned Michael Caine's accent. It's difficult to see just why the film failed. The script contains hardly a dull line, Clavell's direction is very good, John Barry's score is quite simply superb and the acting, with the exception of Arthur O'Connell and Christian Roberts in minor roles, is first class. Michael Caine dominates the film and gets some marvellous dialogue to utter. No wonder he rates his performance so highly and no wonder he's registered profound disappointment over the negative reviews. It just might be that because the script vigorously berates both Catholic and Protestant religions with equal disdain, the film found itself without a champion from either side to defend it. As for the score, I am at a loss to understand why it at least was not nominated for the Academy Awards that year. John Barry is usually terrific, but his score for "The Last Valley" is his best ever - including "Dances With Wolves". The performance of Per Oscarrson as the priest is memorable also. A wonderful film that sits comfortably in my top 10 of all time.

I was impressed with this mini-series when it was shown on Dutch television 10 years ago. Finally I got to buy a good version on DVD from somebody on eBay. I can hardly wait for the official DVD-version.

The Wild Palms Mini Series first aired a few years ago, it was made for TV and it is based on the comic strip by the same name that appeared in Details Magazine in the early 90's. Its main audience was Generation X'ers, but I've heard that the comic strip became very popular with aging hippies, potheads, and the "underground" in general because of its offbeat pace and cerebral content. I taped it off the TV when it first aired and have watched it many, many times. I will definitely buy it on DVD when it comes out. The film stars Jim Belushi as Harry Wyckoff; Dana Delaney as Grace, his wife; Angie Dickinson as Josie, Grace's mother; Robert Loggia as Senator Tony Kreutzer, Josie's brother; and a few others like Kim Catrall, Bebe Newirth , and Ernie Hudson.

Wild Palms is a story that takes place in the year 2065, and shows how technology has advanced to the point of being at the verge of making hollographic images physically interactive with human beings. Senator Kreutzer is about to launch a new sitcom on Channel 3 called Church Windows which will project the characters into people's living rooms. It will make people "feel" like part of the TV program. The dark side of the plan is that in order for people to interact with the hollograms, they have to take the drug MIMIZINE. Prolonged use of the drug has a side effect...it causes the user to see hallucinations of cathedrals and churches and it is ultimately fatal. But Senator Kreutzer wants the whole world to get hooked on hollographic TV for his own purposes, but you'll have to watch the film to find out what that is.

Wild Palms is the first major production concerning VIRTUAL REALITY, though there was a kind of predecessor in TRON and in other lesser known films. The concept of VR has been used in movies again and again since Wild Palms in varying degrees of benevolence and malevolence (e.i. THE LAWNMOWER MAN, VIRTUOSITY, THE MATRIX), but when Wild Palms first came out the idea of VR was pretty fresh and open to exploration. The premise of VR is that human beings can communicate, interact, copulate, and in essence live and die in VR which is an extension of the real world within a network of computers (like the internet).

The conflict in Wild Palms begins with Senator Kreutzer, he is the founder of a group called "The Fathers" who epitomize capitalism and right-wing, traditional politics (their corruption notwithstanding). Their antagonists are "The Friends" whose founder is a political prisoner named Eli Levitz. Eli used to be married to Josie...their daughter is Grace.

Chickie Levitz (played by Brad Douriff) has the secret to the GO CHIP, which is the thing that will allow Senator Kreutzer to achieve his final goal once everyone is hooked into the Church Windows Sitcom.

Throughout the film there's betrayal, seduction, incest, murder, and torture. None of it is overly graphic as it is not a "gore" film as such. The atmosphere of fear and impending doom is created more by what it implies than by what it shows. Like when Josie pokes the eyes out the artist. Not much is shown in the way of gore, but the scene is pretty disturbing.... Later in the film, as he prepares for revenge ,he says to Josie, "...once I was a painter, and mixing colors was my joy...", he then pokes her eyes out, and as she's screaming on the floor he shoots her a number of times.

The film is very textural and warbles in and out of psychological focus. It mixes Oriental mysticism, politics, philosophy, hi-tech drugs, and the American Dream in a mish-mash so weird, you just have to watch it to understand it. Many of the scenes are reminiscent of Peter Greenaway films (a.i. A Zed and Two Noughts, Drowning by Numbers, etc.)

I remember seeing this mini series when I was 13 years old. Ever since then I haven't been able to get it's images out of my mind. It is an awesome movie and a great cast. I would recommend this movie to anyone who wants to dive into fantasy and get lost in it's wonders.

An absolutely beautiful, thought-provoking film, with a poetic script and superb performances all around. Of course, it will never be a favorite among those people C. Wright Mills once called "crackpot realists;" but for those who aren't afraid to let their imaginations soar, this film will carry you to joyous heights. Funny, poignant, romantic, it will make you think about what's truly important in life, and remind you of all life's possibilities. Once seen, never to be forgotten, it casts a sweet spell over the willing viewer - a nightingale singing in the grime of the city. Highly recommended!

An absolutely beautiful, thought-provoking film, with a poetic script and superb performances all around. Of course, it will never be a favorite among those people C. Wright Mills once called "crackpot realists;" but for those who aren't afraid to let their imaginations soar, this film will carry you to joyous heights. Funny, poignant, romantic, it will make you think about what's truly important in life, and remind you of all life's possibilities. Once seen, never to be forgotten, it casts a sweet spell over the willing viewer - a nightingale singing in the grime of the city. Highly recommended!

This film was amazing. L'essence de la méthode. a Fête Accompli. The essence of method. Un film fabuleux.