Paul-Anderson Movie Reviews

This is a beautiful film that I would recommend to those who have read Joyce's short story and those who have not. This is one of the few instances where the visual medium enhances and even improves appreciation of the original written work. Set in 1904 in an elegant Dublin home on Christmas Day, it is an extremely moving character study of a portion of middle class Dublin society. The characters are shown with their charms as well as flaws intact, as the plot wends its way to the epiphany of Gabriel, the main character, who comes to realize the many things he has never known about his wife to whom he has been married many years. Even the final overwhelming soliloquy of melancholy of Gabriel's character is enveloped in a deep and haunting Irish charm, and the result is magnificent. A powerful film that is a literate must see.

Do not buy this video if you do not enjoy movies made with delicacy and wistful melancholy -- it is short, has no real plot and features no special effects. Yet this movie stands as one of the best ever -- it weaves a spell over you, and captivates your every sense. We are treated to the visual trimmings of a holiday feast, along with the Irish folk music that will, just when you least expect it, turn your expectations upside down. The lively characterizations of every player in this movie bring it to vivid life; it's as if you have entered a Christmas card, and can taste, smell and feel everything around you. That James Joyce's story revolves essentially around a simple, but devastating revelation, is what makes it brilliant. So many times in this movie the obvious gives way to more specific visions: as one of the many, many colorful ladies speaks at her party, we are brought inside a bedroom, where we linger with the camera on objects -- picture frames, combs, etc., that spark the imagination and underscore the proceedings with a singluar clarity. Angelica Huston is magically compelling, and the final monologue, delivered with subtle power, will haunt your memory.

Why is it such a gem of a movie is so difficult to obtain?

I saw the scene of Anjelica Huston on the stairs when I was in college (the professor showed it to us when teaching "Dubliners"). I later decided to rent it and was happy with it.

This year, before my first day of work (I work in a school district), I treated myself to an Irish coffee and read "The Dead" before bed. Forgetting how much I truly enjoyed this story, I decided that I must own the movie.

I searched unsuccessfully throughout the area although did manage to secure a copy through Amazon. What a treat to watch this visual masterpiece. Although we do not have the benefit of Gabriel's musings until the end, we can see the pretentiousness and elitism, where his own image superscedes what is importance. The dancing, music, conversation, and dinner are so mirthful, yet so very artificial. Yet, it isin the hotel room after the party that reality thrust upon us. The illusion of immortality is crushed as Gretta (Angelica Huston) shares the tragedy of a lost love. One does not feel protected in the hotel room, one feels cold, much as it is outside in the snow. The contrast, the emotions stirred, are so very tremendous that few movies are able to match. Unfortunately, many will find the movie to be a sharp yawn and a prelude to falling asleep. The thoughtful viewer (and pronounced James Joyce admirer) will see this as a treat to behold. I am so very lucky to have this for my bookshelf and believe I shall treat myself to it quite regularly!

Munchie is one of the best movies ever! Every time I see it I melt with pleasure for the inguinitive genius which Munchie gives my soul. I'm writing this review after seeing Munchie, the best movie of eternity of particles which float upon this planet in the cosmic galaxy, and Supertroopers which is the worst movie ever to have even been thought of eternity of particles which float upon this planet in the cosmic galaxy. I saw Supertroopers and my mind turned to mush. The only thing that kept our sanity was the fact that we had just purchased Munchie so we could enjoy the best movie of eternity of particles which float upon this planet in the cosmic galaxy whenever our hearts desired to do so. Who knew that you could buy: the fountain of orgasmic, mind-expanding, experimental, kitten-loving, grizzly old man kitten loving, Waking Life loving, Audrey Taotou (Amiele)loving, Incubus in Esperanto starring William Shantering loving, Matt and Charlieing, not DaNthonying, electric shocking, rocking, I'm only mocking, To Kill a Birdmocking, frocking, putting in the clocking Signs blocking, Importance of Being Jocking, Glee Clubing, and doneking, youth experience at Family Video for just $4.33!
First and foremost everyone in particles which float upon this planet in the cosmic galaxy should see this movie because you will love it, you will love the 70's, the green glowing while talking, Gage's fantasying, the hello my baby hello my darling, the pizza flying, the alien and kid partying, the grade changing, the locker beating, the Munchie tricking, Munchie's Operation: Desert Storm-a-ing, the partying with a keg-a-ing, the car-a-flying, the arresting, the open ending for a sequeling, and the Matt and Charlie applauding and last but not least, the sequel writing!
In conclusion, we believe we will leave with the sweet thought in your mouth that Munchie is God's gift to the particles which float upon this planet in the cosmic galaxy, if you have seen Munchie, God Bless YOU and if you haven't seen Munchie, I wish you a pleasureing journey (SpaceFans) through the land of Munchieville!

Back in those magical halycon days that are known as the "Mid-80's," a movie about a species of ghouls run amuk from late-night snacking was released to the North American public. That movie was Gremlins. It was quickly embraced by the public as a masterpiece and subsequently became a well-loved and undeniable classic. Not surprisingly, other movie companies and producers, seeing the huge success of Gremlins, were anxious to get in on the action and "munch" a piece of the lucrative cinematic pie. A whole slew of movies about small, terrifying, bloodthirsty, yet cute, cuddly critters inundated the public. The most popular of these was Ghoulies--like Gremlins, a trilogy. Until 1992, Hollywood and the public mistakenly thought that this genre was dead. But then came Munchie, which set movie-making special effects back at least twenty-years. In many ways, Munchie was both a spring-board for the actors involved and a coup d' grace. As you may already know, this was Jennifer Love Hewitt's first movie. And it may have been Loni Anderson's last. After Munchie, not even network televsion was willing to cast Amderson in a saturday night made-for-tv flick. Dom Deloise, who lent his fresh wit and unmistakeable voice to Munchie, was little affected in the way of his carrer. It seemed that he was too far removed from the American public's mind. After all, he hadn't appeared to a mass-audience since he occupied one of the squares on Hollywood Squares. That was some time ago. I don't believe that, at the time of its release, the public was ready for Munchie. Despite its painfully obvious influences, in many ways it was ahead of its time. The flying pizza--not "pizza's" as was claimed on the back of the video box--the parties, the antics, the hijinx, the pranks, and, above all, the love and friendship, all presaged the New Age movement that's presently sweeping the country. It was no accident that the character Munchie played an active role in the formation of nearly every ancient society's mythology and mores--as was touched base on in the film. Not-so-special and yes, even deplorable, effects aside, Munchie was a masterpiece, it was an example of the power of straight-to-video releases. Despite its technical flaws, Munchie was a testament to the power of humanity and love, and a pleasant reminder that we should all make an effort to look beyond the superficial and the venner, and that beneath these lies the essentials of life: love, happiness and understanding.

Not only is Jennifer Love Hewitt in it, its a great movie for everybody. I give it two enthusiastic thumbs up!

THIS MOVIE WILL MAKE YOU WONDER IF THE MILITARY CAN TRUELY BE SO STUPID. BUT THE FACT THAT IT IS BASED ON A TRUE STORY MAKES A MILITARY SPOUCE CRINGE WITH REAL TERROR. THE STORY OF THE STREANGTH THAT THIS WIFE HAS IN THE FACE OF THE BIGGEST BRICK WALL IN OUR COUNTRY, THE UNITED STATES MILITARY IS INSPIREING! IF WE COULD ALL BE SO STRONG IN THE FACE OF TRAGEDY. I TAKE MY HAT OFF TO EVERYONE WHO HELPED BRING THIS STORY IN THE OPEN. HIGHLY ENTERTAINING YET IT MAKES YOU THINK. GREAT STUFF.

A powerful combination of acting from Vincent Spano and Laura Dern.... Spano's performance was outstanding and incredibly charming.

Your heart and support will go out to Janet Harduvel in this true story, as she fights to clear her husband of blame when his F-16 aircraft crashes due to a mechanical defect. With the help of her attorney, they beat the odds and win their case in court, but not without pressure from the military and the plane's manufacturer. This well written script will make you stand up and cheer their victories as friends and associates are forced to take sides, as the tension builds and more serious conflicts occur, and as she copes to deal with the personal struggle of fighting a corporate giant and raising a child alone. Janet Harduvel fights a heartwarming battle through a typical military and corporate cover-up.

THIS MOVIE WILL MAKE YOU WONDER IF THE MILITARY CAN TRUELY BE SO STUPID. BUT THE FACT THAT IT IS BASED ON A TRUE STORY MAKES A MILITARY SPOUCE CRINGE WITH REAL TERROR. THE STORY OF THE STREANGTH THAT THIS WIFE HAS IN THE FACE OF THE BIGGEST BRICK WALL IN OUR COUNTRY, THE UNITED STATES MILITARY IS INSPIREING! IF WE COULD ALL BE SO STRONG IN THE FACE OF TRAGEDY. I TAKE MY HAT OFF TO EVERYONE WHO HELPED BRING THIS STORY IN THE OPEN. HIGHLY ENTERTAINING YET IT MAKES YOU THINK. GREAT STUFF.

A powerful combination of acting from Vincent Spano and Laura Dern.... Spano's performance was outstanding and incredibly charming.

Your heart and support will go out to Janet Harduvel in this true story, as she fights to clear her husband of blame when his F-16 aircraft crashes due to a mechanical defect. With the help of her attorney, they beat the odds and win their case in court, but not without pressure from the military and the plane's manufacturer. This well written script will make you stand up and cheer their victories as friends and associates are forced to take sides, as the tension builds and more serious conflicts occur, and as she copes to deal with the personal struggle of fighting a corporate giant and raising a child alone. Janet Harduvel fights a heartwarming battle through a typical military and corporate cover-up.

ER is a great series. I personally don't watch anymore--stopped a year ago. [It's a time slot issue... sleep vs. tv] However, this is a genius show with a lot to offer and if you missed the beginning of the series, it's a great way to catch up!

The original pilot for America's #1 television series! If you're an ER or Clooney fan and haven't seen this yet, it's a must have! END

Years ago, when Dr. Mark Green had hair, and Carter looked like a high school graduate, ER debuted. It has been one of the most succesful shows on TV ever! and although many of its original starts are no longer in the shows, it still rocks.

If you are a fan (if you are reading this, you probably are), see how every thing got started. The long shifts, the bad pay, the terrible food and the addiction to coffee, these actors made ER what it is today. I love it. Every now and then I watch the pilot again. It moves me all the time.

See Mark Green in action and Dr. Benton's attitude in a pilot that started it all.

Do yourself a favor and buy it. You will not regret it.

Enjoy the show!

Because an exceedingly verbose (not to mention obtuse) review of this show has already been written, I'll cut to the chase: Francis Urquhart (referred to as "FU" by friend and foe alike in the show), brilliantly portrayed by Ian Richardson, is the best (or worst, depending on how you look at it) bad guy to ever grace the small screen. Never in your life will you loathe a character so much as FU. Never will you cringe as much as you will when FU turns to the camera and explains to you exactly what his dastardly plans are and exactly how he intends to carry them out. Never will you be more horrified as when you see FU's every plot and subplot come to fruition, despite being always on the verge of exposure. And never will you be happier to have witnessed such brilliant performances all the way across the board set within a complex, intriguing storyline. Buy this movie -- it will be the best money you spend for a long, long time.

House of Cards is the first of three BBC productions based on the writings of Michael Dobb's. It introduces the character of Francis Urquhart, a party whip in the House of Parliament who, spurned by the newly elected PM and under the influence of his Lady Macbeth of a wife, aspires to greater things -- a person whose cleverness and urbanity are only outdone by his villainy. Ian Richardson plays the part to perfection, probably his greatest theatrical triumph, which alone makes this show and the whole trilogy worth seeing. In the manner of a Shakespearean villain Richardson speaks asides to the audience, and the charm of his manner draws the viewers into his confidence and onto his side. Even without speaking his slight glances and facial expressions made for our benefit alone make us his accomplices. Only toward the end of the film when we see the extremes to which his ambition has taken him do we begin to want to disassociate ourselves from him, but by that time we are too far gone. It is an excellent production with a good cast of supporting actors and a fine story line. The motif of the ever present rat is perhaps a tad overdone, but this is a fine bit of British drama. Do see it.

House of Cards, a BBC production done at the time of Margaret Thatcher's downfall, is one of the best modern political intrigue/satires done. The cast, the story, and the exacting attention to detail make this a piece worth watching and re-watching, to see what details escaped notice the first time.

The Plot
As the story opens, Thatcher has just resigned. There is a brief glimpse of an inner-party election for a new leader, and the moderate, middle candidate Henry Collingridge wins the post, and proceeds to barely win the next General Election. Almost immediately following this event, tempers begin to flare as Urqhart is denied the promotion he had sought, and is disgusted with Collingridge's 'politics as usual' stance.

Francis Urqhart, Conservative Party whip and functionary, with the unwitting assistance of a junior political reporter Mattie Storin, and the manipulated support of party functionary Roger O'Neill, sets out to undo the Prime Minister, involving the PM in scandals that rock is fragile majority and ever-loosening grip on power. Ultimately, Urqhart's schemes against Collingridge bring the PM down, and the stage is set for another leadership election.

Urqhart, at the urging of his wife Elizabeth, works toward the leadership and works toward solidifying the loyalties of his minions, who include the ruffian Tim Stamper, an associate whip in the Commons, and Benjamin Landless, a newspaper prioprietor. However, it is in making Storin his bedroom partner and virtual worshipper that Urqhart has his strongest support; this support is not absolute, something he recognises. This relationship is done with the blessing, nay, with the urging, of his wife Elizabeth.

Urqhart uses his inside knowledge to make short work of all but the top contenders for the job, and then casts his lot for the job at the last moment, splitting the ticket. Knocking one contender against another one final time, Urqhart carries the election. However, O'Neill is unstable and unsure of the propriety of his dealings in bringing down Collingridge, and Storin realises at the last moment that she has been a pawn in a master political chess game. O'Neill's cocaine problem leads to his demise, as Urqhart plants poison in his drugs and permits O'Neill's nature to do him in. Storin discovers this murder plot, and confronts Urqhart, who confesses, but then proceeds to throw Mattie Storin bodily from the roof of the House of Commons.

But, there was a tape recorder running, setting the stage for the sequel...

The Cast
Ian Richardson is masterful as Urqhart, the scheming blackheart Chief Whip/Prime Minister. His voice, his subtle inflections and tones are perfect for the subtext in the words he speaks. His sidewise glances and knowing expressions to camera as the action plays out is worth far more than any words. He is a perfect snobbish, upper-class politico who considers political office as patrician right, and despises pretenders to the role.

Diane Fletcher is superb as Elizabeth Urqhart, the equally manipulative wife. She is under utilised in this part of the trilogy, coming into her own as a character and an actress in later parts of the trilogy. One gets the strong sense of muted ambition and greed, but not amorality or power for power's sake from her, a distinction hard to play out on video. Fletcher succeeds beautifully.

Susannah Harker plays Mattie Storin, the troubled, intelligent and inexperienced journalist who falls for Urqhart. Her psychological instability and intelligence are played beautifully. Harker can make quite a statement just with the movements of her eyes, making her a good counterpoint to Richardson.

Miles Anderson plays the drug addict/party operative Roger O'Neill, doing a good job at playing the cad, the coward, and the fearful go-along with Urqhart's schemes. A rat trapped, O'Neill is at the breaking point, and Anderson plays this admirably.

Perhaps the best secondary roles were performed by Alphonsia Emmanuel, who plays O'Neill's assistant and lover Penny Guy, and James Villiers, who plays Charles Collingridge, the deposed Prime Minister's troubled brother. Their roles shine brilliantly despite the relative lack of screen time.

One gets the impression that everyone in British politics is brilliant and troubled. Well, the truth would be about half that.

The Play's the Thing...
This production, in writing and execution, is full of Shakespearean nuances. There are indirect and direct references to Richard III, and Urqhart is a Machiavellian manipulator in the Duke of Gloucester's image, recast for modern dress and situation, complete with stage whispers and asides to audience. The depth of the characters, while still remaining caricatures, is fascinating. Perhaps the best-known line for a while was Urqhart's attempts to get information out to the journalist Storin without actually telling her, and being guilty (by the letter of the law) for leaks and disclosures. She would hint and speculate, at which Urqhart would reply, 'You might very well think that. I of course couldn't possibly comment.'

John Major used this response in one of his own question-time exchanges, a use that was appreciated by the Members on both sides of the House.

Conclusions
For those who know nothing of British politics, this is actually a fascinating way to learn. For those who take an interest in British politics, this provides an intriguing fictional tale that is, in many ways, so close to reality on so many levels as to be positively unnerving.

Richardson rightly won BAFTA awards for his portrayal of Urqhart in each of the three installments, House of Cards and its sequels To Play the King and The Final Cut. These sequels were possibly only because of a BBC change to Dobbs' original manuscript, which had Urqhart rather than Storin falling from the rooftop garden of the House of Commons.

A bonus for the viewer.

Because an exceedingly verbose (not to mention obtuse) review of this show has already been written, I'll cut to the chase: Francis Urquhart (referred to as "FU" by friend and foe alike in the show), brilliantly portrayed by Ian Richardson, is the best (or worst, depending on how you look at it) bad guy to ever grace the small screen. Never in your life will you loathe a character so much as FU. Never will you cringe as much as you will when FU turns to the camera and explains to you exactly what his dastardly plans are and exactly how he intends to carry them out. Never will you be more horrified as when you see FU's every plot and subplot come to fruition, despite being always on the verge of exposure. And never will you be happier to have witnessed such brilliant performances all the way across the board set within a complex, intriguing storyline. Buy this movie -- it will be the best money you spend for a long, long time.

House of Cards is the first of three BBC productions based on the writings of Michael Dobb's. It introduces the character of Francis Urquhart, a party whip in the House of Parliament who, spurned by the newly elected PM and under the influence of his Lady Macbeth of a wife, aspires to greater things -- a person whose cleverness and urbanity are only outdone by his villainy. Ian Richardson plays the part to perfection, probably his greatest theatrical triumph, which alone makes this show and the whole trilogy worth seeing. In the manner of a Shakespearean villain Richardson speaks asides to the audience, and the charm of his manner draws the viewers into his confidence and onto his side. Even without speaking his slight glances and facial expressions made for our benefit alone make us his accomplices. Only toward the end of the film when we see the extremes to which his ambition has taken him do we begin to want to disassociate ourselves from him, but by that time we are too far gone. It is an excellent production with a good cast of supporting actors and a fine story line. The motif of the ever present rat is perhaps a tad overdone, but this is a fine bit of British drama. Do see it.

House of Cards, a BBC production done at the time of Margaret Thatcher's downfall, is one of the best modern political intrigue/satires done. The cast, the story, and the exacting attention to detail make this a piece worth watching and re-watching, to see what details escaped notice the first time.

The Plot
As the story opens, Thatcher has just resigned. There is a brief glimpse of an inner-party election for a new leader, and the moderate, middle candidate Henry Collingridge wins the post, and proceeds to barely win the next General Election. Almost immediately following this event, tempers begin to flare as Urqhart is denied the promotion he had sought, and is disgusted with Collingridge's 'politics as usual' stance.

Francis Urqhart, Conservative Party whip and functionary, with the unwitting assistance of a junior political reporter Mattie Storin, and the manipulated support of party functionary Roger O'Neill, sets out to undo the Prime Minister, involving the PM in scandals that rock is fragile majority and ever-loosening grip on power. Ultimately, Urqhart's schemes against Collingridge bring the PM down, and the stage is set for another leadership election.

Urqhart, at the urging of his wife Elizabeth, works toward the leadership and works toward solidifying the loyalties of his minions, who include the ruffian Tim Stamper, an associate whip in the Commons, and Benjamin Landless, a newspaper prioprietor. However, it is in making Storin his bedroom partner and virtual worshipper that Urqhart has his strongest support; this support is not absolute, something he recognises. This relationship is done with the blessing, nay, with the urging, of his wife Elizabeth.

Urqhart uses his inside knowledge to make short work of all but the top contenders for the job, and then casts his lot for the job at the last moment, splitting the ticket. Knocking one contender against another one final time, Urqhart carries the election. However, O'Neill is unstable and unsure of the propriety of his dealings in bringing down Collingridge, and Storin realises at the last moment that she has been a pawn in a master political chess game. O'Neill's cocaine problem leads to his demise, as Urqhart plants poison in his drugs and permits O'Neill's nature to do him in. Storin discovers this murder plot, and confronts Urqhart, who confesses, but then proceeds to throw Mattie Storin bodily from the roof of the House of Commons.

But, there was a tape recorder running, setting the stage for the sequel...

The Cast
Ian Richardson is masterful as Urqhart, the scheming blackheart Chief Whip/Prime Minister. His voice, his subtle inflections and tones are perfect for the subtext in the words he speaks. His sidewise glances and knowing expressions to camera as the action plays out is worth far more than any words. He is a perfect snobbish, upper-class politico who considers political office as patrician right, and despises pretenders to the role.

Diane Fletcher is superb as Elizabeth Urqhart, the equally manipulative wife. She is under utilised in this part of the trilogy, coming into her own as a character and an actress in later parts of the trilogy. One gets the strong sense of muted ambition and greed, but not amorality or power for power's sake from her, a distinction hard to play out on video. Fletcher succeeds beautifully.

Susannah Harker plays Mattie Storin, the troubled, intelligent and inexperienced journalist who falls for Urqhart. Her psychological instability and intelligence are played beautifully. Harker can make quite a statement just with the movements of her eyes, making her a good counterpoint to Richardson.

Miles Anderson plays the drug addict/party operative Roger O'Neill, doing a good job at playing the cad, the coward, and the fearful go-along with Urqhart's schemes. A rat trapped, O'Neill is at the breaking point, and Anderson plays this admirably.

Perhaps the best secondary roles were performed by Alphonsia Emmanuel, who plays O'Neill's assistant and lover Penny Guy, and James Villiers, who plays Charles Collingridge, the deposed Prime Minister's troubled brother. Their roles shine brilliantly despite the relative lack of screen time.

One gets the impression that everyone in British politics is brilliant and troubled. Well, the truth would be about half that.

The Play's the Thing...
This production, in writing and execution, is full of Shakespearean nuances. There are indirect and direct references to Richard III, and Urqhart is a Machiavellian manipulator in the Duke of Gloucester's image, recast for modern dress and situation, complete with stage whispers and asides to audience. The depth of the characters, while still remaining caricatures, is fascinating. Perhaps the best-known line for a while was Urqhart's attempts to get information out to the journalist Storin without actually telling her, and being guilty (by the letter of the law) for leaks and disclosures. She would hint and speculate, at which Urqhart would reply, 'You might very well think that. I of course couldn't possibly comment.'

John Major used this response in one of his own question-time exchanges, a use that was appreciated by the Members on both sides of the House.

Conclusions
For those who know nothing of British politics, this is actually a fascinating way to learn. For those who take an interest in British politics, this provides an intriguing fictional tale that is, in many ways, so close to reality on so many levels as to be positively unnerving.

Richardson rightly won BAFTA awards for his portrayal of Urqhart in each of the three installments, House of Cards and its sequels To Play the King and The Final Cut. These sequels were possibly only because of a BBC change to Dobbs' original manuscript, which had Urqhart rather than Storin falling from the rooftop garden of the House of Commons.

A bonus for the viewer.

Some day you too could own a Mcdowell's

Eddie Murphy is a Prince in Africa and decides to leave before his matchmade wedding to sew his oates. His real goal is to truly fall in love with somebody genuine. He brings lacky Arsenio Hall with him and ends up in NYC. Murphy who is rich brings only petty cash with him and finds himself in a neighborhood bordering on Brooklyn-Queens. His first stop a Barber shop where Murphy and Hall play characters from an Old black stubborn fight fan to a jewish-american jokester. This material is classic! They venture on to nightclubs doing their own characters and Arsenio even does a classic reverand at at a Church. They find themselves working at Mc Dowells a parody for Mc Donalds where they work with the unenthused Louie Andersen. Murphy meets the boses daughter who is already dating the pre ER Erique La Salle. She falls for Murphy after he stands up to hold up man Samuel L. Jackson. Landis connects this movie to the previous "Trading Places" by showing the homeless Don Ameche and Ralph Bellamy recieve a gift from the the Prince. Although this movie has it's serious side this is probably Murphy's funniest movie, Stand Up aside. It's hard to forget Murphy singing Jackie Wilsons "To Be Loved" in the middle of the night only to be told by the neighbors to Shut Up! This is a must see!

'Coming to America' is my all time favorite movie(little known fact- Paula Abdul choreographed the African dance scene at the beginning). This is some of Eddie Murphy's best material (in addition to his SNL years and the little-advertised movie 'Showtime' with Robert DeNiro)and I love Arsenio Hall, too. The cameo by Samuel L. Jackson will have you rolling, as will the ghetto rip off McDonald's restaurant ("They've got the golden arches, we've got the golden arcs.."). Heck, it's worth it just to see Eriq LaSalle with a jerry curl! If you like Eddie Murphy or Arsenio Hall, you will LOVE this movie. I can almost guarantee it.

Though this movie was made in 1930, it is "all 20's" Enjoy the emerging Bing Croby of the Rhythm Boys and see his two partners in the group.

The video features the great Paul Whiteman, the originator of Symphonic Jazz. In 1930, there was no band leader more popular than he. Since I love 20's music, I really enjoy this video. My favorite scene is "Happy Feet." Some may appreciate, "Rhapsody in Blue," while others, "I Like to Do Things for You." This movie was one of the first made in color, and the sound has been restored fairly well.

On the negative side, some of the Vaudeville jokes in between musical numbers are off-color, something I do not appreciate.

If you love the Sweet Jazz sound of the 20's, you'll enjoy this!

Paul Whiteman was the most popular bandleader of the Roaring Twenties and his VICTOR records were best sellers; his JAPANESE SANDMAN and WHISPERING went way over the million mark in sales. Universal's entry in the all-talking, all-singing, all-dancing sweepstakes was KING OF JAZZ. The result was a garish (RHAPSODY IN TURQUOISE?) over-long mixed-bag, yet it's an undeniably entertaining item which, surprisingly, holds up much better than you'd expect. Cleverly, the film opens with Der Bingle crooning MUSIC HAS CHARMS over the credits and then commences with an amusing animated cartoon about Whiteman's scrapbook and how he became the famed King of Jazz. Despite its length and creakiness, KING OF JAZZ remains a fascinating vintage musical. As a member of The Rhythm Boys, Bing Crosby made his film debut in this production; but a drunk-driving charge landed him in jail during filming,and so the song SONG OF DAWN went to another crooner/actor of the day - John Boles. Boles recorded both IT HAPPENED IN MONTEREY and the above tune for VICTOR and they became hot sellers. P.S. For the Hungarian version(?!) - Bela Lugosi served as the host!

Whether you're a big band buff, an early talkie buff, a Bing Crosby buff, or just looking solid entertainment, THE KING OF JAZZ is a wonderful film on all counts. TKOJ is a rare look at a surviving early talkie filmed in the two-strip Technicolor process. The various reels were obviously pieced together from several sources, some sequences being in pristine condition, others being worn. MCA deserves a lot of credit for restoring this masterpiece even though some material is missing (more on that later).

On the talent side, TKOJ proves why Paul Whiteman enjoyed such great popularity in the 20s and 30s, and why he remained personally popular long after he folded his band in 1940. A young Bing Crosby makes his debut in motion pictures as part of the Rhythm Boys and easily displays his future star power. Years later, Crosby would credit Whiteman for introducing him to the various forms of mass media, records, radio and movies, where Crosby would prove so enduring. As if to show the vicissitudes of fame, today TKOJ is marketed as a Bing Crosby film while Paul Whiteman is all but forgotten. But if that strategy gets people to watch, PW becomes a delightful re-discovery. It's interesting to note that one of Mr. Whiteman's latter day ideas would involve a him as a DJ in a television teenage record hop that eventually would be called American Bandstand. Mr. Whiteman's assistant was a young Dick Clark.

Having bought the VHS edition a long time ago, I'm eagerly awaiting the DVD release especially since MCA is really leading the pack on DVD releases of old movies. Recently, I read where a missing reel of TKOJ has been found so, hopefully, that reel will be incorporated to the DVD version making it bigger, better, and complete.

Clockers is a shocking, crime film with fantastic performances. I won't go into the plot because you can read about that below. I will say that the performances are nothing short of brilliant. The brutality is honest and true and the depiction of the neighborhood balanced. Yes folks it is true, not everyone who lives in a supposed ghetto deal drugs or commit crimes and I appreciate Spike Lee for showing that.

The performances are brilliant especially Kietel. I am a fan of Harvey Kietel and I love his character in this film. Filmed as a typical racist(maybe just ignorant) cop and in the end coming to a realisation that he played a part in the violence.

I too believe this to be Spike Lee's best film(I can't believe I just said that). Yes, even better than Do The Right Thing in my opinion. Check this film out, you won't be sorry.

BTW, the soundtrack isn't too bad either. A great songs by Seal and Desiree stand out.

With so many films based around the topic of drugs,and urban decay,and leaving the audience with a sense of (ok,I've seen this story before)made me ask "IS ClOcKeRs worth my time?" Hell yes! Spike Lee'S classic, ... yes classic, is so RAW,REAL,and POWERFUL that it makes all previous drug focused films seem pointless. what i mean is, most films that cover this topic seem to glamorize the lifestyle,and leaves no message.ClOcKeRs is the tail of A young black male called Strike who's spot on the benches and bleeding ulcer is getting the best of him, until his boss Rodney gives him a chance to move up in the drug game.When a fellow drug dealer gets killed,and Strike's hard working (legit) brother confesses to the murder,A detective by the name of Roco feels that there's more to the story. With a very raw intro and out standing directing, Spike Lee brings the realness to the screen with ClOcKeRs. so go rent it Aiight.

Highlights: Harvey Keitel's, Mekhi Phifer's and Delroy Lindo's amazing performances; the tightest script ever written by Spike Lee; philosophical themes well-developed; candidly brutal depictions of the projects, with all their crack dealers and lack of aspiration.

Lowpoints: The musical score at times gets a little too overwhelming; Clockers' pace falters, but that's to be expected from a Spike Lee joint, and Clockers is the most successful venue on his resume yet.

Conclusion: A fine, powerful drama that deals with the life of a young man, born in the projects and trying to make a living from dealing crack cocaine. The acting is exceptional, particularly Harvey Keitel's, who always mesmerizes and here delivers a performance that, in terms of intensity, could only be compared to his work in Abel Ferrarra's Bad Lieutenant. The characters are spot-on, the script sizzles, and there are scnes that will make viewers choke on tears of compassion.

SEE THIS IF YOU LIKED: Do the Right Thing, Menace II Society, Baby Boy.
DON'T SEE THIS IF YOU LIKED: O, Save the Last Dance, Monkey Trouble.