Kika

Starring:VerÃ³nica ForquÃ©, Peter Coyote, Victoria Abril, Ã€lex Casanovas, Rossy de Palma, Santiago Lajusticia, Anabel Alonso, Bibiana FernÃ¡ndez, JesÃºs Bonilla, Karra Elejalde, Manuel Bandera, Charo LÃ³pez, Francisca Caballero, MÃ³nica Bardem, JoaquÃn Climent, Blanca Li, Claudia Aros, Carlos LÃ³pez VillanÃºa, AgustÃn AlmodÃ³var
Director: Pedro AlmodÃ³var
Studio: Image Entertainment
Product Type: DVD

Amazon.com

It's easy to identify the biggest attraction of Killing Me Softly: two fetching actors (Heather Graham, Joseph Fiennes) and lots of nudity--especially in the unrated version. It's harder to choose the bigger liability: the dialogue howlers (as Fiennes binds Graham in ropes, she says, "Sometimes I feel like I don't know you") or the incredibly obvious solution to the big mystery. The story is an unofficial update of Hitchcock's Suspicion: a new wife wonders whether her unbelievably charismatic husband might be a murderer. The Chinese filmmaker Chen Kaige (Farewell My Concubine) turns out to be exactly the wrong director for this overheated slice of l'amour fou in London, but with the hopeless pairing of Graham and Fiennes as the passionate lovers, he didn't have much of a chance. A nicely romantic Patrick Doyle score is the only reason not to hit the Mute button and enjoy the visuals. --Robert Horton

Description

Red-hot Heather Graham (Boogie Nights) and Joseph Fiennes (Shakespeare in Love) sizzle like never before in this steamy sexual odyssey about the addictive and deadly powers of illicit passion. Too much of a good thing can be deadly. When Alice (Graham), an American living inLondon, meets Adam (Fiennes), a handsome adventurer, she's lured out of her safe, mundane life to pursue an affair that brings her to the heights of excitement and ecstasy. But when Adam's mysteriousand violent past begins to surface, Alice investigates and learns that Adam's pastand her future may both point to murder!

Customer Reviews:

4 Stars for a Heather Graham fan........2007-03-20

Yes, just if you really like Heather Graham it is worth 4 stars. This is part of that weird generation of movies with famous Hollywood actresses (Nicole Kidman, Meg Ryan, Halle Berry, etc being NAKED on screen, and by naked I also mean strong sexual situations, not only a shower peek. On the other hand this movie lacked a good Director and it looks like a TV movie or at best a Cinemax production.

Watch it with the sound off¡¡¡.......2006-11-26

Heather is unbeliveble: a beeeeauty, and a good actress. A real strawberry. On the other side is Joseph Finnies. Joseph. Yeap. He's one of the worst actors I ever seen, I can't belive it, seems like a joke, a bad one. A real banana.
The movie is horrible, don't have any sense, the plot seems to be wright by a stupid. But you could watch it without sleep because Heather, who worth the four stars by herself.

HO-HUM.......2006-09-02

A sufficiency of steam, but far from one of Zalman King's best. I agree that the story line was pretty weak.

killing me softly.......2006-07-27

it was great and i recommend it tp people who love passion movies

NICE!!!.......2006-04-05

"Killing Me Softly" is one of those movies that you can't help but like despite the uneven plot and silly twists that come with this kind of movie. Not made for serious film watchers and critics, this movie is more for the MTV generation and is in the same league of "Wild Things" and "Cruel Intentions".
However, as perverted as this may sound, this film easily features some of the best sex scenes ever to be captured in a commerical film. Heather Graham plays Alice. Alice is an American living in England who designs websites and CD roms for a living and lives with Jake. She loves Jake and feels comfortable around him, but overall she's not satisfied. Then in a few seconds her life changes. While crossing a street, she catches the eye of Adam (Joseph Fiennes) and before they've barely uttered a word they're at his apartment having passionate sex. Soon after, she leaves Jake and moves in with Adam and soon after that...She marries him. Everything's great for a while, until disturbing things begin to happen. She recieves letters, meets a woman who claims that Adam raped her, and finds letters from a lover of Adam's who has disappeared. If you have any knowledge of movies, you can pretty much see where this is going. Wife is scared of husband and tries to unravel whether her husband really is a murderer and is simply not satisfied with what she finds, so she delves deeper into the mystery only to discover something a bit more disturbing. Simply insert a couple different names and you have a story that (for the most part) has been told several times before. But, I hate to admit it but I did like this movie and it was worth the 96 minutes I spent watching it. While it's not a classic piece of cinema, it's entertaining. B+

Average customer rating:

Excellent Character Study; 4.5 Stars
A Superb Job By Jim Broadbent
Darkness and Light
Any regrets?
The Aristocrat And The Child Killer--"Longford" Showcases A Fascinating Bit Of British History

Longford
Starring: Jim Broadbent , Lindsay Duncan , Kika Markham , Robert Pugh , and Anton Rodgers
Director: Tom Hooper
Manufacturer: Hbo Home Video
ProductGroup: DVD
Binding: DVD

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ASIN: B000NY0YJU
Release Date: 2007-06-19

Description

This HBO Films drama tells the true story of the British Lord Frank Aungier Pakenham, 7th Earl of Longford, and his controversial, colorful, headline-making friendship with one of Britain's most notorious criminals, child murderess Myra Hindley. A devout Catholic, Longford often visited prisoners because of his passionate belief in forgiveness and society's need for prisoner rehabilitation. He meets with Hindley - a young woman serving a life sentence for child murders committed with her lover, Ian Brady - shortly after her imprisonment and the visits incite widespread public outrage. Their unlikely friendship ultimately undermined his career and, possibly, her 36-year attempt to win freedom.

DVD Features:
Audio Commentary
Featurette

Customer Reviews:

Excellent Character Study; 4.5 Stars.......2007-05-21

This very well made film is quietly effective study of a confrontation between good and evil. Frank Pakenham, the 7th Earl of Longford, was committed to visiting and assisting prisoners. A deeply religious man who sought to redeem the prisoners he visited, Longford became an advocate for Myra Hindley, a woman implicated in one of the most notorious serial murders in recent British history. Hindley, portrayed extremely well by Samantha Morton,emerges as a sly and calculating creature bent on using Pakenham's reputation to her advantage. Pakenham, as portrayed brilliantly by Jim Broadbent, is a slightly otherworldy figure whose apparent naivete derives in large measure from his profound religious commitment. There is nothing dramatic about the confrontation between Pakenham and Hindley. The conflict between good and evil is mundane and depicted unsentimentally. At the end, viewers are left with a strong impression of the strength, and limitations, of good in the face of evil.

A Superb Job By Jim Broadbent.......2007-03-24

Lord Langford was a lot of things in this film, but to me he succeeded at being one of those things more than any other. His crusades and pet causes may have been wildly misguided, but through them he was able to remind our oh so Christian society just how un-Christian they really are. Jim Broadbent goes above and beyond the call of duty in this HBO movie to play Longford as a conflicted, maddening man who learns the hard way that even the most selfless acts of compassion can bite you in the rear end. And when they do there will always be those there ready to pile on to your failures. The film is the nearest of misses for me as it provides a point by point recreation of this piece of lost history. There seemed to be a lack of energy (or perhaps enthusiasm) for the tale being told, a feeling that it was holding back because if it came on any stronger it might offend all the sensible viewers who had tuned in. I also can't help but worry about HBO's movie department as they seem to have fallen into a creative rut, with one movie after another being a based on a true story character evaluation that is dying to be seen as high art. Of course their work is far better than any other network out there, I would just hate for them to become too predictable.

The film starts off many years after the incident in question and shows, none to subtly, that one action in our life can dominate our image forever. Longford had taken on the most undesirable of cases, Myra Hindley (Samantha Morton), child murderer who was scorned nation wide to no end. Pleading and begging day and night Longford tries to win her a second chance. It hurts his career, his marriage, and his public image, but as he says that is "neither here nor there." He believes in the Christian value of forgiveness even if nobody else does. Being a fellow bleeding heart I wanted to like this guy, but he just had too many things going against him. When Myra asks for reading material he sends her his autobiography (why not). He devours knowledge but all the while casting an air as though he only does so so that he can be known for his education. He tries to pose as a man of the people but this particular Lord has some gold plated blood running in his veins that he just can't hide. Then he commits the number one sin in my book and declares war on sex, or more specifically pornography. The longer he campaigns for Myra the angrier the resistance becomes. Is he helping or hurting her? Soon Myra is nothing more than a mass murdering pawn in their game to see who can be crowned holiest of them all. Near the end of the film the story takes a Norman Mailer-ish turn for the worse, at least as far as Longford is concerned, but he sticks to his guns and fights for a little bit of understanding in this heartless world of ours.

I just can't help but notice that these unfortunate events where somebody wrongfully crusades for a prisoners release are very overblown. Plenty of innocent people are murdered by their government and its death penalty but to that we just shrug. Collateral damage in the war against street thugs. So why does an act of compassion enrage us so much? It is worth thinking about as you watch this film. It is neither good nor bad, it has a no nonsense approach which is fine but weighs down the viewing experience. Broadbent's performance, his best in years, is really the number one reason to tune in. ***

Darkness and Light.......2007-03-16

At the beginning of the 20th Century, Progress was the idea that could
not be denied. The material and psychological troubles that had plagued
humankind since the dawn of time were now to be vanquished for good
and those odd medieval ideas about good/evil and the immortality of the
soul were soon to be tossed upon the dustbin of history like so many other
artifacts of the past.

Lord Longford was a man of old fashioned ideas and beliefs.
His conversion to Catholicism lead him to take the teachings of
Christ with absolute sincerity. One of his religious duties, he felt,
was to visit prisoners. This is how he came to meet Myra Hindley.

Ian Brady and Myra Hindley should have been hung for the crimes
they committed between 1962 and 1965. Fortunately or unfortunately
for them - Capital Punishment had been brought to and end shortly
after had been arrested for the Moor Murders. Ian and Myra had
enticed/forced at least 5 children from the Manchester area into their rented car and either taken them back to their apartment or directly
to the Moors - where they tortured the children and killed them -
either way burying their bodies in the Moors.

At their Trial, Ian claimed that he was the actual murderer and that
Myra had ony helped him entice the children into his hands.

Lord Longford meets Myra and comes to believe that she does not deserve
to spend the rest of her life in prison. Myra, evidently, accepts Christ
into her life and Longford is lead to believe that she has truly
repented of all her crimes and should be given a parole date.

As later events unfold, Longford comes to realise that he, for all his
good heartedness, is only human and even his best intentions can deeply
hurt those who have already suffered enough through the loss of their
children. We are left wondering why abject evil flows through the veins
of some to the degree that they do terrible things and why others seek
only to help in the redemption of such apparently lost souls.

More background on Ian and Myra would have helped the film.

Beautifully written, filmed and acted.

Any regrets?.......2007-03-13

What makes Longford work is the focus it has on character instead of history. But it's sparse interest in context also left me wanting more. Almost within a vacuum we see Lord Longford, beautifully portrayed by Jim Broadbent, seek to redeem notorious murderer Myra Hindley, deftly handled by Samantha Morton.

His commitment to her rehabilitation and acceptance of Christ effectivelty ruins his career and name, but this film skips over such internalized psychology, instead presenting a man who is pious to a fault and maybe even mentally unable to recognize his critics. There is, among other themes, an interest in psychological instability, and the myopia of piety.

But the flip side of social hypocrisy is equally relevant. Regarding our own age (Longford begins in the late 60's, concludes around the turn of the century) the advocacy of Christianity by our leaders (Bush) must be taken with a grain (or two) of salt when looking at their record of governance. Men like Lord Longford are rare. He steadfastly stood by his Christian principals. Based on his love and appreictaion for Christ his interest in prisoners was genuine. Only after recognizing the complexity of Myra Hindley, and the ease with which he could be used, does his mission break out of it's vacuum into the wider world.

I honestly was expecting a longer, more historically involved film. Having no knowledge of the Moor Murders, or Longford, when I saw the preview on HBO, I was curious, and thought this would be a 2-part/3-hour piece. It could have been longer, as it is about 90 minutes, and doesn't delve into who the killers were, their motives, the victims, the era, the environment, etc. Nor is there focus on Longford before the crimes. We do see how his relationship to Hindley relates to his wife (the excellent Lindsay Duncan). Their marriage is one of the truly lovely apects of Longford, and offers a key into the man he was. Other than a few scenes (including a terrifc moment at his daighter's book party) his family is cursory, as is the era in England. In this way I did seek more context. There is mention of Longford's family history of mental illness, and no attention is paid to the capture, trial or hysteria of the Moor Murders beyond the jeers Myra Hindley receives throughout the film.

Without hestitaion Jim Broadbent is one of our best actors. He always stands out, and can bring pathos to a clown as easily as dignity and honor to a fool. Samantha Morton, who also has never been bad, takes her mutedness to a woman who may be a callous calculating femme fatale, or maybe a mental wreck or merely an ignorant woman, I'm not sure. Andy Serkis is terrific, in two scenes only, as Ian Brady, her accomplice, and the apparent murderer. But the complexity of Brady and Hindley is a not dealt with here, unfortunately.

The Aristocrat And The Child Killer--"Longford" Showcases A Fascinating Bit Of British History.......2007-03-11

Well, writer Peter Morgan is certainly having a banner year. Having written screenplays that helped win Helen Mirren and Forest Whitaker Oscars (for "The Queen" and "The Last King of Scotland" respectively), he has also penned "Longford." "Longford," first broadcast in the US on HBO, will almost certainly create Emmy buzz for its star, Jim Broadbent, come the end of the TV season. So as you might expect from his previous works, then, Morgan's "Longford" is a literate character study based on real events. The infamous "Moors Murders," a series of child killings that plagued England in the mid-sixties, was the basis for sending Myra Hindley and her paramour to prison. Hindley, played by Samantha Morton, was reviled by the populace--but when she contacted an elderly aristocrat named Lord Longford to visit her, he did. Longford (Broadbent) was an activist for prisoner's rights and sought to reform and redeem the less fortunate. Forming an unlikely, and unpopular, friendship with Hindley--Longford soon becomes a chief advocate in helping her seek parole. The film creates a noteworthy psychological interplay between the two, and demonstrates Longford's commitments to his ideals--even in challenging ethical situations.

I felt, throughout the production, that I was supposed to be drawing relevant parallels to the modern world. But I was never able to take "Longford" at anything other than face value. It's an interesting portrait of a man who championed unlikely causes. It's a look at a bit of British history that is distinguished by one notable individual who stood up for his principles when it was not in fashion to do so. Ultimately, Longford's naivete and guilelessness coexist with his well-meaning nature--and that is his undoing. The film paints a vivd portrait as Longford's credibility suffers through the years and a respected advocate turns into a relic of days gone by. Certainly the film comments on reform and conversion, on the penal system, on sexism, on the nature of criminality, on the corruption of innocence--but these observations aren't particularly revelatory. But, even at face value, this bittersweet character study is worth a look--if for no other reason then for the performances of everyone involved.

Broadbent, as always, delivers. Those who had the pleasure of viewing BBC's "The Street" will note a few similarities between the two Broadbent roles. He seems, late in life, to be embracing idealistic characters that must confront the realities of a modern world. Morton is fascinating as the enigmatic Myra Hindley. Intelligent and well-spoken, she is believable both as a victim and as a murderer. Andy Serkis, as her partner in crime, is just convincing enough to undermine Hindley's claims of redemption--which adds a level of complexity to the proceedings. And Lindsay Duncan is understated and compelling as Longford's saintly wife. All in all, the performances bring this small character piece to life.

As I've said, I appreciated "Longford" for its depiction of an interesting case in British criminality. The larger issue of forgiveness, and who is worthy of it, is a central theme within the film. But while Longford is an admirable character, his notion of forgiveness and his portrait, in general, are of an antiquated naivete that just don't translate to how I view modern circumstances. So while I enjoyed the story of "Longford," it didn't leave me with a "meaningfulness" that I believe was intended. But perhaps I'm just jaded. Still, check it out for nice performances and interesting characters. KGHarris, 03/07.

Average customer rating:

"I need those files by tomorrow or I'll kick your nasty ... all over this hospital, that's a Marshall joke" Sean Connery
"Think it over..."
Outland
The western side of space
HIGH NOON On Io

Outland
Starring: Sean Connery , Peter Boyle , Frances Sternhagen , James Sikking , and Kika Markham
Director: Peter Hyams
Manufacturer: Warner Home Video
ProductGroup: DVD
Binding: DVD

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ASIN: 6304698674
Release Date: 1997-11-19

Amazon.com

Outland is another in a long line of Westerns retooled for science fiction. Writer-director Peter Hyams (Capricorn One, 2010, Timecop) restages High Noon in outer space, with Sean Connery as O'Neil, the marshal for a settlement on one of Jupiter's moons. While investigating the deaths of some miners, O'Neil discovers that mine boss Peter Boyle has been giving his workers an amphetamine-like work-enhancing drug that keeps them productive for months--until they finally snap and go berserk. When Boyle sends killer henchmen to neutralize the lawman, O'Neil is unable to get the miners to back him up. Outland is no classic, but it offers solid suspense in an otherworldly atmosphere. Also starring Frances Sternhagen, James B. Sikking (Howard on television's Hill Street Blues), and John Ratzenberger (later to become famous as Cliff on the sitcom Cheers). --Jim Emerson

Customer Reviews:

"I need those files by tomorrow or I'll kick your nasty ... all over this hospital, that's a Marshall joke" Sean Connery .......2007-04-12

Sure it's "High Noon" in space, but it works well with a very powerful star turn by Sean Connery as a Marshall of a mining town on Jupiter's moon Io. Backing him up are Frances Sternhagen as the "town" doctor and his only help, and Peter Boyle as the bad guy who runs the mine and the drugs that are killing the miners.
Miners are going mad on Io and they are killing themselves in very strange ways(exposing themselves to the outside and being blown to bits) and new Marshall O'Neil(Connery) wants to know why. With the help of the town doctor(Sternhagen, who almost steals this movie from Connery) he learns that a drug that makes you work harder and is very illegal is being given to the works and the town manager(Boyle reeking with venom) is the one getting it to him. Connery then begins to shut the system down.
I won't say anymore, but it is really quite good. The production design has an "Alien" look about it and the tension is very well done. All in all a hidden "gem" worth a look.

"Think it over...".......2007-04-07

Released in the space between "The Empire Strikes Back" and "Blade Runner," "Outland" is a decent if slightly lacking film.

The plot concerns Marshall O'Niel (Sean Connery) being appointed the head officer on a mining colony on Io, a moon of Jupiter. As if his grudging family wasn't enough, he's got reports of miners dying after suffering psychotic episodes. With help from his only real ally, Dr. Lazarus (Frances Sternhagen), O'Niel discovers the miners are being supplied with a performance-enhancing drug that has some nasty after-effects. Mine manager Sheppard (the late Peter Boyle), after suffering a loss of product at O'Niel's hands, calls in some corporate thugs to fix things.

Director Peter Hyams (2010, Timecop) has on his side excellent production design and decent special effects for the 80s. But the plot, while inventive, isn't much else. Connery, Boyle and the rest do good with their roles, but the script has some pointless filler and awkward talk. Aside from one excellent chase scene through the station, the action is limited and slow. The film also plods at 109 minutes, with several interesting scenes balanced out by several patches of empty downtime.

Connery, post-Bond but pre-Untouchables, is probably the real saving grace of this film. Whether smart-talking Lazarus (Sternhagen is also excellent), taunting Sheppard (Boyle does what he can with limited screen time), or staring dumbly at his wife's video message, Connery is one of the few actors who makes a credible action hero. He gets hurt, he gets abandoned, he is left on his own to fight the mercenaries, whatever. In the hands of a lesser actor, O'Niel would be generic, but Connery makes him human.

One more thing: bodies explode in this film (probably the only reason it was rated R). You might think I'm telling you this as a warning, but it's also because it's physically impossible.

Overall, you should see the film at least once for its ambiance, but don't expect to be blown away. Good performances and effects can't compensate for slow pacing and limited action.

On a scale of 1 to 10, this film gets a 6.
On a scale of 0.0 to 10, this film gets a 6.4.
On a scale of A to F, this film gets a C-.
On a scale of 1 to 5, this film gets a 3.

Outland.......2007-02-17

Crime drama in outer space--inside a mining installation squatting on Jupiter's third moon, Io, to be exact. The new Marshal in town, played by Sean Connery, actually arrives with a conscience (and a family that deserts him when the going gets tough, which is apparently right after the opening credits--but the conscience never deserts him) and when he tries to curtail the rampant use of a killer amphetamine that's being smuggled into the colony, it's pretty much him versus, well, everybody. The mine's General Manager, Sheppard, played by Peter Boyle, rules with quiet arrogance and it seems that when he wants a minor inconvenience like O'Niel tagged and bagged, it's best to just step out of the way.

This film is assisted--over twenty-five years later--by four key elements: Sean Connery, Peter Boyle, James B. Sikking, and Frances Sternhagen, not necessarily out of that order. Two of those people don't have all that many scenes (Boyle is effective both in direct confrontation with Connery, and as an unseen controller of his many pawns; and I won't tell you who ends up strangled and bound in a locker), but all these actors slowly reveal their true characters to us as the tension mounts. Sikking and Sternhagen, in supporting roles, each go through very different metamorphoses before the viewer's eyes, and both do wonderfully well at playing people who are not necessarily saying at all what they're thinking.

Special mention should go to Sean Connery, who probably doesn't get enough credit for the tight-lipped, stubborn but honourable old goat he plays in this eerie, claustrophobic film. One of my favourite Connery moments is when he gets home after a hard day's work only to be greeted by a video message from his wife explaining why she has taken the kid and abandoned him. Connery's facial reactions to all the woman's comments say as much as any of his Untouchables rantings--feeling like a dope for not seeing it coming that morning (all the clues were there for him and the viewer); feeling anger and hurt; feeling truly alone; feeling like quiting the job and running after her. But if a silent Connery doesn't work for you, he's got some great lines here, especially when trading dry wit with his one reluctant ally, Sternhagen as the crusty old doctor.

Meanwhile, the sets, the music, and the action sequences still maintain a vigorous pulse even today. I wish O'Niel had had to do a bit more deducting rather than simply watching bad guys reveal themselves on monitor screens if you sit there monitoring them long enough, and I wish the writer/director had not made some things a bit too obvious well before they were officially revealed (the wife's planning to bail out being hinted at four different ways; lingering camera shots on faces turning from friendly to sinister at the end of scenes, as Connery walks away). And I wouldn't have minded if there were SOME kind of a subplot to make the whole affair a bit less straightforward. But the hectic chase through what seems to be the entire installation, ending in Connery sticking his hand in a boiling pot of liquid rather than let crucial evidence melt away (while the bad guy goes for the nearest knife), was cool--as was the revelation of one final villain (unless the director tips you off on that surprise, too).

If you haven't seen this film, then it's a no-brainer: check it out.

The western side of space.......2007-02-07

It's a ramshackle little mining town. Everything is either the work, the bar, or the prostitutes. (For the prostitutes, it's the work or the bar, and that's work.) Then, as happens every year, a new marshall comes into town. The gang bosses let him know with lead-pipe subtlety who's in charge, but he's gonna stick by his star and his guns. That means the big showdown: hired guns come in on the next train - professionals. The word gets out, and his deputies cower. "They're young, they have families." Even the bar's cootchie dancers go into hiding. Then it's sawed-off shotguns at dusk, man against men. You know, the usual.

The time, the mining camp is on one of Jupiter's moons, as if that changes anything. The marshall is Sean Connery, the only reason for watching this drivel. I mean, this movie lost credibility faster than just about any I can remember: it had those space helmets with the lights conveniently pointed in so we can see who's there, night vision be darned.

Effects are mostly absent, by 21st century standards. Sets and models are good, in keeping with what they probably had to pay Connery even then. The story moves along well, and I really liked Lazarus (did I mention the rustic and humble but brave country doctor? Leonard McCoy, shove over). Connery's career had his debonair young man phase and is currently in his suave elder statesman phase. In between he went through the dumpies, epitomized by "Zardoz." This comes from the end of that unfortunate period, and is better for its distance from the worst of it.

//wiredweird

HIGH NOON On Io.......2007-01-30

Though it was largely dismissed by critics and audiences when it was originally released in 1981, writer/director Peter Hyams' science fiction film OUTLAND has since gained a considerable cult following. Much of that has to do with the notion that this is essentially a reworking of the classic 1952 western HIGH NOON set in outer space--or more specifically, on Jupiter's major inner moon of Io.

Sean Connery, who rarely gives a subpar performance in anything, more or less steps into the Gary Cooper role of a newly-appointed marshal at a mining operation on Io run by a corporation known as Con-Amalgamated. When several miners start dying off in horrible ways, Connery begins to ask questions--which obviously doesn't sit well with Con-Am's chief (the late Peter Boyle). With the help of the operation's sarcastic coroner (Frances Sternhagen), he manages to uncover the reason why: a powerful drug injected into the workers that makes them work twice as fast, and sooner or later turns them psychotic or suicidal. When Boyle sends hired killers on a space shuttle to eliminate Connery from the scene, no one other than Sternhagen is willing to help, leading to the HIGH NOON-style showdown.

Hyams, who wrote and directed the 1978 sci-fi conspiracy film CAPRICORN ONE, and who would later direct the superb "2010" in 1984, does a fairly credible job here both as writer and director in depicting how such an outer space mining operation might go about, especially on a moon like Io which, by the time of OUTLAND's making, was known to be the most volcanically active body in our Solar System. Much of the credit for this must go to special effects supervisor John Stears, who worked on the original STAR WARS and the fourth James Bond opus, 1965's THUNDERBALL. The effects may seem plenty dated by the CGI standards of today, but they still work, even given some minor plot holes in them. It also helps, however, to have the presence of Connery, in one of his best post-Bond roles, as the hero, ably matched by Boyle's steely villain role, a role not unlike the one that Henry Fonda essayed in ONCE UPON A TIME IN THE WEST (itself a film that also borrows a bit from HIGH NOON).

Though it may not be derivative, and is arguably a bit more violent than it really ought to be (hence the 'R' rating), OUTLAND still manages to deliver enough action and suspense to work. This is a film in serious need of reassessment and a possible revival.

Average customer rating:

The Education of a Young Man
How to make Thatcher interesting
Horrible
It's a beaute
A wonderful adaption of the prize-winning novel

The Line of Beauty
Starring: Dan Stevens (IV) , Tim McInnerny , Alice Krige , Kenneth Cranham , and Barbara Flynn
Director: Saul Dibb
Manufacturer: BBC Warner
ProductGroup: DVD
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ASIN: B000GIXLX4
Release Date: 2006-10-17

Description

Adapted by award-winning writer Andrew Davies from Alan Hollinghurst's Booker Prize-winning novel, this three-part saga is set during the Thatcherite 1980s. A story of love, class, sex and money, The Line of Beauty crawls deep under the skin of Thatcher's Britain, seen through the eyes and experiences of a young, gay man, from the euphoria of falling in love to the tragedy of AIDS. Framed by the two general elections which returned Margaret Thatcher and the Conservative government to power, the series unfurls through four extraordinary years of change and tragedy.

Amazon.com

Isn't it ironic that Nick Guest (Dan Stevens), the protagonist in the BBC's miniseries, A Line of Beauty, is a Henry James scholar at university before being inducted into the fast-paced, sexy world of upper class British society? Director Saul Dibb has transformed this politically scandalous story, based on the Alan Hollinghurst novel, into a juicy, three-part series set in 1986/87 that pits decadence against the heartbreak and crash that often follows it. A Line of Beauty follows Guest, an aspiring politician, who happily accepts an invitation to live and work for a friend's family headed by famous Conservative, Gerald Fedden (Tim McInnerny), under the condition that Guest watch their mentally unstable daughter, Cat (Hayley Atwell). Upon discovering that Nick's gay, Cat and Nick become best friends. Plots complicate to keep Nick's sexuality under wraps, as the viewer glimpses fancy debauched parties, major drug use (the show is named after a line of cocaine), and explicit sexual escapades. Soundtracked by great '80s bands like Duran Duran and New Order, the show's hip coolness counterbalances Guest's ultimate tragic fall, following the onset of AIDS. A story that at once assesses the British political corruption, sexual discrimination, and '80s fashion, A Line of Beauty offers soap opera-like entertainment along with conceptual substance. --Trinie Dalton

Customer Reviews:

The Education of a Young Man.......2007-05-11

Based on Alan Hollinghurst's novel by the same name that won the 2004 Booker Prize, this film, a BBC miniseries, does not stray much from the original story and complements it. Nick Guest, who is aptly named, (Dan Stevens) moves, at the urging of his straight friend from Oxford, Toby, into the lush Nottingham home of Toby's family consisting of Gerald Fedden (Tim McInnerny), a Tory MP in Margaret Thatcher's government; his crazed daughter Catherine; and his wife. The action takes place in 1983, 1986 and 1987. Nick meets and falls for Leo (Dan Gilet) early in the first part. Leo has disappeared in the second hour, and Nick, a Henry James scholar, has pretty much given up James for the exotic Lebanese Wani Duradi who introduces him to coke (the line of beauty) and decadent sexual encounters. Both Fedden and Nick's worlds come crashing down ("The End of the Street") in 1987.

The film is about class and corruption. While Nick certainly has his flaws, he redeems himself, at least in part, by accepting the consequences of his actions. Catherine, a strange young woman, is the moral center of the film.

One question I had about both the film and the book: while I am not a close student of the life of Margaret Thatcher, I cannot see her shaking it up and dancing with the coked-out Nick at a party. She certainly would have been one of those celebrities who would have refused to jump for the photographer Philippe Halsman.

A film well worth watching more than once.

How to make Thatcher interesting.......2007-03-26

This movie was a gentle- though cynical tale of life in Thatcher's England. A young gay man ends up living with his friend's family, who are upper class and politically conservative. Most of the episodes are spent ambling through some interesting observations of the double life the main character leads- on the one hand being the people pleasing toady of the family and on the other a gay man exploring sex, drugs and the AIDS phenomenon of the 80's.
The best scene is where our hero asks Madam Thatcher [referred to as The Lady] to dance at a party and she accepts. From there on it is all down hill. The ending is really sad and gloomy, but if that doesn't bother you, it is worth a look.

Horrible.......2007-03-20

Horrible. I don't think I should even need to go on. Do not buy this terrible movie. Bad. very bad.

It's a beaute.......2007-03-09

I bought this movie because I was looking to culture myself a little bit and based my purchase off the other reviews. They were right about it being a good movie. I can't say too much without giving the plot away, but it won't fail you. PS It's not the best movie in the world, but it's a good watch.

A wonderful adaption of the prize-winning novel.......2007-02-24

This 3 hour, 3 part series is a fantastic adaptation of Alan Hollinghurst's prize-winnging novel. The acting is superb and the plot will keep you glued to the TV! Beautifully filmed and highly enjoyable.

Average customer rating:

Two great actresses playing two disturbed sisters...WOW!!!
This film is a historical farce and should not be associated with Jacqueline du Pré in any way
Fascinating story and great music
Misunderstandings....
Two Great Performance in one Great Film

Hilary & Jackie
Starring: Emily Watson , Rachel Griffiths , James Frain , David Morrissey , and Charles Dance
Director: Anand Tucker
Manufacturer: Universal Studios
ProductGroup: DVD
Binding: DVD

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Similar Items:

Jacqueline du Pre In Portrait
Jacqueline du Pre - Favourite Cello Concertos ~ Boccherini, Dvorak, Elgar, Haydn, Monn, Saint-Saens, Schumann
Hilary and Jackie
Hilary And Jackie: Music From The Motion Picture
The Red Violin

ASIN: B00007ELEW
Release Date: 2002-11-05

Amazon.com

It earned Oscar nods, yet this cinematic look at a genius--that of English cellist Jacqueline du Pré, who enraptured audiences with her bold, emblazoned, and wholly unconventional playing style, and who died at age 42--was criticized for its "lapses" in truth by people who purportedly knew du Pré. Some of the controversy revolved around the other main character in Anand Tucker's gorgeous, involving movie--du Pré's sister, Hilary, whose book, A Genius in the Family (cowritten with brother Piers), dished some dirt on Jackie's sleeping with Hilary's husband. But don't let that deter you from this ebullient movie experience. The film is a bisected story (each sister's tale is told in the same amount of screen time) teeming with heartfelt drama that belies the cheap shots it received from its detractors. It's stirring, reckless, loving, involving, and rife with unconventional passion; passion for music, life, art, and the delicate relationship between these two synchronous, extraordinary sisters as played by brilliant actors Emily Watson and Rachel Griffiths (both of whom earned Oscar nods). Though Watson got the juicy, showy role as Jackie, it's Griffiths who provides the heart, soul, and spine of the film. And director Tucker has that gift of being able to explain through the visual medium what is happening inside of his character's heads. He's helped by a fine screenplay by Frank Boyce Cottrell. No matter what the truth of Hilary and Jackie might really be, this is an exceptional, rare film that is defined and graced by fine acting and writing. --Paula Nechak

Customer Reviews:

Two great actresses playing two disturbed sisters...WOW!!!.......2007-06-07

HILARY AND JACKIE is still one of the most disturbing and unsettling pieces of film that I have ever seen! From the very beginning of the film there is a looming foreboding and an uncomfortable uneasiness that follows through every frame in this account of the lives of sisters Hilary and Jackie Du Pre. Rachel Griffiths and Emily Watson are each disturbingly terrific and I am always amazed at the incredible performances.No small wonder that each actress has gone on to such acclaim in their respective careers.

It is essential to remember that this screenplay is adapted from Hilary and Piers Du Pre's account A GENIUS IN THE FAMILY.The book as well as the film is extremely intimate and disturbing at best. What is positively fascinating is how this film 's narrative runs. The story commences with a portrait of the two sisters and their childhood as musical prodigies together. Then the film diverges in their teen years and tells the remaining story and timeline through each of the sisters' perspectives with gut wrenching honesty that balances each girl. Though I was well acquainted with the music of Cellist Jacqueline Du Pre and her husband pianist/conductor Daniel Barenboim as a conservatory student in the 1970's, it is not really essential to know anything about music or these people to be totally immersed in a truly good story that is informative and very revealing about the mechanics of genius, motivation and family.

If you offended by the exposing of warts and "speaking ill of the dead" perhaps HILARY AND JACKIE will not be for you. If you are willing to accept that this account of the lives of the Du Pre sisters COULD be true, then by all means come with an open mind and be blown away by what you see! Whether true, not true or somewhere in between, HILARY AND JACKIE presents two great actresses playing their hearts out for all of us to behold.

This film is a historical farce and should not be associated with Jacqueline du Pré in any way.......2006-09-18

There is a certain school of thought which holds that biopics have no obligations to historical accuracy -- that this is the exclusive province of documentaries or books. I happen to disagree. There are plenty of documentaries that "dramatize" real-life events in the form of dialogue, and many Hollywood films (e.g. _Pollock_, or _My Left Foot_) which were made with concern for accuracy and respect for the memories of specific historical events or characters. If a movie uses real-life names, locations, etc, then misinformation would be malicious that infect the perceptions of mass audiences who see (and for the most part believe) them. A movie that denies the Holocaust or tramples over the memories of war veterans cannot be said to be ideologically unmotivated, but still more callous is such misinformation that is made for purely monetary reasons.

_Hilary and Jackie_, a film dramatization of the life of English cello prodigy Jacqueline du Pré, is one of these. It presents a very heterodox portrayal of Jacqueline's overall character, and has been denounced by her friends and colleagues who knew her throghout her life (Barenboim, Rostropovich, et al) as a complete distortion of the Jacqueline they knew. For e.g., she is remembered by her students and colleagues as being emotionally vibrant with an impassioned love of her craft, while in the film she is portrayed as an insufferable bunch of neuroses who despised her cello -- it having a negative influence on her self-esteem. She is depicted making an indulgent demand to have a sexual relationship with Finzi, her brother-in-law. Her sister Hilary (the apparent heroine of the story), ever selfless, obliges for the benefit of her apparently disturbed sister. The movie ends with Hilary at Jackie's side during her death throes even though (it is made clear) Jackie never did anything for Hilary in her life. If you take the movie's account, it was clearly more than Jackie deserved.

The account here generally follows "A Genius in the Family", the controversial memoir written by Jacqueline's siblings. But her siblings would be less reliable on most points than her colleagues who spent a larger amount of time with her (e.g. at her death when she chose to surround herself with her friends instead, contra the events in this film). That is to say nothing of the fact that the two sisters weren't on speaking terms for much of their life (though Hilary claims there was a reconciliation before Jacqueline's death). Clare Finzi, Hilary's daughter, wrote and contested the film account of events as a "gross misinterpretation, which I cannot let go unchallenged." She was referring to the actual events between her father and aunt, but the errors of omission are even significant, and at the same time worse. The film depicts Jacqueline as being unsympathetic, ignoring the aspects of her personality that made so many sympathize with her. Nothing here reminds one of the flamboyant cellist that is extensively recorded in Nupen's excellent documentaries _Remembering Jacqueline du Prée_ and _Jacqueline du Pré in Portrait_.

More importantly, the film is guilty of irresponsible revisionism. Biopics don't have to be historically accurate to the letter, just the general spirit of the characters. But as so little is substantiated about the specific events of Jacqueline du Pré's personal life as presented here, this is probably a movie that wasn't supposed to be made in the first place. W. K. Clifford famously said that if we cannot ascertain the grounds for a belief, we have no business in believing it. I would add that we have even less business in popularizing heterodox theses to a mass audience without compelling evidence -- something this film lacks. The director Anand Tucker admitted to not caring about such accuracy; he claimed that "it [truth] doesn't exist" because of alternate viewpoints. (One wonders what he would have made of Holocaust denial.) The action of popularizing an extremely tendentious and dubious memoir of Jacqueline's life to audiences who are mostly unfamiliar with her is a unprovoked act of slander -- a base and callous smear against her memory.

The above point is something missed by the critics who defend _Hilary and Jackie_ as portraying "another side" to Jacqueline's personality or offering a corrective to "official" documentaries or biographies. To the majority who watch the movie unreflectingly, there is only one "side" shown. That gets me back to the core of what I dislike about this film: its historical irresponsibility. Jacqueline du Pré obviously achieved much and suffered much in her life, and whether you agree with this film or not, it isn't a constructive tribute to her life's work as an artist and teacher. Integrity demands us to treat unsupported claims with caution, not proselytize them to an unwary audience. Jacqueline du Pré was a great cellist who contributed much to the art was well liked by her colleagues and acquaintances. Her pedagogical legacy survives in the generation of cellists who studied under her tutelage. If she is to be remembered, it should be for that and not the dubious details of her sex life as "played out" and vulgarized in sensationalist media.

One would do better to peruse the biographies of Jacqueline du Pré by Carol Easton, Elizabeth Wilson and, yes, the du Pré siblings (if you read between the lines). Or better yet, listen to her music and watch the documentaries of her which contain clips of her life and performances. The latter were directed by Christopher Nupen who, unlike Tucker, actually knew and cared about his subject matter. For if even a fraction of the money the BBC and the Arts Council gave to _Hilary and Jackie_ were diverted to Nupen's program (which they, instead, rejected), great gains would have been made; gains to music, as well as to our conscience.

Fascinating story and great music.......2006-08-07

Terrifically acted (a little over the top by Emily Watson), haunting music by Elgar, got this for a great price and worth every penny.

Misunderstandings...........2006-06-20

Misunderstandings lead to some of the greatest tragedies in life. "Hilary and Jackie" is a movie full of misunderstandings, and as the movie shows you one side of a talented sister's life (Hilary) and then the other side of the other talented sister's life (Jackie's), you begin to realize that what we remember in our lives is often distorted. We base our memories on our innate desire to see ourself as the hero or heroine. We forget the cruel things we've said to others and remember only the cruel things they've said to us. This movie depicts this in a startling, unforgettable way. It is movie-making genius.

Jacqueline du Pre is depicted as suffering mental illness during this movie. Other reviewers here have stated that that is nonsense, because nowhere in the biography written by her brother and sister did it mention she was mentally ill. That's right- in a sense. I don't believe she was mentally ill. But the reviewer either forgot or didn't know that Multiple sclerosis often causes manic depression and can cause suicidal or bipolar like symptoms. It is the slow disintigration of the brain, and depression is caused by the brain.

The written biography on which the movie was based also reveals that as a child, Jackie told Hilary "Don't tell Mum, but I will not be able to move or speak when I grow up." The two girls are depicted in the movie as having a slightly psychic connection. This is hinted at in the movie in one of the most beautiful sequences, at the beginning and end. Those who find that kind of thing "hokey" need to be more tolerant of the eccentricities of genius- which is always, and will probably always be, unstable.

Overall, this is a movie about love, and it is faithful to the book. It is about the trancending power of love to unite sisters even through the difficulties of betrayal and conflict. It is about the torture and burden of genius, and it is most of all, beautiful.

Two Great Performance in one Great Film.......2006-06-06

Hilary and Jackie is the story of the DuPre sisters. From an early age both were rising musical stars, Hilary on the flute and Jackie on the cello. But Jackie's flamboyant playing style brought her attention and then fame. While Hilary has her style eradicated and settles for an ordinary life.

The film is broken into four sections. The first part is the girl's childhood together. It takes the girls from prodigies to Jackie's first success. One night Jackie is playing at a wedding for an Italian princess with Hilary looking on and the next morning she is swept away for a concert tour, leaving her sister alone in a foreign country with no explanation of what happened to her sister.

The second part is Hilary's life apart from her sister. Hilary has her musical life sucked from her by the musical establishment. But one thing she does find is love and she settles for a country life with her husband raising their two daughters. During this part of the film we see some bizarre behavior from Jackie with no explanation behind what is happening.

The third part is Jackie's life apart from her sister. Jackie really never wanted the fame that was thrust upon her. Jackie is isolated from everyone she cares about and most of the time cannot communicate with the people around her. Even to find out how to wash her clothes. But she does find her true love and they become the super couple of classical music. But things are amiss with her health.

The last part is Jackie's fight with MS. In the 1950's they really did not know much about the disease and how to treat it. Jackie was under the impression with time and exercise that she would overcome her disease. What she finds out is that not only does the disease get worse but society isolates her because of it. Just as the two sisters reconcile, Jackie dies.

This film is brilliant on many levels but it is the performance by Emily Watson and Rachael Griffiths that give the film its depth.

DVD EXTRAS: Nine minute featurette with cast and creative team

Average customer rating:

A grand Victorian gothic adventure, filled with madness, stratagems, love, graves and dark, dark woods
Not bad, as a minimalist synopsis of the novel
Pathetic
Exceptionally poor - a better version exists
Good Film-Noirish Type Film

The Woman in White
Starring: Tara Fitzgerald , Justine Waddell , Andrew Lincoln , Susan Vidler , and John Standing
Director: Tim Fywell
Manufacturer: Wgbh Boston
ProductGroup: DVD
Binding: DVD

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The Moonstone
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ASIN: B0009OL92K
Release Date: 2005-10-25

Amazon.com

Wilkie Collins is hot. One of the most underrated Victorian mystery writers, Collins offers up eerie, evocative tales. While The Moonstone may be his best-known novel (it was made into a 1996 telefilm starring Sense and Sensibility's Greg Wise), The Woman in White is an equally affecting and engaging tale. A timeless gothic story, it is told from the perspective of Marian (Tara Fitzgerald), who's staying at a villa with her cousin Laura (Justine Waddell). The women become involved with a sympathetic painter and a slew of duplicitous aristocrats, including one played by James Wilby. Then there's that woman (who looks a lot like Laura), cloaked in white, who keeps running around the garden grounds at night. Fitzgerald is far too gorgeous to be the plain Marian, heroine of the novel, but costumers make a valiant--if unsuccessful--attempt to make her look dowdy and less attractive than Waddell. Fitzgerald is so lovely and likable that audiences are easily drawn into her predicament. Who is the mysterious woman in white? How and why has Laura disappeared? Simon Callow is particularly notable as the suave Count Fosco, who may or may not be who he seems to be. The Woman in White was made into a 1982 miniseries and five other film versions. Trivia note: Ian Richardson appears in both the 1982 version and this one. --N.F. Mendoza

Description

Set in the late 19th century, this adaptation of Wilkie Collins' mystery thriller is a slowly unraveling nightmare that reveals a dark world of powerful and dangerous men.

A young drawing master, Mr. Hartright (Andrew Lincoln), is hired by the fretful Mr. Fairlie (Ian Richardson) to teach his two nieces, Marian (Tara Fitzgerald) and Laura (Justine Waddell). On his way to their house, Hartright is startled by a mysterious encounter with a ghostly woman dressed in white.

When he meets Fairlie's nieces, he is struck by Laura's resemblance to the woman in white, and tells Marian and Laura of the ethereal woman. Determined to learn all they can about the woman in white, the girls find themselves drawn into a vortex of secrets, crime and treacherous involvement with the fascinating, but sinister, Count Fosco (Simon Callow).

Customer Reviews:

A grand Victorian gothic adventure, filled with madness, stratagems, love, graves and dark, dark woods.......2007-05-01

"The bad dreams always come back again like unwanted friends," says Marion Fairlie, who with her half-sister, Laura, lives in a vast mid-Victorian country estate. "And last night I found myself in Limmeridge churchyard. Normally, people who are dead stay dead, just as normally it is the criminals who are locked up rather than the victims. But then, there was nothing normal about what happened to us..." And we're off on a first-class gothic story of madness, deception and villainy, based on Wilkie Collins' great novel of Victorian mystery. It's a good idea to pay close attention, because there are plots within plots, yet they all center on a cunning and ruthless scheme which involves, what else, money, lots of money.

Marion Fairlie (Tara Fitzgerald) and her sister, Laura Fairlie (Justine Wadell) are devoted to each other. Marion is fierce and protective; Laura is softer and much more romantic. Marion has no money of her own; Laura will inherit riches when she comes of age. Marion has no marriage prospects that we know of; Laura has been pledged sometime ago to Sir Percival Glyde (James Wilby), an altogether too charming aristocrat. They are the wards of their uncle, a fussy, condescending, immensely self-centered hypochondriac (Ian Richardson). All seems to be quite routine, but then a young artist, Walter Hartright (Andrew Lincoln), is engaged to teach them drawing and artistic appreciation. And when he arrives at night to the local train station, there is no carriage, so off he sets out on foot to the estate. In the dark woods he encounters a strange woman, dressed all in white, wandering about and speaking of things he does not understand, who then disappears. Are we uneasy? Yes, and so is he and the sisters when they come to realize the strange woman looks much like Laura. Later, does love emerge between Walter and Laura? Does a bud bloom? Is there a misunderstanding that sends Walter away and results in Laura marrying Sir Percival? Does a canker gnaw? And do secrets slowly come to light about the relationships among Laura, Marian and the woman in white...do we learn to be deeply suspicious of Sir Percival's intentions...do we come to enjoy the style and manners of Sir Percival's close friend, Count Fosco (Simon Callow)...and do we eventually realize the foul depths of depravity, as well as the power of honor and true love, that humanity is capable of? Do we visit Victorian insane asylums, see falls from high towers, dig open graves in the middle of the night and watch retribution arrive amidst the roaring flames of a locked church?

Well, of course, and it's a grand journey for us.

This BBC/Masterpiece Theater program features fine acting and outstanding production values. To fit Collins' 500-plus-page novel into a television show of less than 120 minutes means a good deal had to be cut or abridged, and some changes were made most likely to achieve greater impact in the little time available. Still, taken on its own terms, the production of The Woman in White in my opinion works very well as a moody, romantic, dark television tale. Tara Fitzgerald as Marion gives a commanding performance as a woman determined to protect and then save her sister. James Wilby as Sir Percival manages the clever feat of slowly letting us see the depraved slime beneath the skin, who still has charm amidst the villainy. Ian Richardson as the young women's uncle almost steals the show. He gives such a bossy and pungent performance it almost unbalances the story every time he appears. Perhaps the weakest of the main parts is Simon Callow as Count Fosco. The Count is simply a monster, yet a supremely civilized and charming one. Collins described him as being of immense girth. Callow does a fine, mannered job of it, but to me he lacks a little of the monstrosity of evil.

At one point, Marian tells us, "My sister and I are so fond of Gothic novels, we sometimes act as if we were in them." Little did she know what was in store for herself and Laura.

The DVD transfer is fine although a little soft. There are no extras of any importance.

Not bad, as a minimalist synopsis of the novel.......2007-02-05

This is an excellent former Masterpiece Theatre presentation. At only two hours it takes on only the main plot thread of the lengthy original novel, which has been called the first English mystery novel. This two-hour version is fast-paced, suspenseful, atmospheric, and engrossing, but it is the "Cliffs Notes" version at best.The performances are convincing, the production seems high-budget, with many outdoor scenes and lovely costumes and sets. Go to the original novel for wonderful subplots and fascinating, intricate, pungent, detail.

Pathetic.......2006-12-06

I recently watched this movie after reading the exceptional novel by Wilkie Collins. I am not a purist. I realize that liberties must be taken when a book is converted to movie format. But this was downright ridiculous. When one must change the NAME of a main character just to fit in with their flawed storyline, that goes too far. Her name is Marian Halcombe, not Marian Fairlie. The brilliantly villainous Count Fosco is relegated to a simpering, unimaginative role. As for the plot, it is so far off from the actual story that they should have re-titled the movie. They have Hartwright involved in a scandal, they make Glyde into a sexual predator, and that's just the beginning of their perverse changes. If they had kept to the REAL plot, I think they could have pulled it off much better. Instead, they wasted time making characters who are nonexistent in the book into significant ones, and putting in scenes that changed the most fundamental parts of the story. There was absolutely no reason for any of the asinine changes they made. If I had watched this first, I would never have read the book, and I would have missed out on what is now one of my favorite novels. The book is a million times better. Don't bother with this movie--wait until there is a more faithful adaptation made (or the BBC gets smart and releases theirs on DVD.)

Exceptionally poor - a better version exists.......2006-09-05

The 1998 version pales in comparison with the unavailable 1978/1982 BBC version with the exceptional Alan Badel as the evil Count Fosco. Beware purchasing this as the Ian Richardson version, because Ian Richardson was in both versions. If you must get a copy of "The Woman in White" right now, then order the 1998 version. Otherwise, write, e-mail, call, march and picket WGBH, BBC America and BBC England and lobby them to make the 1982 version available. The earlier version was produced in five 55 minute segments and was an oustanding piece of work.

Good Film-Noirish Type Film.......2006-04-26

I highly recommend this movie. Ignore the bad reviews. Perhaps those who have read the book hold a bad opinion of the movie. Most films could benefit from English subtitles, rather than closed captions. I wish WGBH Boston and Warner Brothers would take the hint, as sometimes the English are difficult to understand. They speak softer than Americans, and often the dialect is different as well.

Average customer rating:

Edward & Mrs. Simpson
Almost Perfect Adaption of a Great Royal Story
Edward and Mrs. Simpson in Black and White
The Woman Who Wouldn't Be Queen...And Her Prince
God saved the Prince.

Edward & Mrs. Simpson
Starring: Edward Fox , Cynthia Harris , Peggy Ashcroft , Maurice Denham , and Marius Goring
Director: Waris Hussein
Manufacturer: A&E Home Video
ProductGroup: DVD
Binding: DVD

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Bertie and Elizabeth: The Reluctant Royals - The Story of King George VI & Queen Elizabeth
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ASIN: B000742G06
Release Date: 2005-02-22

Description

On the evening of December 11, 1936, England's King Edward VIII formally broadcast his farewell to a nation. Torn between duty and love, he had decided to follow his heart. A powerful fairytale made all the more compelling because it actually happened, EDWARD & MRS. SIMPSON captures the unforgettable romance that develops between the Prince of Wales and an extraordinary American woman named Wallis Simpson. That she is already married and believed to have had previous affairs ruffles more than a few feathers. The scandal heats up when the Prince becomes King and declares his intention to marry his mistress, who has since divorced and become quite available. A critically acclaimed British mini-series from 1978 finally available on DVD, EDWARD & MRS. SIMPSON features seven episodes shot in sumptuous period detail and stars Edward Fox (Gandhi, A Passage to India) and Cynthia Harris (Mad About You, Three Men and a Baby). DVD Features: "Wallis Simpson" Episode From A&E's Award-Winning Series BIOGRAPHY; Interactive Menus; Scene Selection

Customer Reviews:

Edward & Mrs. Simpson.......2006-12-27

The acting and casting looked good to me but the theme song that played at the beginning and end of each DVD drove me absolutely nuts. I also didn't care for the artifical quality of some of the indoor scenes. In particular, the lighting reminded me too much of what I call "soap opera lighting." I'm not sure if this was supposed to be a play, a movie, or a docu-drama but whatever it was it didn't feel real to me. It felt fake.

Almost Perfect Adaption of a Great Royal Story.......2006-10-17

"Edward & Mrs. Simpson" is the best available dramatization of the events leading up to the abdication of Edward VIII. But it could have been better, and there is more of a story to tell than has yet been told. The last few weeks just prior to the fateful event were even more dramatic and tension-filled than this production was able to present. Supporters took to the streets; Stanley Baldwin and the cabinet were in frequent session dealing with the momentous events that were traspiring; the air was charged; Wallis WAS in fact looking for a way out, she was in danger for her life, and England held its breath. Could yet there be a new production that could take all of the best of this and add more of the events "outside of the palace" as it were? Could it even include the fact that Wallis was "two-timing" Edward? That would be increible and transfixing if done accurately. The story is high drama itself, but this as I said is the best we have and we are more than happy to have it. But, but....there is more that could be done with this story. This is a real gem but not a diamond, not quite. But don't pass it up if this topic is of interest. Grab it while you can get it! The history as far as it goes is accurate thank the Lord; the clothes are perfect and beautiful; and Edward Fox is fantastic as HRH. Perhaps this is as good as it will ever get on film. Far preferable to the short and half cooked Anthony Andrews version with a too pretty by half Wallis. All in all, excellent, but......

Edward and Mrs. Simpson in Black and White.......2006-08-02

I like this Thames Television/A&E version immensely. It's in color of course. Edward Fox and Cynthia Harris are Edward VIII and Wallis Simpson. The setting, costumes, dialogue: all these are so authentic. Whenever I see this version, I feel overwhelming sympathy for both Wallis and Edward. I tend to feel that love trumps duty in a competition when opposed to an institution that has several "heirs." For a job such as that, anyone can follow the traditional protocols, but for a real love there are only the two individuals. The real evil in this story was that the Duke of Windsor's family did not forgive him for so many years in support of Elizabeth Bowes-Lyon's (Elizabeth II's mother; George VI's wife) revenge. Boooo! Now how noble is stubborn revenge??? And how noble is it to risk everything for love???

I am appeased when I realize that exile was not too bad for them, nor was a frivolous life of pleasure, as opposed to giving up a love that stood the test of time by doing what institutionalized mindsets want. I feel that if you don't have a chance at real love, then hey, . . . love a dog, cat, or your job. But if you can give and receive love, then this is a miracle not to be missed.

Of course, there are stories of how Wallis abused the Duke, and how he was some kind of wimp, but I find far better and stronger evidence to support their mutual love.

Please see the A&E Biography Documentary at the end of Disk 2. It is a needed conclusion to what happened after the wedding.

I will love like the Duke of Windsor if it kills me.

The Woman Who Wouldn't Be Queen...And Her Prince.......2006-06-08

This review refers to "Edward & Mrs. Simpson" 2 DVD set(A&E)

Well if there was ever a story of true romance, this is it.If it wasn't a true story, you would think it would make a great romance novel. King Edward VIII of England, just shortly before his coronation gives a radio address on Dec 11, 1936 saying farewell, and tells the country that loves him, he is abdicating. The reason, a woman. Mrs. Wallis Simpson, a twice divorced outgoing American who held the heart of Edward captive.

Edward felt a strong duty to his country. But his love for Mrs. Simpson was so deep, he gave up his throne, so she could be HIS Queen, when his country would not recognize his love, his wife, as their Queen. What sort of woman could make a man give up a nation for her? This British mini-series gives an in-depth look at this Royal soap. Edward, Mrs. Simpson, the romance, and the turbulence it caused the between the politicians who begged Edward to consider his choice(they didn't want to lose him), his family,his country and finally the decision.

It's a 7 part series that begins as Prince Edwards, quite the man about town, is introduced to Wallis Simpson, by his then girlfriend. Although still married to Mr. Simpson, Wallis is portrayed to be a woman who knows what she wants, and knows how to get it. Edward is smitten, and can hardly be a minute without her. Even if at first, it means having Mr. Simpson in tow as well. The Simpsons finally divorce, and Edward and Wallis become inseparable, causing quite the commotion among the Royals and their inner circle.

This fabulous production gives you an up close and personal look at the events.The private and public moments that follow Edward, Wallis and those loyal to Edward. I was drawn into the story and the characters. The cast was simply magnificent in their performances. Edward Fox as Edward made you feel everything he was feeling. He was very much a Royal. There couldn't have been a better Wallis than Cynthia Harris. She portrayed the American intruder into the Royal lives fabulously. At first you may think she is a schemer, maybe even a gold digger, but by the end she will have you on her side. Other great talents include Nigel Hawthorne, Peggy Ascroft and Cheri Lunghi.

The DVD presentation is very nice. Clear picture and vibrant colors in all the period costumes. Features include scene selection, and the "Wallis Simpson Episode" From A&E's Biography series(sans commercials), which was most informative and included a look at their lives together, for the years after the abdication. There was a slight glitch in the last episode, and I missed the first 5 minutes of it. The DVD just seemed to skip over it. I didn't see any others mention this, so it could be just my copy(I tried it several times). Each disc is in it's own keep case and come in an outter slip case as well.

A wonderful addition to your Royals collection!
Enjoy....Laurie

God saved the Prince........2006-05-07

LOVE IS THE MOST BEAUTIFUL FEELING IN THE WORLD,BECAUSE IT CAN BE SHARED EVEN BY POORS.
Documentaries that reveal the past is wonderful,you can see persons who were born in the World of 'black and white'.Individuals who had lived 'their moments'.
I appreciated the courage of young Edward who abdicated and renounced the throne and lived HIS LIFE as he wished.
Windsor dynasty has impressed me since I was a child.
I even visited the Buckingham Palace in 2001.
There are lots of documentaries and magazines regarding the royal family,this movie appears to be another support.
The prince who gambled everything for LOVE.
It wouldn't also be bad for a rainy day....a sophisticated telenovela
plus documentary.

Average customer rating:

Law of Desire [La Ley Del Deseo]
Director: Pedro Almodovar
Manufacturer: CIC
ProductGroup: DVD
Binding: DVD

General | Art House & International | Genres | DVD | Video

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Product Features:

Audio in Spanish
No english subtitles

ASIN: B000KHZUHG

Product Description

Pablo and Tina have complicated sexual lives. Pablo writes and directs plays and films; he's gay and deeply in love with Juan, a young man who won't reply to Pablo's affection or letters. Pablo's sibling Tina is a transsexual, angry at men, raising Ada, and trying to make it as an actress. Pablo takes up with Antonio, a youth who becomes jealous of Pablo's love for Juan. Antonio seeks out Juan, and violence leads to Pablo's grief and a temporary loss of memory. When memory returns, he learns that Antonio has taken up with Tina. In horror, he hurries to Tina's rescue and must face Antonio and his desire. AUDIO IN SPANISH, NO ENGLISH SUBTITLES.

Average customer rating:

Sheen of Reality
Brilliant Character Study, Love Story, Dark Comedy
You'll Be Surprised, Pleasantly
A Small but Powerful Film about Coping with Challenges
WOW! WHAT A GREAT MOVIE!!!

Dirty Filthy Love
Starring: Michael Sheen , Adrian Bower , Claudie Blakley , Anastasia Griffith , and Katie McGuinness
Director: Adrian Shergold
Manufacturer: Arts Alliance Amer
ProductGroup: DVD
Binding: DVD

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ASIN: B0007Y8AEC
Release Date: 2005-05-24

Product Description

A darkly funny, quirky and poignant story of a man with obsessive-compulsive disorder and Tourette syndrome negotiating his way through divorce, his best friend's matchmaking efforts and a woman who introduces him to therapy, filth and unconditional love.

System Requirements:
Starring: Shirley Henderson, Michael Sheen, Adrian Bower, Anastasia Griffith
Directed By: Adrian Shergold
Running Time: 94 Min.

Format: DVD MOVIE

Amazon.com

Welsh-born actor Michael Sheen gives a flat-out bravura performance in Dirty Filthy Love, as a talented man who finds his wife, job, and friends falling away when the symptoms of Tourette's Syndrome and obsessive-compulsive disorder take over his life. During his downward spiral, he's spotted as a fellow sufferer by a humorous, numbers-obsessed woman (Shirley Henderson) who drafts him into her support group—at least, temporarily. A love story emerges from this, albeit an extremely offbeat one. It sometimes seems that the OCD angle is the only new thing carrying the movie, which makes it feel like a low-budget Woody Allen outing with a more severe neurotic diagnosis. Still, Henderson (Wonderland, Wilbur) is always good, the London locations are quietly atmospheric, and the stocky dynamo Sheen doesn't try to sweeten up the less savory aspects of his character. Every twitch and bark come from some specific place of anguish. --Robert Horton

Customer Reviews:

Sheen of Reality.......2007-03-09

Michael Sheen, so good playing Tony Blair in THE QUEEN, is even better here as an architect who goes over the edge as OCD and Tourettes Syndrome tighten their grip on him. In a last desperate attempt to save his career and his marriage (to Stevie, played by Anastasia Griffith in a sort of combination Kari Matchett-goes-ABBA blonde hauteur), our boy joins a self-help group run by Charlotte (Shirley Henderson), herself a girl with plenty of neurological problems all her own. The movie is a bit of a mess, earnest, mawkish and nervous all at once, but it rewards attention especially if you like a good love triangle and don't mind some extremely inventive profanity.

The film is a litle bit like THE MIRACLE WORKER, in that our hero Furness is really living life at the extremity of sanity when Charlotte finds him. He's given up, he's filthy like a pig, he no longer knows how to cope with the detritus of living. Somehow though she recognizes his big heart and gets him to snap out of it, at least to the extent of cutting his hair, taking a shower, and trying to rejoin the human race. The scene where she asks everyone on the bus to give her their wet-wipes is hilarious and sad at the same time. She might as well have asked these poor people to part with their souls, it would have been easier for them to let go. Why is OCD so involved with cleanliness? It would take a Mary Douglas to give the picture a full cross cultural anaylsis, but on its own, the growing attraction Charlotte feels for Furness, as he shapes up and begins to resemble his former, mildly handsome self, is quite winning, even though the audience wonders, how can this come to a good end when we know he's still carrying a huge torch for Stevie?

Shirley Henderson's big black wig is like something Cher wore in her "Sanctuary" catalogues, but her voice is like liquid honey; in fact it's the same voice Joan Greenwood used to have in the Ealing comedies of the late 1940s, early 50s, like satin on sandpaper. It is idescribably bewitching, even when she's screaming abuse at Mark. Henderson has played many great parts in recent UK films, from BRIDGET JONES to TOPSY TURVY to the Harry Potters, but this vehicle is tailormade--it's the kind of part that Audrey Tautou had in AMELIE, except with more grit. She could have been a household name had this film been promoted properly. But that's OK, we her adoring fans can keep her to ourselves, a wonderful secret of modern cinema.