The Horse in the Gray Flannel Suit (The Kurt Russell Collection)

Amazon.com

Dean Jones has a typical '60s occupation: ad man. Widower Fred Bolton is in need of a fantastic campaign to promote the stomach pill Aspercel. And in typical Disney get-a-kid-and-animal-in-there fashion, he makes the contrived decision to accommodate his sweet teen daughter Helen's longing for a horse, and advance the elusive ad campaign. Fred figures if he and Helen (Ellen Janov, in her only film role) can make a champion of the horse (now named, you guessed it, Aspercel), the name will get in the papers and Helen will have her horse. Complications arise when Helen reveals she hates riding in shows. Fortunately, her riding teacher, the beautiful Suzie Clemens (underrated Diane Baker), agrees to take up the cause, and sparks a little romance with the ambitious dad. The trio have a challenging competition and Suzie's ex, the wealthy and conceited Archer Madison (Lloyd Bochner, in a role he played often), to deal with, but as with all Disney films, good and earnest triumphs over smug and self-satisfied. Look for a young Kurt Russell, who has little to do but grace the movie (and Helen) with a little teen idolness. His introduction into the film--driving a red convertible MG--is hilarious. A sweet, easy-to-watch, harmless--if a little forgettable--film. (Ages 4 and older) --N.F. Mendoza

Description

This fast-paced, rollicking Disney adventure combines fatherly love and corporate survival with exciting horseplay and budding romance. The highjinks begin when harassed New York advertising executive Fred Bolton (Dean Jones) acquires a horse for his painfully shy daughter as part of a hurriedly conceived promotional campaign. With help from an attractive riding instructor (Diane Baker), and his daughter's would-be boyfriend (Kurt Russell), Fred hopes the horse will bring his client fame, save his own job, and just maybe finance his daughter's expensive equestrian habit! AS must-see for every Disney fan and lover of good wholesome old-fashioned fun..

Customer Reviews:

Loved it since I was a kid.......2007-03-20

I have loved watching this movie since I was a child because it doesn't have bad language, nudity or violence. It is a movie that everyone in the family can sit down and enjoy. Bonus is that it is about a horse!

Gray Flannel Looks Good on a Horse.......2007-02-04

Fred Bolton (play by Disney regular Dean Jones) is caught up in the intense business of advertising. Clients are demanding and the hours can be long. Fred's biggest client threatens to leave the advertising agency Fred works for unless Fred can come up with a snappy new campaign. Fred's daughter Helen (the late Ellen Janov in her only role) adds to Fred's pressures by wanting a horse. Fred manages to take care of two problems by suggesting that Fred's client, whose principal product is a stomach medication called Aspercel, should sponsor a horse that will gain publicity for the company.

Helen needs to win several competitions to get to a national horse show in Washington, D.C. Fred fails to be subtle in his encouragement of Helen, and eventually the pressure gets to Helen. As the result of a humorous horse escape we learn that Aspercel may have more capabilities than anyone realized, and Aspercel has a chance to achieve international fame.

Diane Baker is excellent as horse trainer Suzie "S.J." Clemens. Young Kurt Russell (he was about 17 years old at the time of this movie) is similarly excellent as Ronnie Gardner, who has more than a passing interest in Helen. Perhaps the only thing that bothers me about this movie is Dean Jones's periodic overacting. While he managed to express his nervousness, it hardly seems like someone in his position would be so nervous as to be nearly out of control.

Excepting Dean Jones occasional acting lapses, this movie is enjoyable. Several scenes are very funny. The end has very nice pacing leading up to the climax of the movie. Even better, every member of the family can watch this movie.

Watch for the dog named Herbie. "The Love Bug" was also filmed in the same year as this movie.

Enjoy!

Horse Lovers Delight.......2007-01-12

If you like horses and have an open mind (on this older movie) you'll have a great time watching. The star - a beautiful, extremely well-trained show hunter, has all sorts of great spots in the film and he's in many of the scenes. He's beautiful to watch over fences and there are many great clips from actual horse shows, hunters and jumpers, including the Washington International. Humor relative to its age, but fun to watch if you like watching beautiful, top-notch hunters and jumpers. Also a very good family film.

A film for any age.......2006-12-04

The Horse in the Grey Flannel Suit encompasses all of the ideals and morals of Disney's early days. This film is clean and enjoyable for horse lovers of all ages. Not only have the producers created a great horse film, but a romantically humorous one as well. It has a little bit of everything that each member of the family can enjoy. "Horse" stars the likes of Dean Jones, Diane Baker, Ellen Janov, and Kurt Russell. Maintaining a reasonable run time of 113 minutes, the film is just long enough to keep the audience glued to their set until the very end.
This timeless classic begins by following Fred Bolton, an ad campaigner who is directed by his disgruntled boss to come up with a campaign for the stomach pill Aspercel by the next morning. Fred, a single father to horse crazy teenager Helen, is feeling the time restraints of his boss and the desperate pleas of his daughter to get her very own horse. Bolton is in the midst of financial woes and comes up with the brilliant solution to get his daughter a horse and name it Aspercel. By competing the gorgeous grey and getting his name in the public's eye, Bolton is able to kill two birds with one stone, that is, however, until Helen decides she doesn't want to compete any longer. Helen's very attractive and very single riding instructor steps into the scene and begins to campaign the horse herself. As the film progresses, father and instructor begin to fall for each other, but there are a few bumps along the way.
This movie deserves two and half thumbs up. It is written, produced, and acted to the best possible potential. Disney accomplished its goal of creating a great family film free of modern influences that are in many of today's movies. This movie was well worth the effort to create, as it has stood the test of time and still remains true to its morals and can be enjoyed by all.

old-fashioned fun.......2005-10-27

This is not an exercise for the intellect, but a plain, innocent film with the familiar boy meets girl theme done the way Disney used to make films. There's a refreshing quality to this very non-technological movie with no computer graphics. I enjoyed the horse-show footage, and it will most definitely appeal to horse lovers of whatever age. This is not just for the young folks, but for us older folks too. It will cause lots of amusement, and the acting is just right for this kind of a film. This is just right for a break from the violence, and so called "adult" garbage that the movie makers put out now. Sit back and be prepared for old-fashioned fun that everyone in the family can enjoy.

Average customer rating:

Great movie, terrible DVD transfer
IF ONLY LUMET HAD DIRECTED!
Paul Newman at his best!
Fort Apache on DVD
where am i buying this product from

Fort Apache, The Bronx
Starring: Paul Newman , Edward Asner , Ken Wahl , Danny Aiello , and Rachel Ticotin
Director: Daniel Petrie
Manufacturer: Hbo Home Video
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ASIN: B00004WLTJ
Release Date: 2001-02-13

Amazon.com

Paul Newman stars in this harsh portrait of a police station in a crumbling neighborhood. Newman plays John Murphy, a veteran policeman who's been on the force long enough to be tired, but not so long that he's lost his idealism. The plot is loosely tied to the arrival of Connolly, the new precinct captain (Edward Asner). Is he a crusader who's going to finally whip a corrupt, apathetic force into shape, or an interloping by-the-book bureaucrat who can't possibly understand the neighborhood and will do more harm than good? The movie is gratifyingly ambiguous on this point and many others. While Newman's character is almost by default the hero, he is far from perfect--most all the major characters get complex personalities, just like real people. The Bronx itself is given complex, thoughtful treatment as well, full of both overwhelming problems and hope for the future. Fort Apache, the Bronx also has action sequences, but doesn't make the mistake of reveling in violence. Here, black and white are far less defined and, consequently, far more satisfying. --Ali Davis

Description

In a bombed-out wasteland stands a police station less a precinct house than a fort in hostile territory. Outside its walls are the murders, the riots, the drugs, and the everyday lives that texture the bleak urban landscape. Inside, amidst corruption and indifference, each officer does what he must to survive his tour of duty in "Fort Apache, The Bronx."

Customer Reviews:

Great movie, terrible DVD transfer.......2007-08-19

One of my favorite movies. Great script and performances. All that is spoiled by the DVD transfer. The video is dark and grainy. It is the same quality as the VHS version.

IF ONLY LUMET HAD DIRECTED!.......2006-04-05

If the GREAT Sidney Lumer (12 Angry Men, The Verdict,Q & A) had directed this film it would have had the potential to be a classic.No one is better than Lumet in getting at the bitterness and tension of the streets of New York,especially the racial and ethnic (Irish,Jewish,Black,Puerto Rican).Paul Newman plays an 18 year veteran Irish cop(Murphy) team up with a younger cop,palayed by Ken Wahl .This South Bronx police district is nicknamed "Fort Apach" because of its hign crime rate.Junkies,bad cops abound and Newman (excellant) trys to cope the best he can and thats' not easy considering what he is up against-High crime, a by the book new commander (Ed Asner) and very, very bad cops.The divorced Newman finds romance with a Puerto Rican nurse, movingly played by Rachel Ticotin and encounters a wacked-out hooker played by the very beautiful Pam Grier.This film needed LUMET and this DVD needed a commentary.Otherwise very good.

Paul Newman at his best!.......2006-03-22

I remember watching this movie on a VCR back in 1981, and ever since then the picture of Paul Newman in his cop uniform is embedded in my mind. I was so happy when I found out Amazon.com had this on DVD. This movie is one of the best portrayals of The Bronx in the early 80's. I definitely would recommend this movie to anyone who is into cop movies that are realistic.

Fort Apache on DVD.......2006-03-10

This is not one of my favorite movies, but my husband remembered it fondly and wanted to see it again. I had the hardest time finding any place to rent it, let alone to purchase, so I was estatic to find it at Amazon and in DVD, not VHS, format.

where am i buying this product from.......2006-02-24

most dissapointed in time taken to receive this product.
I was under the impression was buying product from amazon in u.s.a. not germany. I note that cheap cardboard case has bar code imbedded in case.
note u had my money for at least 30 days before i got it

not happy amazon

Average customer rating:

Loved it!
The eighties reach a cinematic low point
Amazing. Simply Amazing.
You either love it or hate it
OK, here's the real review. Ignore all the others.

Breathless
Starring: Richard Gere , Valérie Kaprisky , Art Metrano , John P. Ryan , and William Tepper
Director: Jim McBride
Manufacturer: MGM (Video & DVD)
ProductGroup: DVD
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ASIN: 0792844807
Release Date: 2000-04-25

Description

Sometimes a thief can steal your heart. Richard Gere gives "a breakthrough performance" (Time) as a rockin' 'n' rollin', hustlin' and bustlin' crook in a film about chasing after your dreams no matter how high the stakes.Jesse Lujack (Gere) is a smalltime car thief who loves livin', Jerry Lee Lewis and his Silver Surfer comic books. But most of all, Jesse loves Monica (Valerie Kaprisky), the sexy French architecture student he just met in Vegas. Determined to provide her with the good life, Jesse uses all his rockabilly charm to convince the resistant Monica to drop everything and join him on a trip to sunny Mexico. In a fire-red Caddy with the top down and the woman he loves finally at his side, Jesse feels on top of the world. But no matter how much rubber he burns, there's something that Jesse just can't outrun. As he races faster and faster away from his past and toward his dreams, Jesse must keep everything that's important to himespecially Monicaclose by his side...or risk losing them forever!

Customer Reviews:

Loved it!.......2007-01-26

Yes this film had a silly plot but if you love Richard Gere and can remember some crazy dumb things you did when you were younger, this is a pretty good film. I also think women can relate to this film more, just because of Richard Gere!

The eighties reach a cinematic low point.......2006-11-29

This movie exemplifies some of the worst of that splashy, colorful, cocaine-fueled 1980s media bilge from which I am still trying to recover twenty-plus years later. Richard Gere is cast as a boyish, mischievious cop-killer (??) with a devil-may-care spring in his step. Apparently the viewer is supposed to find him charming and sympathetic, although he is a complete loon. He is supposed to be a rockabilly, but his outfits look more appropriate for the tenderloin district than for a 50s revival. He spends the entire film prancing, posing, leaping, mugging, and cavorting, mainly because the screenwriters have given him nothing interesting to say.

Gere's love interest in the film is a very young and beautiful European gal who can't act her way out of a paper bag. The movie fails to convey any reason why her character would find Gere's character interesting, except that he drives a convertible and likes to leap around and break things. Even when she strips naked and lets Gere paw at her, sparks do not fly. Perhaps this is because Gere acts like a man who has never been on a date with a female before... he fumbles about and looks distracted, and he can't even seem to find her earlobes to nibble them properly. I found myself tempted to try to leap into the screen and say "outta the way, loser! Let me show you how it's done!!" I am not making any insinuations about Gere's sexuality, which is probably none of my business. I am just saying he cannot act.. or couldn't in 1983, anyway.

I would have given this ill-conceived disaster just one star. But the girl is nice to look at, and the movie is so bad that it can actually might be viewed for its comic value. So I added a star. If you find this at a garage sale for 50 cents or less, get it, otherwise, steer clear.

Amazing. Simply Amazing........2005-11-25

Amazing. Simply Amazing. No...I'm not commenting on the high quality of BREATHLESS: THE REMAKE, as I shall call it. Rather, I am amazed at whoever gave the green light on this disaster of a remake. I mean, come on: what were they thinking?

"Let's do a remake of one of the greatest films of all time!"

"Yeah! That's a great idea! Remakes of film classics are always better than the original or, at least, great in their own right!"

"While we're at it, let's put Richard Gere in the title role."

"Oh boy! Let me go get my pen! I don't want to lose a single idea!"

"Hey...you know how the original BREATHLESS takes place in France with an American girl?"

"Yeah..."

"We could make the film in America and use a French girl!"

"Yes! This is good stuff! Keep it coming!"

No. Please. Don't keep it coming. Let me burst the bubble: BREATHLESS: THE REMAKE is neither better than the original, nor is it a good film in its own right. Let's deal with my second claim first. As a standalone picture, this film is a relatively boring study of Richard Gere in his "hotpants" days, a self-centered idiot who is running from the cops and lusts after a French student. Of course, all of the ingredients were there for an interesting movie: self-centered idiots can make for interesting character studies. But the problem for BREATHLESS THE REMAKE is that Gere never manages to win our support and sympathy. The result is that, instead of rooting for his character and feeling sorry for his circumstances, I wanted him to get caught the entire film. We get the feeling that his troubles are well-deserved. He is not a man engaged in relatively "innocent" crime that suddenly gets caught up in murder. Instead, he's kind of a jerk that is asking for it.

Secondly, as a remake, this film is horrendous. Perhaps it is not all Gere's fault--he has been horribly miscast. It's really not even worth mentioning BREATHLESS: THE REMAKE in the same sentence as the original. This film is simply a Hollywood production with the same name.

If you loved the original, don't see this film. If you want to see Richard Gere and Valerie Kaprisky naked, then BREATHLESS: THE REMAKE is your kind of movie.

You either love it or hate it.......2005-07-20

Reviewer Gary F. Taylor who states that Jim McBride does not know what statement he is trying to make is totally off the mark.
McBride's message is loud and clear and demonstrated throughout the entire movie. And the movie is far from pretentious. Jesse is a simple character who has an "all or nothing" approach to life and believes that "love is the power supreme." In that vein he risks everything to win the heart of Monica.
I definitely understand why some find the movie cheesy but for me, the soundtrack, the relentlessness of Jesse in pursuing Monica, the LA scenery, the Silver Surfer references, and even the cheesy clothing all just work.
This isn't a movie about a character who deserves happiness (ie. Sleepless in Seattle--yuk); Jesse is a criminal who should be incarcerated. But life is full of infinite personalities and people of varying moral quality. Whether Jesse is a good guy or a bad guy, we root for him because in the movie's quite moments, when he stares goofily at Monica, you realize he loves her purely and you're caught up in his unrealistic and ultimately impossible dream.
Keil James' review is right on the mark.
And this movie has one of the most excellent end-scenes of any movie.

OK, here's the real review. Ignore all the others........2005-07-08

OK, here's the real review. Breathless is essentially about character, so if you don't like Jesse, played by Richard Gere, then you probably will not like the movie. Jesse is a flake and he has a knack for getting himself into trouble. But he also has good qualities. He is earnest, free-spirited, and he has an all-or-nothing approach to all that he does in life. And he applies all of these qualities to his pursuit of Monica's heart.

Breathless is a love story. The action, and the trouble that is closing in on Jesse, drives the urgency of his attempt to win Monica's heart and her partnership. It is a story about trying to win the favor of a young girl who is still weighing her options in life. And in doing so, Jesse brings his uncompromising attitude and does all he can think of to win her.

Any criticism of Gere's performance is dead wrong. Gere brings the character to life, and makes him appealing despite his flakiness, by showing that Jesse is a man who wears his heart on his sleeve, and believes that love is the power supreme. The director also does a great job of intermingling popular songs with a nice score. He includes songs by Jerry Lee Lewis and Elvis, which are not haphazardly placed in the picture, but that add to the character of Jesse, who is freewheeling like Jerry Lee, and caught in a trap as Elvis sung.

If you can root for a guy who is flakey, flamboyant, and still believes in the power of love, then give this one a spin.

Average customer rating:

Girlfight
Straight up. Real,
"F" Stands For: FANTASTICALLY FAR-FETCHED FEMINIST FANTASY FLICK
Solid...
It Ain't Million Dollar Baby, but OK

Girlfight
Starring: Thomas Barbour , Paul Calderon , Louis Guss , Anthony Ruiz , and Jaime Tirelli
Director: Karyn Kusama
Manufacturer: Sony Pictures
ProductGroup: DVD
Binding: DVD

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ASIN: B00003CXNY
Release Date: 2001-03-27

Amazon.com

First-time director Karyn Kusama tells a simple but compelling story of a young woman in Brooklyn whose violent impulses in school, and her tendency to physicalize her anger, lead her to train as a boxer. Her trainer at first puts her off, but the combination of her desire and her physical prowess changes his mind. As played by Michelle Rodriguez, Diane is a scowling lightning rod for sudden violence who discovers that she can find a sense of personal grace in boxing--in the training and in the honing of skills--that seems to spill over into her daily life, despite the disapproval of an abusive father. Kusama isn't telling a new story here, but she tells a familiar one with a sense of passion and pride in the uncharted territory this represents for women. Though a romantic subplot seems almost tacked on as an afterthought--Diane must box the boy she loves--Girlfight is engaging and even touching. -Marshall Fine

Customer Reviews:

Girlfight.......2007-07-19

Kusama's raw, compelling "Girlfight" is an urban coming-of-age tale, with a rightfully angry young woman on a quest for self-realization. Without blinking, Diana--played by newcomer Michelle Rodriguez--plows through all cultural and societal barriers in her desire to become a boxer. She doesn't leap these hurdles to prove something to society, but because she knows she's good, and with training, could be better. "Girlfight" is set apart by its authentic feel, and by Rodriguez's blistering, magnetic portrayal.

Straight up. Real,.......2007-03-27

This is a brilliant piece of story telling, acting and film work. Rodriguez has the unique talent of speaking with her eyes. The beautiful thing about this film, is that it is real. It's motivational, it's intense, and it's beautiful with its description of the human dream. It is true to what is really happening in the world where people do all they can to rise above their circumstances, toward their dreams. I would recommend this to anyone who personally knows the human struggle, and it's success...that is...if you fight for it.

"F" Stands For: FANTASTICALLY FAR-FETCHED FEMINIST FANTASY FLICK.......2007-01-15

Karyn Kusama's GIRLFIGHT is nothing more than a strident misandrist pleasuring herself on film!

Ordinarily, I would never consider wasting my valuable time watching this type of movie, much less bothering to write anything about it, but because I recently wrote a series of reviews for some mostly older antifeminism books, it was suggested to me that I should also "weigh in" on GIRLFIGHT, which I had previously never even heard of.

Written and directed by then newcomer, Kusama, the title, GIRLFIGHT, is simply a rather pedestrian substitution for "Woman's Struggle", that is, "Feminism." Her title displays the same sort of "heavy-handed" touch that she exhibits throughout the movie. As a filmmaker, Kusama has all the subtlety of a Great White Shark in a feeding frenzy. The movie consists of one "ham-fisted" symbol after another, decrying all of the usual exaggerated and simplistic contentions regarding men that radical feminists have been screeching about for over forty years; illustrating the feminist anthems; and portraying resolutions dreamed up in their wishful fantasies.

It should come as no surprise to any educated person that GIRLFIGHT won a couple of awards at Robert "Red" Redford's Sundance Film Festival in 2000; the incestuous relationship between Marxism and Feminism has long been established, and GIRLFIGHT was bound to be enthusiastically embraced at Sundance, and promoted as another vehicle for further conditioning the masses (particularly young women) toward the socialistic goals of hard-core feminism. (If you can bring yourself to turn off the TV one day, and actually read a nonfiction book, THE GENDER AGENDA by Dale O'Leary, and THE PRIVILEGE OF BEING A WOMAN by Alice von Hildebrand, would be smashing places to begin.) It was, after all, no less a communist than Vladimir Lenin himself who stated in 1920, "We must create a powerful international women's movement." (Was keeping the spectators seated and talking during the singing of The Star-Spangled Banner before GIRLFIGHT's climactic bout, a Marxist "jab" at America?)

* Although I will not be discussing anything that the majority of the previous reviewers have not already revealed, be advised that this review will examine the major plot points and the ending of GIRLFIGHT. If you don't want to know how this movie ends, you should discontinue reading this review (and avoid most of the others posted on this product page as well).

Ostensibly, the story is about a high school girl, Diana Guzman (Michelle Rodriguez), prone to violent outbursts who supposedly redirects her aggression by taking up boxing, and ultimately confronts her emotionally abusive dad, and then later, her boyfriend in the ring. The entire movie is simply a kaleidoscope of embarrassingly overt visual metaphors meant to convey the concept of patriarchy getting pummeled to a pulp by Womanhood, and the castration of perceived masculine power. (Diana or Artemis, the goddess of the hunt, is portrayed in mythology as having killed various men and male gods.)

Early on, we get a barely veiled glimpse of Diana's (writer/director Kusama's mouthpiece) disdain for the traditional role of women in society when she stares out of her 11th story bedroom window at a mother pushing a baby carriage with a crying toddler in tow. That she's "looking down on Motherhood" couldn't have been more obvious.

There are three "types" of one-dimensional men (or malignancies) in this movie. (The "father", the "son", and the "emasculated ghost"?) .....

1) The domineering, emotionally and physically abusive male determined to "keep women in their place." This type of man is represented by Diana's drunken dad, and in a typical exhibition of Kusama's over-the-top symbolism, he is knocked around and nearly strangled to death by Diana in the family's kitchen (after she has received some boxing training). Get it? A woman's place is in the kitchen, but only if that's the location she chooses for bloodying the patriarchy! "You belong to me now! ... All these years you just looked right through me", Diana says to her beaten dad on behalf of women everywhere.

2) The unfaithful romancer who refuses to accept women on equal terms in every single facet of social endeavor. He is represented by Diana's love interest, Adrian, who dreams of "winning" his way out of the projects with a successful boxing career. Giving him the name of Rocky Balboa's wife, was an obvious slap at the character, and at men in general who express their manhood through a fascination with sports and sports movies. That slap becomes a punch, however, when 18-year-old Diana, with perhaps two months worth of training, defeats 19-year-old Adrian in the ring - despite the fact that he's been training for nearly a year, and supposedly has true professional boxing potential. (In a sorry display of how far Kusama was willing to go to get the most "punch for the buck", she wants us to believe that these two characters would be fighting in the same weight class. Never mind that Adrian is obviously 6" taller than Diana and appears to outweigh her by about 40 pounds. It simply wouldn't do to have the feminist hero defeat a man merely her own size!)

3) Diana's brother, Tiny, is the way men ought to be in Kusama's warped world. He is artistic, sensitive, effeminate, satisfactorily demasculinized already. He is tolerable because he is pathetic, as he can do nothing but stand back, wring his hands, and plead for his dad's life, while the "new" man (Diana GuzMAN - get it?) strangles the "old" man in the kitchen and usurps his authority (i.e., transforms the patriarchal family unit into a matriarchy). But in an ironic twist, Kusama also reveals her revulsion at the feminine man as well, by naming him TINY. Diana's brother is neither excessively large or small for his age, so we must assume that the name hints at something else: His unmanly "endowments" literally or figuratively; his diminished social status in the imagined new matriarchy; or simply Kusama's personal view of such effete men?

GIRLFIGHT begins with one of the silliest opening shots ever conceived. (Diana Guzman looks up and glares directly at the camera; i.e., "you." Why? Uh, well, because Kusama told her to.) And it ends with one of the most improbable scenes ever filmed. (After losing to her in the ring - bringing his dream of a boxing career to an end - Adrian practically begs Diana not to break up with him. This shows just how out-of-touch with reality and male psychology these extreme feminists really are. If such a scenario as presented in this movie was even truly possible, does Kusama, et al., actually believe that a "man" in this situation would REALLY want to retain his romantic relationship with his female conqueror? That he would be willing to "take a licking and keep on kissing"?) GIRLFIGHT is indeed a feminist fantasy from opening shot to final scene!

It does, however, contain a few positive ingredients: Technically, the screenplay is competently constructed and well-paced, and some of the cinematography is imaginative. The score nicely compliments the images and adds an exotic tone. Herb Lovelle as Cal is good in a very small part, and Jaime Tirelli in the role of Diana's trainer, Hector, delivers a fine, multilayered performance. However, having read the script, no self-respecting "man" would have consented to appear in this propaganda piece. (But divesting men of their self-respect has been a goal for feminists for over forty years now, and they've been largely successful.) Otherwise, the acting was uneven across-the-board. This was Rodriguez's first role, and it sometimes showed.

I could excoriate the artificial dialogue, the nonstop profanity, and the sloppy editing in GIRLFIGHT, but that would be like criticizing a dead dog for being lazy. Instead, let me give you one small dose of reality: Men generally possess nearly 50% more muscle mass than women, and testosterone (a steroid hormone which studies have linked to enhanced aggressiveness and increased muscle formation) is approximately thirty times more prevalent in the adult male body than it is in the adult female. (That's 30 times, not 30%!) In other words, there are genuine physiological reasons why women trained in boxing are never going to be serious competition for men trained in boxing - Karyn Kusama's fantasy notwithstanding. (Don't blame me; blame God. But your arms are too short to box with Him.) Lucia Rijker is universally regarded as the best fighter in the history of female boxing; she has had 54 fights with women and won them all - most by knockout. In earnest competition, she stepped into a ring only once with a man: In 1995, she fought Muay Thai boxer Somchai Jaidee, who was far from being a world elite fighter in the men's competition. Rijker managed to survive the first round, but in the second, she was laid out on the canvas, unconscious for several minutes. (If she didn't have a clue when she climbed into that ring, I'm sure she had one when she woke up in it!)

What disturbs me is not that a misandrist would put her neurosis on film (wrong, Cyndi, these days, "Girls Just Want To Be Boys"), but that anyone would tout this fiction as some kind of inspiring movie to be shown to youngsters ... that's what bothers me! As if Diana Guzman represents some viable means to conflict resolution in the real world. My heart goes out to any child of a rigor mortis-brained parent who believes that "fighting" - even in a square "ring" - is the best way to channel aggressive behavior. When my Brother (nicknamed "Napoleon") was only about 12 years old, a professional trainer recognized that he possessed a chip on his shoulder the size of Mount Rushmore, and an almost freakish, innate aptitude for fighting. This man offered to prepare my Brother for a professional boxing career. Being an Irish-American fighting in sub-Middleweight divisions, and being as proficient in physical destruction as he is, Napoleon would have made many millions of dollars as a successful boxer. But even at that young an age, he was intelligent enough to recognize the senselessness of making a living knocking other guys senseless, and so he turned down the trainer's offer. Instead, he was able to sublimate his anger without needing to unleash it on others in any harmful form. With his fiery energy redirected into more constructive activities, he eventually grew into a very good and caring man (who could still decapitate any one of us with either fist, though he would never do so).

That anyone would show GIRLFIGHT to a young person as motivation for anything, and would hold up this fictional character as a role model for young women to emulate in any way, is deplorable and irresponsible! GIRLFIGHT is not just a feminist cartoon masquerading as a gritty, urban tale - it's a bad cartoon with bad language and a bad agenda. And what its man-hating writer/director really needs is a psychiatrist, not an audience.

Solid..........2006-05-10

This is a solid and realistic film about a deviant female who finds a legitimate to deal with inner anger through boxing. I enjoyed this film for three reasons: 1) the acting was solid, 2) the story was realistic and did not go all Hollywood on me, and 3) I liked the ending and the gender struggles portrayed. A film worth watching!

It Ain't Million Dollar Baby, but OK.......2006-01-03

girl boxing... hummm..

If you liked "Million Dollar Baby," and you like seeing a girl box, you'll like this.

A lot of sweat, muscles, grunting, and boxing too! Michelle Rodriguez, of "Lost" fame, did this movie in 2000. She seem to be getting typecast as the tough girl, pretty, but don't mess with her! Which is a shame, I'd like to see her do something totally different.

But, here we are, a boxing movie about a girl. She is tough, has great muscles, good moves. But, I wasn't convinced that she really could win matches. She has a brother that has no business in boxing, he looks like he should be on a computer somewhere. A father that I wanted to say, "what the heck..?" The Boxing instructor was interesting. All of the cast was completely forgettable, but for Michelle. Her boyfriend included. Could have been anyone.

Michelle was nice to look at, but as far as acting - so so. overall, I wasn't convinced. The match with the black girl, should of been won by the black girl, and the match with her boyfriend, same thing. Her boxing skill didn't impress me.

My dear hubby, Norman, who used to train boxers in the Army, long ago, said he didn't buy much of it at all. So, for entertainment, go for it. For the real deal - rent "Million Dollar Baby." unless, of course, you are a Michelle Rodriguez fan, then certainly watch it.

And, kids, it's not good to lie to your father. SS

Average customer rating:

the real Pinero deserved better
Lower East Side
Benjamin Bratt
Recommended
Good movie

Pinero
Starring: Benjamin Bratt , Giancarlo Esposito , Talisa Soto , Nelson Vasquez , and Michael Irby
Director: Leon Ichaso
Manufacturer: Miramax
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ASIN: B0000640VP
Release Date: 2002-07-16

Amazon.com

The euphoria of controlled chaos that courses through Benjamin Bratt's portrayal of poet, playwright, and actor Miguel Piñero comes as a welcome surprise. Known primarily as a television actor, Bratt burns his way through what could have easily been an overwrought performance with the surety of a skilled improviser. Piñero begins with the sudden success of the playwright, whose play goes from a prison workshop in Sing Sing to the toast of 1970s New York seemingly overnight, and the requisite fall from grace is expected (Piñero died in 1988 of cirrhosis of the liver). Yet the self-aware cool of Bratt's Piñero--who helps found the still vibrant Nuyorican Poets Café and pens highly successful film and television scripts, all the while ingesting a suicidal dose of alcohol, heroin, and cocaine--lends the film an honesty lacking in most depictions of edgy characters. Highly committed as author, social activist, and con man for the cool, Piñero sums it up with characteristic pith when he tells a television crew, "I have to keep doing bad to keep the writing good." Piñero is at once defiant and defeated, clichéd and transcendent. --Fionn Meade

Description

Benjamin Bratt (LAW & ORDER) delivers a masterfully vivid portrayal of the startlingly original Latino icon, poet-playwright-actor Miguel Pinero. After doing hard time in prison for drug-dealing and petty theft, Pinero turned his prison experiences into the Tony Award(R)-winning play "Short Eyes." Then, as a founder of the famed Nuyorican Poets Cafe on Manhattan's Lower East Side, Pinero crafted an influential style of rhythmic urban poetry that is widely recognized as a precursor to rap and hip-hop. Brought to you by executive producer John Leguizamo and featuring Academy Award(R)-winner Rita Moreno (Best Supporting Actress, WEST SIDE STORY, 1961), Giancarlo Esposito (ALI), and Talisa Soto (MORTAL COMBAT 1,2&3) -- critics everywhere were mesmerized by Bratt's graphic performance of this unforgettable bad-boy genius!

Customer Reviews:

the real Pinero deserved better.......2007-04-12

First, let me say that Benjamin Bratt was great, despite the fact the script didn't give him much to work with. The rest of the cast, also very good.

But I wish the filmmakers had more courage.

I knew absolutely nothing about Miguel Pinero walking into this movie. But I'll say this for the film; it made me want to learn more about him. Unfortunately, it didn't really give me much information.

The filmmakers seem to have a genuine reverence for this poet/playwright, but seem petrified of exploring any of the negative aspects of his life in any kind of depth, in case that might take some of the shine off their reverence.

For example, the movie strongly hints he was bisexual. OK, so? If he was bisexual, what kind of struggle did that lead to in his relationships, or even more interesting, in himself? The movie never even begins to address these questions.

It also portrays Pinero as the victim of child abuse. Pretty powerful stuff, no? We see disturbing images from his youth. But they are never really followed up on. They are just there, as if to say, "hey, that must have been pretty bad."

The movie suggests that most of this talented man's relationships were quite complicated. But we never really get a demonstration of that. Only vague innuendoes that are occasionally thrown out with little reference.

The real Miguel Pinero sounds like he was a talented, complicated and very interesting man. One who deserves a better treatment of his life's story.

Lower East Side.......2007-04-08

The work and art of Pinero inspired me - not this film. The confusing, and utterly diabolical frame shifts from black and white to grain to color to just about any other amateur film technique reminded me of my experience during "The Blair Witch Project". Using nonadhesive storytelling with a jumbled voice to the camera, one watching this may not make it to the end. I did, mainly due to the captivating work of one Benjamin Bratt - but I cannot give this film much more credit.

Let me state: Pinero is a genius. He work will be forever remembered. I just could not pull myself together for this film. I think over the past five years, or at least since the release of this film, the biographical film has grown to be a stronger production. Actors are willing awards for their work (i.e. Jamie Foxx and Eddie Murphy), and this film allowed Bratt to be better than I could have imagined, but it was the surroundings of this film that made me take a step back. To begin, the story was troubling. Pinero's life was not light, or one that will make children smile, but it did have its moments to shine. Director Leon Ichaso, I believe, understood Pinero's chaotic life, thus created a film with themes of the same chaos. The issue then becomes that it didn't translate well onto the screen. In one instance, we were captivated by Pinero's life behind bars, the next moment he is winning awards, then we are pushed back into his jail time. There was no consistency. We would have moments when we went from his accomplishments to his troubled times that happened in the past, to something in the future. This could have been a strong accomplishment to help accompany the work of Pinero, but instead what occurred was a jumbled mess of cinematic value in which our characters outside of Bratt become merely nameless shadows. Also, his poetry (due to the lacking cohesiveness) becomes less poignant. We see very little of his play "Short Eyes" and really how he drew his inspiration for this award winning work. Ichaso tried to be original with his direction, but it withdrew from Pinero, ultimately turning those casual viewers away from watching the life of a great poet.

As you watch this film, keep you eye on Bratt's honest moments. There are times that he fades in and out of Pinero, but he gives over 100% dedication to what Pinero represented. His performance is one that should have put him on a fast-track to being the next Brad Pitt, but I think what ultimately hurt his opportunity was the fuzzy direction and inconsistent camera (as discussed) of this film. He is the only character in this film. Ichaso attempts to bring the people from Pinero's life to screen, but since we jump sporadically throughout the hour and a half, we never quite know who these important assets were. The friend in the van, for example, I thought was a performer in the play. Who really was the man that he lived with? These questions could have been easily answered through dialog or perhaps an informative introduction, but instead Ichaso cut corners and just gave us names throughout the film. A possible strong opportunity again lost due to over-creativity. What really happened to Pinero and Sugar? That was a deep relationship that needed a further element - she was his muse...correct? With a straight forward bio-pic I shouldn't be asking these questions. Again, Pinero was phenomenal with his words, which wasn't accentuated enough. Ichaso could have taken lessons from a small film like "Lenny" which was able to use Bruce's words and story of his life cohesively.

The greatest element, for me, of this film was the ending. The poem about spreading his ashes through the Lower East Side made me want to read more of his poetry. It was such a powerful, yet flawed scene. I needed - wanted - to know more about the poets that were reading his work. Nonetheless, it was breathtaking. It showed the power of his words, and just a taste of how his influences now resonate throughout the hip-hop music genre. I was disappointed with this disc, because if offers nothing to really see the real Pinero. I was hoping for a bit of a "real life" biography, but nothing of the sort happened outside of Bratt speaking about how great this man was - which is not true. Pinero, as stated before, is a genius, but not a great man. His work was sometimes underscored by his addiction - imagine if he wasn't influenced by drugs ... hum ... would his work be as good?

Overall, I think this could have been a great film. I have no problems with independent cinema - or - about biographical films, but when you push too hard on one side, you sometimes loose the central focus. This was the case with "Pinero". Ichaso focused so heavily on making a cutting edge film that a good chunk of the story got muddled through the trenches. I wanted to know about Pinero, the struggling artist, not a confusing epileptic episode that was the final product. The characters got muddled in this mess, Bratt was the shining star, but that can be the only positive reaction one could have. The ending eerily reminded me of Depp's "Blow", but that could be a whole new conversation. I saw the angle that Ichaso was going, I just don't think the final product was put together very well. It seemed rushed and completely absurd at times.

Lower East Side

Grade: ** out of *****

Benjamin Bratt.......2007-01-04

Benjamin Bratt the beautiful man from Law and Order held his own in this epic work of his portrayal of the life of the dead poet but not forgotten. Pinero is a movie every artist must see. This man was a "street disciple" words were like water to him or perhaps dope, but in any case check out the movie because Benjamin Bratt does a heck of a job, and Pinero was not only poetic but he was eccentric yet his faults cannot be denied like his writings.

Recommended.......2006-04-27

This drama contrasts the transcendent nature of Miguel Pi?ero's art with the dark struggles of his life. The director seems to suggest that art gives the strength to struggle - perhaps to even break free.

Good movie.......2006-01-08

I had never even heard of Pinero or who he was before I watched this movie. A friend of mine owned it and he let me borrow it. He was like "You're Puerto Rican and you never heard of PINERO". I was like "NO". He let me check out the movie and I gotta say it was something cool about this poetic. He was a real street cat, bot a fake wannabe poet talking bout street life he don't know like most of the movies that come out today. Really inspired me to go find out more bout my Puerto Rican roots, If I can get a hold of my dad who lives in the Bronx then maybe he can give me a little history lesson.

Average customer rating:

High Prison Drama
Jesus help me, 'cause man won't.
movie
nothing short in these eyes
Tough little film

Short Eyes
Starring: Bruce Davison , José Pérez (II) , Nathan George , Don Blakely , and Tony DiBenedetto
Director: Robert M. Young
Manufacturer: Fox Lorber
ProductGroup: DVD
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ASIN: B00009L4UA
Release Date: 2003-08-12

Amazon.com

Though time and HBO's Oz have eclipsed its ground-breaking impact, Short Eyes remains a milestone of American independent film, and a vital entry in the prison-film genre. Adapted by Miguel Piñero from his acclaimed play, this gritty drama was filmed in Manhattan's infamous Men's House of Detention (better known as "the Tombs"), giving a rough, authentic edge to Piñero's unflinching portrait of men trapped in legal-system limbo. Inmate tensions intensify when an alleged pedophile ("Short Eyes" in prison slang, played by Bruce Davison) is dropped into detention, and instantly ostracized by white, Latino, and black inmates alike. Under the documentary-like direction of Robert M. Young, this claustrophobic, emotionally raw study of hopelessness was a real eye-opener for its time (1977), revealing depths of anguish, danger, and cruelty that had never before been dramatized on film. Paving the way for harsher prison dramas that followed, Short Eyes features Piñero in a supporting role, and look closely for Traffic's Luis Guzmán in his screen debut. --Jeff Shannon

Customer Reviews:

High Prison Drama.......2007-05-15

"Short Eyes" is not the average prison film.
So if you watch the movie with preconceived ideas
about Hollywood prison life, most likely you
won't like the movie. While all the ingredients of
an accurate inmate experience are included,
it's done so in an intelligent, suggested manner.
There is no sex, no nudity, and minimal violence (though
nonetheless graphic is the violence that does appear).
The lack of these elements would normally turn most
people off who are interested in standard prison flicks.
However, the shortage of visual shock elements works
to the film's advantage. Why? Basically, the viewer
is "forced" to concentrate on the most important feature
of the film: the excellent script/dialogue.

"Short Eyes" invites the viewer into inmate life and examines
the struggles, hypocrisies, and triumphs that exist. This
film is all about the characters and how they survive in a
world that has marginalized them to the point of nonexistance.
In response, the inmates have created their own world. Adequate time
is given to character development, which is a feature of any great film.
The verbal interactions are entertaining and emotionally effective.
The script is a surprisingly direct, straight-from-the-streets dialogue
that you rarely find outside a real life documentary.

"Short Eyes" comes off as a stylized stage production, as it
originally was. No frills; just straight, entertaining drama.
It's a worthwhile film for drama fans.

Also, Curtis Mayfield (who plays a bit part in the film) scored
an uncelebrated, but remarkable soundtrack for the movie. Actually,
"Short Eyes," in general, has been underrated and uncelebrated.
However, that doesn't disqualify it's brilliance.

Jesus help me, 'cause man won't........2007-04-24

"Short Eyes," based on the play by Miguel Pinero, is probably the first prison drama to tell what life in prison is really like. For example, violence is not dramatic in the movie- it's casual and unexpected. In one scene, a prisoner is mopping the floor, and someone puts his arm into the gate just as it's closing, breaking his arm. Several other prisoners take cheap shots at him as they walk by. In addition, there's definitely a sense that there's danger and tension just below the surface every day; not even the well-respected prisoners are ever completely safe.

The plot concerns Clark Davis, an alleged child rapist, who is immediately ostracized by the guard and his fellow inmates. In one harrowing scene, the inmates, led by "Longshoe" Murphy, inflict "psychological violence" on Davis, as the director puts it in the commentary. Murphy is the only white inmate who the black and Puerto Rican inmates respect, and he despises Davis both because of his crime and because he feels that he reflects badly on the other white inmates. The only prisoner who shows any empathy to Davis is Juan, a well-respected Puerto Rican. At one point, Clark confesses to Juan that he has struggled with pedophilia all his life and that he "just can't stop himself." It's hinted that Davis did not receive due process in the line-up, and that it's only a matter of time before he's released, but it is made clear that he has molested girls before. With this knowledge, Juan is torn between trying to help Davis and the responsibility he feels towards keeping him from molesting again. A council of representatives from the ethnic groups in prison feel that he must die, and not even Juan may be able to save him.

"Short Eyes" is a compelling movie. The profanity and brutality, though mild today for jaded viewers, was pushing the envelope in its time. It does have some flaws, however. In the commentary, the director mentioned that the play was rather rambling, and that they had to compress the scenes together for a movie to work. They generally succeeded, but much of the movie, particularly the beginning, has a staged feel. In the first 30 minutes before Davis shows up, different characters are explored; this would work in a play, but not so much on film. There's also a scene, not in the play, where the prisoners jam out; they're led by Curtis Mayfield, who wrote the soundtrack. This really adds nothing to the movie, and in fact slows it down. The quality of the footage is not great either. But overall, this is a powerful film, and must-see for fans of prison dramas and 70s cinema.

movie.......2005-10-21

shipment was fast, the dvd was what we were looking for.
thank you for your service

nothing short in these eyes.......2005-07-02

I remember seeing this as a teenager and thinking to myself this is not Willard.Although Bruce Davidson is as creepy in Short Eyes as he was in Willard these are two different animals.This movie paved it's way toward more harsher prison films later on this one marks Lois Guzman's screen debut and at first I missed him.Yepper he's that quick in the scene.Although Short Eyes isn't awardwinning by any standards It still gets under my skin only because of the news and widespread topics centering on Pedophiles.It's nice to see these movies resurface again to take my mind off of the junk that's out there. Not to mention any names....CHILD'S PLAY 3 OOOOPS SORRY!!!!

Tough little film.......2004-12-19

"Short Eyes" was released in 1977 and stars a multi-ethnic cast playing inmates in a Sing-Sing style prison. The prisoners belong to tight groups, divided primarily along racial lines, and co-exist with relatively little violence. They even have a "council," comprised of the leaders of the various groups, that establishes acceptable actions for the prisoners. Into this composition comes Bruce Davison, an alleged child molester, who the prisoners dub "freak" and "short eyes." The story is told rather loosely and episodically, as it moves toward its inevitable but gritty conclusion.

In 1977, "Short Eyes" must have seemed shatteringly realistic and harrowing. Today, the film feels a bit stagy; not surprisingly, the screenplay was based on a play - by noted Puerto Rican playwright, Miguel Pinero (he also has a small part as Go Go). Despite this flaw, the characterizations are solid and the acting is often quite good; Freddy Fender and Curtis Mayfield even show up to sing some songs! In addition, the film explores prison race relations in a startlingly frank and credible manner. Overall, the film is one of the better prison dramas and likely to appeal to fans of 70s cinema.

The DVD extras include an interesting commentary track with the film's director Robert Young as well as director Leon Ichaso, who made "Pinero" based on the life of the playwright. Unfortunately, the film is not subtitled, which would be helpful with the considerable jargon and the rapid-fire delivery of the inmates.

Average customer rating:

Deal of the century
Being in the right place.
I wonder why...
A personal favorite
This Movie Contains The Good, The Bad, And The Ugly -- Too Bad That Title's Been Used!

Deal of the Century
Starring: Chevy Chase , Sigourney Weaver , Gregory Hines , Vince Edwards , and William Marquez
Director: William Friedkin
Manufacturer: Warner Home Video
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Binding: DVD

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ASIN: B000BYA4KQ
Release Date: 2006-02-14

Description

Fast-talking Eddie Muntz is a supersalesman. He sells weapons - little ones to kick off a riot and big ones that can trigger a world war. He won't sell just to anybody, only to folks with suitcases full of money. Chevy Chase, Sigourney Weaver and Gregory Hines star in Deal of the Century, a devilish satire of the international arms trade from writer Paul Brickman (Risky Business) and director William Friedkin (The French Connection, The Exorcist). In the absurdist tradition of Dr. Strangelove and Wag the Dog, it's an uproarious look at an industry selling big bangs for big bucks - and shouldering big responsibility for the current sorry state of global relations. If your laughter is a little nervous, you're beginning to get the point.

Customer Reviews:

Deal of the century.......2007-08-13

great old school movie from the cold war era and great comedy with plenty of laughs.

Being in the right place........2007-06-30

I'm a Chevy Chase kind of guy, meaning I enjoy most of his work. Mr Chase doesn't have a franchize like Dirty Harry, Die Hard or Robin Hood. He comes at it from every direction. Fletch, Spies, "Like Old Times" & many others are enjoyable films about a variety of funny situations. This is another of his hits. He is on the spot when an arms dealer dies and takes over his prospect. He gets the widow too. Mr Hines does a good job and adds to the enjoyment. Get this one and spend an evening with a smile on your face. The weapon demonstrations are great.

I wonder why..........2007-05-24

I wonder why Mr Friedkin didn't mention AT ALL the soviet arms race. Looks like the american arms industry was fighting a ghost. Let me guess : Russkies never had the nuclear bomb. They never sold arms to the Third World. They didn't set Africa on fire. They were nice people, taking care of their environment and loving their people, especially who didn't agree with the great idea of socialism.

I wouldn't care to post here if not for the bullet-in-the-foot scene, which was kind of funny.

A personal favorite.......2007-05-14

A film student could probably write a doctoral dissertation on Chevy Chase's convoluted movie career. Once considered the most promising cast member on a nascent Saturday Night Live, Chase was one of the first from that show to make an exodus into major motion pictures. His initial efforts boded well for the future. One can still watch films like "Foul Play," "Caddyshack," and "Seems Like Old Times" and laugh at this comedian's brilliant ability to garner laughs. In his early career, Chase stayed true to his comedic stylings--namely relying on his deadpan delivery, his embrace of the inane and ridiculous, and his marvelous skill at throwing out brilliant lines that are still quotable today. Even when his career turned south, his best movies always incorporated the traits listed above. "Fletch," the first and third installment of the National Lampoon Vacation films, and "Funny Farm" worked because Chase stayed close to his roots. His career foundered because he tried to leave this reservation. "Modern Problems," "The Three Amigos," "Nothing But Trouble," and a host of other films effectively sank his career. Some would say "Deal of the Century" helped deal the deathblow. Maybe so, but I love this film.

"Deal of the Century" centers on Chevy Chase playing a fourth rate arms dealer named Eddie Muntz. His character sells firearms, munitions, explosives, and other military gear in every third world hot spot on the planet. When we first meet Eddie, he's trying to wrap up a deal with a band of revolutionaries in some Central American toilet. Just when the money comes through, the government arrives on the scene and starts shooting. Muntz loses his money, loses his hardware, and receives a bullet in the foot for his troubles. Limping back to his fleabag hotel in defeat, he happens to run across a frantic Harold DeVoto (Wallace Shawn) in the next room over. This guy's going nuts waiting for a phone call that will seal a multi-million dollar deal involving an experimental aircraft called the Peacemaker. Muntz talks the guy down, leaves the room, and has to run back in when he hears a gunshot. DeVoto couldn't take the pressure waiting for that phone to ring, which it does a few seconds after DeVoto put the gun to his head. Now Eddie Muntz assumes a new identity--salesman for the Peacemaker--as he tries to make his own deal of the century.

As the movie progresses, we meet Muntz's partner Ray Kasternak (Gregory Hines), a former fighter pilot turned arms merchant who's starting to have second thoughts of a decidedly religious nature about selling death to poor countries. We also meet DeVoto's wife Catherine (Sigourney Weaver), a woman drifting into Eddie's orbit after she discovers that he's trying to steal her late husband's deal. The three agree to pitch in together so they can make the sell and walk away multi-millionaires. Problems soon ensue, not the least of which revolve around a sleazy third world despot named General Cordosa (William Marquez). He keeps stonewalling Muntz and company about the sale. In the end, he demands a very special favor before he'll shell out the big bucks. Another difficulty involves basket case Frank Stryker (Vince Edwards), an executive at the arms factory that makes the Peacemaker. Closely related to Stryker's vitriolic rages are the mechanical problems plaguing the aircraft. Everything comes to a head at a huge weapons expo at the end of the movie. Will Eddie seal the deal? Will Ray reconcile his newly found belief in Christ with his career as a death merchant? Watch the movie and find out!

I can't help but love this movie. I know many hate it, but I think it's got a lot of things going for it. Director William Friedkin tried to make both a comedy and a serious political satire about the arms race with "Deal of the Century," and for the most part both pieces work well. Some of the satire is heavy-handed, i.e. the stock footage of missiles firing when Catherine's working her magic with General Cordosa, but it's still interesting to watch. The outright humor is more effective. Chase gets a lot of neat dialogue to work with, which he fires off in that deadpan style fans love, and he has several memorable scenes that stay with the viewer long after the credits roll. I love the scene when he pulls an assault rifle on a street thug trying to rob him, or when he's demonstrating a rocket launcher in a hotel room. The line he throws out when he first meets Catherine--"What's a place like this doing wrapped around a girl like you?"--rates high as one of my favorite Chevy Chase quotes (I hope I got it right. If not, I'll hear about it). Perhaps the best sequence in the film doesn't even involve Chase. It's a scene centering on Ray, a car accident, and a flamethrower. Good stuff.

Sadly, the only extra on the disc is a trailer for the film. We do get a nice widescreen picture transfer and decent audio. Obviously, I'd like a commentary track, but I'm just happy the movie finally made the trek to DVD. I'm going to give "Deal of the Century" five solid stars. It might not achieve the Olympian heights of "Vacation," "Fletch," and a few other Chevy Chase classics, but it's always been a personal favorite of mine ever since I used to watch it on cable television back in the early 1980s during my summer breaks from school. If you're new to Chase's wacky brand of humor, I'd recommend starting out with one of his better-known pictures. Only when you learn to appreciate his wicked style should you migrate to this film. And when you finally make the trip, I hope you enjoy it as much as I do.

This Movie Contains The Good, The Bad, And The Ugly -- Too Bad That Title's Been Used!.......2007-01-30

When I saw a preview of this, it came across as a Chevy Chase comedy, with plenty of tension. This is not a comedy, and the suspense is minimal.

Before I saw the movie, I read a review saying it contained an unnecessary story line about a born again Christian. I held my breath to see how my faith would be mocked in this film. To my surprise, this movie contains one of the best portrayals of a Christian. Gregory Hines did an excellent job in that role, and except for one scene that came across as a caricature of a Christian, it was respectful.

One scene was masterful. It showed Hines trying to be patient in dealing with a jerk, before he finally responded by pulling out a flame thrower and torching the assailant's car. And then you immediately see the remorse and sorrow at his own sinful reaction.

However, this is mixed in with normal Hollywood garbage. There is a swimming pool baptism scene side by side with a swimming pool sex scene (different characters).

I'm not sure what this movie wanted to be, but whatever it was, it failed.

Average customer rating:

This Movie is so Silly it's Fun
Times Square revisited
release the soundtrack!
I Love This Film
After all these years...what a disappointment!

Times Square
Starring: Tim Curry , Trini Alvarado , Robin Johnson , Peter Coffield , and Herbert Berghof
Director: Allan Moyle
Manufacturer: Anchor Bay
ProductGroup: DVD
Binding: DVD

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ASIN: B00004Y6AT
Release Date: 2000-11-28

Customer Reviews:

This Movie is so Silly it's Fun.......2007-07-18

Ready to watch it? Let your imagination run wild and don't expect the movie or Times Square to be like it is in the movie, or that anything like that could even partially happen. First of all it's already funny to glamorize sleezy Times Square in New York. Nikki and Pammy call themselves the sleeze sisters. How appropriate. The soundtrack is good and I own this movie and enjoy it whenever I see it. I don't have a movie in my collection that I wouldn't watch over again. Every time I see it the movie is corny and funnier to me. I gave it 3 stars because it isn't a great movie but it is a movie that to me is fun to watch. To me it's a "cult classic" like the "Rocky Horror Picture Show", not meant to be taken seriously but enjoyed.

Times Square revisited.......2006-07-13

I saw this film as a teenager and loved it. I bought it hoping it would be as good as I remembered and though some would consider it dated, I still really enjoyed it and had lots of laughs watching it. It still has an excellent thumping soundtrack.

release the soundtrack!.......2005-10-14

ah, c'mon guys! whomever the powers that be, release the soundtrack already! it's been 25 yrs now, finally got the dvd, and the music was a big part of the film. so much other stuff has been put out that never should have been, but this surely deserves a release.

I Love This Film.......2005-08-16

I must confess up front to a favorable bias toward "Times Square". Just before its release I recall seeing the trailer and being won over by the scene in the hospital where Nikki begins eating the flowers. Since this was only about 10 seconds into the trailer it is fair to say that I immediately connected with the film. The same trailer is included with the DVD and I was happy to see that my memory of the event was accurate. After seeing the actual feature I went out and bought the double album, which I still own.

I know more about films now than I did 25 years ago and thanks to the DVD commentary (by Director Allen Moyle and Robin Johnson-who played Nikki) I now know a lot about what went into the making of "Times Square". Unfortunately Robin's co-star Trini Alvarado (Pammy) was not available for the commentary. Although most viewers consider Nikki the central character, Nikki really needs Pammy to play off (much like Charlize Theron needs Christina Ricci's reaction shots in "Monster"), yet Pammy's scenes without Nikki are some of the best in the film so you can't really say one character is more important than the other.

"Times Square" suffered the same fate that Orson Welles' "The Magnificent Ambersons" did 40 years earlier. The producers took control of the final cut, re-shot some scenes, deleted others, and released a version that did not reflect the director's vision. Apparently no one has ever been able to find the deleted footage for either film. Although "Times Square" was butchered even more than "Ambersons", it seems to have been less damaged. In part that is because the originally intended version would never have approached the perfection of the original "Amberson's". Perhaps more importantly, "Times Square" has a Haskel Wexler gritty documentary style that simply transcends the narrative elements of the story. So changes to the storyline could not take away from its basic ambiance nor from its preservation of the look of 1979 Times Square-something that was even then a ghost world.

Moyle now wishes he had not left the production after a dispute over including additional songs (so they could have a double album) because his continued presence would have had some damage control value. Producer Robert Stigwood ("Saturday Night Fever", "Saying Alive", "Jesus Christ Superstar", Sgt. Pepper's Lonely Hearts Club Band" ) was determined to release yet another of his musical exploitation films designed to make a lot of money on the soundtrack. This accounts for the inclusion of the completely inappropriate "Help Me" (The Bee Gees), the movie actually goes out on that song although they switch to something more appropriate midway through the credits.

The commercialization of the film also included dropping all obvious hints of a lesbian relationship between the two girls. This was probably a commercial mistake because a public controversy might have actually increased attendance. Ironically, if the lesbian angle had remained Moyle would have been accused of exploitation because it is really unnecessary for the storyline. Likewise the script changes needed when Alvarado refused to dance topless saved Moyle from looking like an exploiter.

While what survives has major continuity and character development issues, the core of the story may actually work better. Two emotionally damaged girls-polar opposites- bond and help each other. It ends with Altman's cool "Kansas City" twist where the seemingly weaker girl becomes protective of the tough girl.

I like the way that Pamela's father finally gets it and backs away, letting her continue to help Nikki until she feels that Nikki can continue without her. You first realize how strong and together Nikki has made Pammy by the end of my favorite montage sequence. After ordering her out, Nikki trashes their room, tries unsuccessfully to commit suicide, and completely breaks down at the radio station. Inter-cut with this is a shot of Pammy standing outside her father's home. At the station Nikki is screaming "Pammy" over and over as they agreed to do earlier in the film in moments of total despair. The audio of these screams is extended into the morning after establishing shot of their dock building. Johnny comes into the seemingly empty room and lifts the blanket revealing a peacefully sleeping Pammy sucking her thumb-she has returned to help Nikki.

Another highlight is the scene I already mentioned of Nikki eating the flowers in their hospital room. What makes this work is its point-of-view dynamic. Moyle artfully connects us to Pammy for the first time by allowing us to see Nikki from her POV. Later he places us back into Pammy's POV as Nikki non-verbally convinces Pammy to leave the hospital with her. The hospital exit scene only works credibility-wise because the first scene set us up for it.

Then again, what do I know? I'm only a child.

After all these years...what a disappointment!.......2005-08-12

I remember getting the soundtrack to TIMES SQUARE when it came out in 1980, but I never could see the movie cause I was too young - oh well, now on DVD, I can finally watch it after all these years and...what a huge disappointment. While the soundtrack and NYC locations are worth noting, the film itself is an amateur, flat, maudlin mess. All the performances (save for the dependable Tim Curry) are way over the top and shrill. And the "songs" that Robin Johnson "sings" the less said the better - "DAMN DOG"? "TIME BOMB"? And what's with that catchy chorus that goes "N**ger, F*ggot" etc?! HELLO?!! Really awful stuff. Ironically, the COMMMENTARY for the film is actually more entertaining than the movie itself - so watch this DVD with director MOYLE and actress JOHNSON chatting the whole time, fillig in the blanks and explaining just WHY and HOW good intentions didn't add up to a great flick, but rather tedious, tired dreck. I think this was more the fault of soundtrack-hungry producer ROBERT STIGWOOD than anyone else?

Average customer rating:

Depletion Depicted
Very good action horror drama mix!
BORING!!! waste of money!
DEPRESSIVE AND DARK
Powerful

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Manufacturer: TROMA ENTERTAINMENT INC.
ProductGroup: DVD
Binding: DVD

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