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Reviews Written By: A1HWFY108A42NZ

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	The Chamber
	"Ignore the Critics"	2009-06-07
I am appalled at the New Yorker review of "The Chamber". How they could criticize Gene Hackman's performance in this film makes me wonder what their critic does call a good film. Hackman always has been, always will be one of the best, if not the best, actor of the 20th Century, Brando be damned. He is flawless in this film as he has been in anything he appears in. He makes any film better. As for Chris O'Donnell - thank God they didn't have Tom Cruise in it. Now THERE is an actor who can ruin anything he's in. No matter what the role, he is always Tom Cruise. O'Donnell has the misfortune of looking like Cruise - thus the cheap shot from the New Yorker. His likeness to Cruise may end up being his downfall. In this film, O'Donnell gives an understated, subtle performance and it makes me want to see him in other films to see if he can shed the Cruise comparison. As always, Dunaway is magnificent - daring to go beyond her beauty and takes her character on with a vengeance coupled with a sympathy that helps you understand and forgive the character's flaws. I recommend this film highly - as it shows us in spades why the death penalty is a flawed response to crime - that it leaves more questions asked than answered. It is hard to watch, which only validates the importance of the film and makes its critics' comments less valid. I wish I had not waited so long to see this film. If you haven't seen it and if you have a strong position on the death penalty, yea or nay, you will want to see this film....critics be damned.
	The Chamber
	"Ignore the Critics"	2009-06-07
I am appalled at the New Yorker review of "The Chamber". How they could criticize Gene Hackman's performance in this film makes me wonder what their critic does call a good film. Hackman always has been, always will be one of the best, if not the best, actor of the 20th Century, Brando be damned. He is flawless in this film as he has been in anything he appears in. He makes any film better. As for Chris O'Donnell - thank God they didn't have Tom Cruise in it. Now THERE is an actor who can ruin anything he's in. No matter what the role, he is always Tom Cruise. O'Donnell has the misfortune of looking like Cruise - thus the cheap shot from the New Yorker. His likeness to Cruise may end up being his downfall. In this film, O'Donnell gives an understated, subtle performance and it makes me want to see him in other films to see if he can shed the Cruise comparison. As always, Dunaway is magnificent - daring to go beyond her beauty and takes her character on with a vengeance coupled with a sympathy that helps you understand and forgive the character's flaws. I recommend this film highly - as it shows us in spades why the death penalty is a flawed response to crime - that it leaves more questions asked than answered. It is hard to watch, which only validates the importance of the film and makes its critics' comments less valid. I wish I had not waited so long to see this film. If you haven't seen it and if you have a strong position on the death penalty, yea or nay, you will want to see this film....critics be damned.
	Purple Noon (Widescreen)
	"Meet the most beautiful, talented male actor of all time"	2008-05-02
It appears the "Purple Noon" story line has been detailed quite well in prior reviews, so no need to go on about it again. What I want to add is that this film could serve as a wonderful introduction to Alain Delon for a new generation. If you have never seen this actor at work, treat yourself to "Purple Noon" and think of it as a primer. It is much better than ".....Mr. Ripley", as it doesn't have the unrelenting, distasteful sense of evil and unpleasantness of Matt Damon's version. Damon simply cannot match Delon for all the facets the Frenchman gives his character. Delon makes the character so intriguing, you rather want to see him get away with it! Delon was and remains one of the most exciting, beautiful actors ever to come out of Europe. The U.S. has never produced an actor to match him for sheer beauty, grace and charisma. Those eyes make you want to know what is going on behind them. The intrigue is always there and you cannot take your eyes off him. Delon has a son who works very hard to follow in his father's playboy footsteps, but he lacks the class, pure beauty and grace of his father. I hope that once you've seen "Purple Noon", you will move on to his even better films, i.e. "Mr. Klein" or "Le Samourai" and others. Not many are available as yet, but hopefully time will correct this oversight. One film called "Have I the Right to Kill?" was recently run on TCM, but is not available as yet in any format. It also is dubbed, rather than sub-titled, which for me, lessens the film, but it is still good viewing. Try "Purple Noon", sit back and watch this graceful, beautiful man turn on sex appeal the like of which you will never see again. Once you see him, you will want more, I guarantee it. (Please note there is a new, first time release of a collection of his decent but somewhat lesser films available on Amazon called "Alain Delon - Five Films". I remain hopeful that his truly great films will show up in a collection soon)
	Purple Noon
	"Meet the most beautiful, talented male actor of all time"	2008-05-02
It appears the "Purple Noon" story line has been detailed quite well in prior reviews, so no need to go on about it again. What I want to add is that this film could serve as a wonderful introduction to Alain Delon for a new generation. If you have never seen this actor at work, treat yourself to "Purple Noon" and think of it as a primer. It is much better than ".....Mr. Ripley", as it doesn't have the unrelenting, distasteful sense of evil and unpleasantness of Matt Damon's version. Damon simply cannot match Delon for all the facets the Frenchman gives his character. Delon makes the character so intriguing, you rather want to see him get away with it! Delon was and remains one of the most exciting, beautiful actors ever to come out of Europe. The U.S. has never produced an actor to match him for sheer beauty, grace and charisma. Those eyes make you want to know what is going on behind them. The intrigue is always there and you cannot take your eyes off him. Delon has a son who works very hard to follow in his father's playboy footsteps, but he lacks the class, pure beauty and grace of his father. I hope that once you've seen "Purple Noon", you will move on to his even better films, i.e. "Mr. Klein" or "Le Samourai" and others. Not many are available as yet, but hopefully time will correct this oversight. One film called "Have I the Right to Kill?" was recently run on TCM, but is not available as yet in any format. It also is dubbed, rather than sub-titled, which for me, lessens the film, but it is still good viewing. Try "Purple Noon", sit back and watch this graceful, beautiful man turn on sex appeal the like of which you will never see again. Once you see him, you will want more, I guarantee it. (Please note there is a new, first time release of a collection of his decent but somewhat lesser films available on Amazon called "Alain Delon - Five Films". I remain hopeful that his truly great films will show up in a collection soon)
	The Unforgiven
	"THIS MOVIE IS BETTER THAN THE REVIEWS YOU SEE HERE"	2008-02-03
I've read Steve's review, which did a pretty good job of belittling this film. But, I will say his information about Hepburn's miscarriage during the filming was very interesting and adds much for background. However, I found this film fascinating because it portrays more honestly how people lived in that period. Even though this family had built and moved to something better, they kept their original dwelling that was dug out of earth and sectioned so they had a hiding place from the Indians. The earth cabins were cooler in the summer and warmer in the winter. I've never seen a movie show a family in one of those "earth cabins", dug into the ground. I've seen pictures of those cabins in old photographs, but never have I seen a movie use one. So many films put the characters in a homey, log cabin, above ground that we leave the theatre, wishing we could live in a log cabin. Lodgings were not that clean or comfortable, and this film reveals that. Also, I beg to differ with Steve on the John Saxon character. He's right on one hand - the character does disappear after the white men ordered him to run down the crazy white man so they could hang him. But he returns at the very end when he leaps in front of Hepburn's character, in full Indian regalia, and stares at her with such sadness and longing, before she kills him. You then realize it is the "half breed", that he went back to the Kiowas to live(I believe I have the correct tribe), and wanted to take Hepburn back with him. I thought it was a great surprise ending and I'm shocked that no one picked up on it. Burt Lancaster makes this film. He is so honest and believable, even though I would not have expected his speech to fit well into that period. But he carries it off with such power and sincerity, you forget everything but what you see on the screen. Also, it was lovely to see Lillian Gish again and as always, she touches your heart with just a glance. I encourage anyone who has not seen her silents to do so and witness what a brilliant actress she was - and remained so until her death. John Huston was a brilliant director - and keep in mind that even on his worst day, he was still greater than almost any other director working in his time. This movie stands up better than most films released today. Don't dismiss "The Unforgiven" as second rate.
	The Unforgiven
	"THIS MOVIE IS BETTER THAN THE REVIEWS YOU SEE HERE"	2008-02-03
I've read Steve's review, which did a pretty good job of belittling this film. But, I will say his information about Hepburn's miscarriage during the filming was very interesting and adds much for background. However, I found this film fascinating because it portrays more honestly how people lived in that period. Even though this family had built and moved to something better, they kept their original dwelling that was dug out of earth and sectioned so they had a hiding place from the Indians. The earth cabins were cooler in the summer and warmer in the winter. I've never seen a movie show a family in one of those "earth cabins", dug into the ground. I've seen pictures of those cabins in old photographs, but never have I seen a movie use one. So many films put the characters in a homey, log cabin, above ground that we leave the theatre, wishing we could live in a log cabin. Lodgings were not that clean or comfortable, and this film reveals that. Also, I beg to differ with Steve on the John Saxon character. He's right on one hand - the character does disappear after the white men ordered him to run down the crazy white man so they could hang him. But he returns at the very end when he leaps in front of Hepburn's character, in full Indian regalia, and stares at her with such sadness and longing, before she kills him. You then realize it is the "half breed", that he went back to the Kiowas to live(I believe I have the correct tribe), and wanted to take Hepburn back with him. I thought it was a great surprise ending and I'm shocked that no one picked up on it. Burt Lancaster makes this film. He is so honest and believable, even though I would not have expected his speech to fit well into that period. But he carries it off with such power and sincerity, you forget everything but what you see on the screen. Also, it was lovely to see Lillian Gish again and as always, she touches your heart with just a glance. I encourage anyone who has not seen her silents to do so and witness what a brilliant actress she was - and remained so until her death. John Huston was a brilliant director - and keep in mind that even on his worst day, he was still greater than almost any other director working in his time. This movie stands up better than most films released today. Don't dismiss "The Unforgiven" as second rate.
	The Unforgiven
	"THIS MOVIE IS BETTER THAN THE REVIEWS YOU SEE HERE"	2008-02-03
I've read Steve's review, which did a pretty good job of belittling this film. But, I will say his information about Hepburn's miscarriage during the filming was very interesting and adds much for background. However, I found this film fascinating because it portrays more honestly how people lived in that period. Even though this family had built and moved to something better, they kept their original dwelling that was dug out of earth and sectioned so they had a hiding place from the Indians. The earth cabins were cooler in the summer and warmer in the winter. I've never seen a movie show a family in one of those "earth cabins", dug into the ground. I've seen pictures of those cabins in old photographs, but never have I seen a movie use one. So many films put the characters in a homey, log cabin, above ground that we leave the theatre, wishing we could live in a log cabin. Lodgings were not that clean or comfortable, and this film reveals that. Also, I beg to differ with Steve on the John Saxon character. He's right on one hand - the character does disappear after the white men ordered him to run down the crazy white man so they could hang him. But he returns at the very end when he leaps in front of Hepburn's character, in full Indian regalia, and stares at her with such sadness and longing, before she kills him. You then realize it is the "half breed", that he went back to the Kiowas to live(I believe I have the correct tribe), and wanted to take Hepburn back with him. I thought it was a great surprise ending and I'm shocked that no one picked up on it. Burt Lancaster makes this film. He is so honest and believable, even though I would not have expected his speech to fit well into that period. But he carries it off with such power and sincerity, you forget everything but what you see on the screen. Also, it was lovely to see Lillian Gish again and as always, she touches your heart with just a glance. I encourage anyone who has not seen her silents to do so and witness what a brilliant actress she was - and remained so until her death. John Huston was a brilliant director - and keep in mind that even on his worst day, he was still greater than almost any other director working in his time. This movie stands up better than most films released today. Don't dismiss "The Unforgiven" as second rate.
	On Valentine's Day
	"A Gift from A Literary Family"	2004-06-06
A quiet little gem with building moments of intensity, "On Valentine's Day" is based on the life of the grandmother of Hallie Foote, daughter of Horton Foote. Hallie stars as her grandmother in this lovely film. Screenplay is by Horton Foote and is produced by Lillian Foote. A young couple marries against family wishes in 1917 Wharton Texas. They move to a boarding house, living with characters who gradually reveal their hearts(including a young Matthew Broderick). A shy, lonely and plain girl befriends the new bride and they soon share their joys, fears and the news that Hallie is pregnant. "Bobby", a troubled, alcoholic and world-weary roomer (played by I believe Michael Higgins) brilliantly emits a sense of impending doom and you can't take your eyes off him. He creates a sense of danger, and you hold your breath, hoping you are misreading him. Softly photographed, you can almost smell the magnolias. This film brings back the sense of community from a time when neighbors truly knew one another, shared lives and a rhythm of peaceful grace was the rule. This film is a gift from a man whom you may recall wrote "To Kill A Mockingbird", "Tender Mercies" and "Trip to Bountiful", among other works. It is a treasure to cherish from a family which has contributed much to American literature. This certainly is worth getting on DVD as it will only become more interesting with age and you will want to share it with grandchildren as they get to an age where they can comprehend the real message this film contains.
	Somewhere in Time - Collector's Edition
	"The Romance of What Might Have Been...."	2004-06-06
"Somewhere In Time" does not boast great acting, particularly from Mr. Reeve, but what it does do is remind us of our losses and how they can tug at your heart throughout your life. This film is about love - and not especially just romantic love. We all would like to have 5" with someone we have lost, to tell them how much we love them. We would like that chance to go back and perhaps do or say things differently. This surely must exist in a small place in the corner of all our hearts, and this film finds that corner. I would like to have seen someone more convincing in the lead role, but Reeve does his best and Seymour is the epitome' of beautiful femininity, as always. It is visually and musically lush (a more romantic soundtrack could not have been found). It is also nice to see Christopher Plummer and Teresa Wright in supporting roles. If you are a romantic, this film will haunt you - and remind you of the best part of your lost love....
	Somewhere in Time
	"The Romance of What Might Have Been...."	2004-06-06
"Somewhere In Time" does not boast great acting, particularly from Mr. Reeve, but what it does do is remind us of our losses and how they can tug at your heart throughout your life. This film is about love - and not especially just romantic love. We all would like to have 5" with someone we have lost, to tell them how much we love them. We would like that chance to go back and perhaps do or say things differently. This surely must exist in a small place in the corner of all our hearts, and this film finds that corner. I would like to have seen someone more convincing in the lead role, but Reeve does his best and Seymour is the epitome' of beautiful femininity, as always. It is visually and musically lush (a more romantic soundtrack could not have been found). It is also nice to see Christopher Plummer and Teresa Wright in supporting roles. If you are a romantic, this film will haunt you - and remind you of the best part of your lost love....
	On Valentine's Day
	"A Gift from A Literary Family"	2004-06-06
A quiet little gem with building moments of intensity, "On Valentine's Day" is based on the life of the grandmother of Hallie Foote, daughter of Horton Foote. Hallie stars as her grandmother in this lovely film. Screenplay is by Horton Foote and is produced by Lillian Foote. A young couple marries against family wishes in 1917 Wharton Texas. They move to a boarding house, living with characters who gradually reveal their hearts(including a young Matthew Broderick). A shy, lonely and plain girl befriends the new bride and they soon share their joys, fears and the news that Hallie is pregnant. "Bobby", a troubled, alcoholic and world-weary roomer (played by I believe Michael Higgins) brilliantly emits a sense of impending doom and you can't take your eyes off him. He creates a sense of danger, and you hold your breath, hoping you are misreading him. Softly photographed, you can almost smell the magnolias. This film brings back the sense of community from a time when neighbors truly knew one another, shared lives and a rhythm of peaceful grace was the rule. This film is a gift from a man whom you may recall wrote "To Kill A Mockingbird", "Tender Mercies" and "Trip to Bountiful", among other works. It is a treasure to cherish from a family which has contributed much to American literature. This certainly is worth getting on DVD as it will only become more interesting with age and you will want to share it with grandchildren as they get to an age where they can comprehend the real message this film contains.
	A Free Soul
	""A Free Soul""	2004-03-06
The cast alone makes this a great film to own - with Lionel Barrymore before he had to succumb to a wheelchair, Clark Gable, Norma Shearer and a small part by up-and-coming Leslie Howard. Classic story of good and evil, but who cares who wins when you get to watch talent like this when it is still young and fresh.