Showing posts with label burlesque movie. Show all posts
Showing posts with label burlesque movie. Show all posts

One Touch of Venus (1948)

One Touch of VenusAfter being married to Jennifer Jones (who is/was my particular 1940's screen love goddess), Robert Walker stars opposite a very erotic Ava Gardner, described by film critics in "The Naked Contessa" (1954) as, "...the most beautiful woman in the world", so she was aptly cast to play Venus, the goddess of love, in this 1948 production.

Robert Walker plays Eddie Hatch a lowly paid window dresser at the store owned by Whitfield Savory II (played by Tom Conway a relative of the suave George Sanders).Eddie is instructed to ensure that the curtain will not snag at the forthcoming unveiling ceremony of the recently acquired statue of Venus.When finished, he impulsively (he's finished the boss' drink) kisses the statue which promptly comes to life!! Eddie is to marry Gloria (Olga San Juan), who rather irritatingly, keeps reminding him they are to marry each other.They have drifted into their relationship and marriage just seems the next logical move but who said love is logical!! However, Eddie's friend Joe, (Dick Haymes), is secretly in love with Gloria himself but he doesn't know it.Whitfield Savory II is likewise ignorant of his subconcious love for his efficient secretary, Molly Stewart, played by Eve Arden in one of her typical wise-cracking, comic roles; (see her as Mildred Pierce's efficient manager in the Oscar winning film of the same name (1945) opposite Joan Crawford.

I was mesmerized by Ava Gardner as she spreads her instinctive love to bring all these true lovers together, while working her magic on Eddie himself who is soon in love with her.She seems reluctant to return to Mount Olympus as she is having so much fun here on Earth.She loves helping people but when her task is over, Jupiter, the head of The Gods, (who communicates by thunderflashes), summons her back to Mount Olympus.Reluctantly her effigy returns as a statue at the store, much to the relief of the Whitfield Savory II who thought Eddie had stolen the statue whilst she is in her live alter-ego on Earth.This sub-plot gives rise to some comic Keystone Cops type chases especially when Venus comically turns one of the "gumshoes" into an owl, albeit temporarily as she loves everyone really!.Molly believes Eddie is innocent good for her I say!

Watch out for Sara Algood who plays Eddie's landlady, (see her in previous roles as Mrs Beth Morgan in "How Green Was My Valley (1941) and as Mrs Maile in "Cluny Brown" (1946).The lovely song "Speak Low" is sung by Dick Haymes miming to his own recording while Ava effectivly mimes to another well matched singer's voice.Another song about men, sung in the ladies dressing room as a trio, featuring Ava, Olga & Eve.

The audience feels strong sympathy for Eddie and he is finally given his divine award (including a modest pay rise) when a very beautiful new store recruit called "Venus Jones" (Ava),appears in normal human form to him there.We have to assume this will eventually become another love match engineered by Mount Olympus!

I found this film hugely enjoyable as I love classic 1940's films having made them something of a speciality.It has fewer of the songs than in the original Broadway musical but this seems to fit the plot.It is a difficult title to find on video.I obtained mine by winning an e-Bay auction after searching on Robert Walker.

This 1948 comedy was adapted from a Broadway musical that starred Mary Martin and featured a score by Kurt Weill. Sadly, the music, except for three songs, has been cut from the movie.

The film, directed by William A. Seiter, is reminiscent of TOPPER, HERE COMES MR. JORDAN and other like fantasy-comedies that were popular with movie audiences during the 1930s and 40s.

[During the 1960s, TV shows like BEWITCHED and I DREAM OF JEANNIE filled this void.]

Robert Walker stars as a shy window dresser for a big department store, who impulsively kisses the store's invaluable statue of the Greek goddess, Venus. A moment later, the statue, played by Ava Gardner, has come to life and Walker faints on the spot.

Upon awakening, poor Robert discovers that he's in very big trouble. He's being pursued by the cops for stealing the statute and, if that isn't bad enough, it appears that Venus won't return to her pedestal because she has fallen in love with him. Even worse, his jealous girl friend (Olga San Juan) is convinced that he's been unfaithful.

Dick Haymes, Eve Arden and Tom Conway co-star in what is still a clever, if somewhat silly, romp that should entertain the entire family.

© Michael B. Druxman

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I'm not as well spoken as the previous reviewers, still, I grew up with this movie and watched it every time I saw it listed on TV. In fact, I'm always looking for a black and white copy I can afford to buy. It is just one of my favorite all time movies. I love the characters and most of the actors Eve Arden being my favorite by far and Ava looking so gorgeous, as well as Walker looking so vulnerable, confused and frustrated. It's a fun time 90 minutes or so of losing yourself in a far out comedic love story. I enjoyed the music and I'm one who tires of musicals after awhile this one did not bore me. Dick Haymes' singing is a joy. I recommend it highly to anyone even the more serious curmudgeons who feel they might not like it.

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This adaptation by director William A Seiter of the musical with music by Kurt Weill and lyrics by S J Perelman and Ogden Nash is generally considered a bowlderisation, with songs cut and Mary Martin's stage performance lost in favour of the usual Broadway to Hollywood compromises. However there can be no doubt that casting beautiful Ava Gardner as Venus, the goddess of love, is apt. Here Gardner is more playful than usual, and even making her chase a reluctant Robert Walker can be forgiven. Although it is thought that great beauties are all the more desirable when passive rather than active, Walker not realising Gardner's worth is true to the slapstick comedy tone. The idea of Gardner as a marble statue on display in the art gallery of a department store, brought to life by window dresser Walker's drunken kiss at midnight during a lightning storm, introduces the unrealistic romantic narrative, with songs that appear without the musical genre strictly being adhered to. If I am happy to not have I'm a Stranger Here Myself from the stage show, it's because I don't like the song anyway, and even when Speak Low is presented unsatisfactorily and that Gardner is dubbed whilst singing it, cannot detract from it being one of the loveliest melodies Kurt Weill ever composed. I like how it is used as a siren song, where Seiter intercuts between Gardner and Walker, and Dick Haymes and Olga San Juan, with Gardner and Haymes both singing to departed lovers in a duet. As the only one of the cast who appears able to sing, Haymes also gets the bulk of My Foolish Heart, even if given new lyrics and a generally unappealing romantic partner in San Juan. The other song to survive is That's Him, where Eve Arden gets to join in as Gardner is dressed. Arden talks most of her lyrics but still it's nice to see her in this context, in addition to the barbs she delivers as comic relief otherwise, thanks to the screenplay by Frank Tashlin and Harry Kurnitz. I also liked Walker's line re San Juan "She's so terribly one track minded. Even when we have dinner together she eats rice", and there is a lowbrow moment when James Flavin as a detective is turned into a human owl by Gardner. If the others running around tend to become tiresome, there is still Gardner, looking ravishing in black late in the proceedings, and given a gorgeous closeup. And Seiter adds a sweet conclusion.

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ONE TOUCH OF VENUS is a musical comedy/fantasy about a window dresser named Eddie who kisses a statue of the goddess that then comes to life in the exquisite form of Ava Gardner. Venus falls in love with him; matters are further complicated when Eddie's boss is smitten by her loveliness.

The 1951 version of SHOW BOAT is another stage-to-screen musical that features Miss Gardner.

Parenthetical number prior to title is a 1 to 10 viewer poll rating found at a film research website.

(6.5) One Touch of Venus (1948) Robert Walker/Ava Gardner/Dick Haymes/Eve Arden/Olga San Juan/Tom Conway (uncredited: Arthur O'Connell)

"ONE TOUCH" TRIVIA--

Mary Martin was Venus on Broadway. Elia Kazan directed this S.J. Perelman play.

Mary Pickford bought the screen rights, intending to bring the original cast to the screen. Later plans included Miss Martin, Frank Sinatra, Clifton Webb and Bert Lahr, but when Mary became pregnant, Pickford sold the rights to UNIVERSAL and the movie was entirely recast. Plans to shoot in Technicolor were also abandoned.

The Venus statue of Ava Gardner originally depicted her in the nude; the studio demanded (and got) a more modest version.

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America Lost and Found: The BBS Story (Head / Easy Rider / Five Easy Pieces / Drive, He Said / The

America Lost and Found: The BBS Story[Blu-ray]The film opens with Nicholson in a tight shot talking to someone. We aren't sure at first to whom he's talking or why. From that opening scene I was hooked. Nicholson is a radio personality (David) who one day gets a phone call from his brother Jason (Bruce Dern) who is in jail. Jason is basically a big-time loser who has been trying all his life to make something big happen. His latest scheme is to encourage his brother to join him and his female companions (played by Ellyn Burstyn and Julia Anne Robinson) in Atlantic City while contemplating the purchase of an island near Hawaii. Many strange events happen along the way, not the least of which finds the two women competing for Jason's affection. A very strange scene occurs involving a fire on the beach. Without giving too much away, I will say that this is a turning point that has tremendous impact later in the story. So few films today have even slightly interesting characters. These characters are so vivid and interesting that you can't help but be intrigued, wondering what's going to happen next. Each scene seems to have no rhyme or reason, until finally the pieces fall into place. When the pieces do come together, you realize that you've witnessed something very unique, original, and haunting.

The four leading actors are all at the top of their form. I have never seen Nicholson timid, unsure, or at a loss for words before. Dern is hopelessly reckless. Robinson is an innocent in an evil environment. Burstyn is perfect as the key to the whole story, which is one that I'll never forget. You'll think about this quiet little film long after the credits are over.

Since I am mostly commenting on the "HEAD" portion of this set, I should include that already having "Five Easy Pieces" in a restored version on DVD and "Easy Rider" has been reissued numerous times with not much bonus material here, this print of "HEAD" is from the original 35mm negative! Where-as the awful DVD release from Rhino, who lies in a leader frame that the Full Frame format is how the film was meant to be seen! I beg to differ and bow to Criterion for releasing this incredible movie in glorious widescreen and in a true 5.1! Don't worry, those purist that still listen through a Stereo Reciever (because MOST humans only have 2 ears),like myself..the stereo seperation will blow you away, especially if you have the inferior RHINO release, you need not do a side by side comparison! Not only are the songs in true stereo but the entire soundtrack through-out the entire movie. Including the closing credits (Known on the Colgems soundtrack as "PLus Strings") by Ken Thorne. Which also gives RHINO another bad mark. In October, RHINO released a "HEAD Deluxe CD boxset" and list the "Plus Strings as "stereo" and they are most certainly not, yet Criterion goes the extra mile and finds true masters to all the Stereo songs plus Ken thorne's excellent incidental music! "Porpoise Song" has the nice deep low ends and crystal clear highs. Special credit with the live "Circle Sky" and "As We Go Along" where the vocals were burried on the RHINO release. Not so on this print. You feel as if the movie were filmed yesterday! Not bad for a 42 year old film! The colors are vibrant and the print is so sharp you may want to keep your hands away from the screen! Criterion deserves an award for thier excellence!

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I hadn't heard about this collection until i ran a search for Head on Blu Ray here at Amazon. At first I was ecstatic that it was on Blu Ray but dismayed that it was only available as part of a collection. When I saw the other films included coupled with the price being right i decided to buy it. I have now watched all the films and wasn't disappointed. Criterion does an excellent job with the HD transfers and the extras on each film.

Head was a lost gem I first saw on the CBS Late Movie in the early 1970s. To understand it, it helps to have some background about the Monkees and the myths surrounding them, as well as their desire to be taken seriously as a 1960s rock group. I already owned the Rhino DVD version, which professed that the 1:33 to 1 aspect ratio was original intended version. Nothing could be further from the truth; here it is presented in its original 1:78 to 1 aspect ratio (16:9 in the parlance of our times). The extras are very informative as is the commentary by Michael Nesmith, Peter Tork, Davy Jones and Micky Dolenz. Finally, an honorable version of this wonderful cult film!

I have seen Easy Rider several times over the years; the last time I saw it was a DVD presentation and I found it to be somewhat dated. However, due to the excellent HD transfer I was less focused on the lingo of the day and more on Laszlo Kovac's excellent cinematography. It's amazing how great the film looks with a proper transfer and it gave me a greatly renewed interest. Again, the extras are top-notch and very informative. It's equally impressive how much "bang for the buck" BBS got from all their films.

Five Easy Pieces was another film I already owned on DVD but again, this version looks wonderful.

The Last Picture Show is one of my favorite 1970s films and I never owned it before now. Again, the extras are excellent and the transfer is impeccable.

I had never seen the remaining films. A Safe Place and Drive, He Said were my least favorites though they are certainly interesting curious from the era. Sometimes films like these require repeated viewings to be fully appreciated though the acting in each were superb and both were original and imaginative. The King of Marvin Gardens was excellent and I'm surprised it didn't do well in its theatrical release years ago. Still, Criterion gave all the Class A treatment with high quality HD transfers and informative, interesting extras.

Criterion must be commended for their great efforts on this set. It's well worth purchasing and will provide several hours of viewing pleasure.

Read Best Reviews of America Lost and Found: The BBS Story (Head / Easy Rider / Five Easy Pieces / Drive, He Said / The Here

With so many surprising and great releases, I've come to take Criterion for granted. But then comes the announcement of "America Lost and Found: The BBS Story" and I'm like an excited kid on Christmas morning. Amazon has done a comprehensive job listing the contents of this impressive set, so I'm going to direct my comments at the eclectic mix of films provided. The BBS story is no less than a film revolution that occurred in the late sixties to try to foster younger artists to the industry and cultivate younger, more adventurous film goers. All films within "America Lost and Found" were produced between 1968 and 1972 and represent a challenge to the conventional film narrative of that period. In retrospect, some of the films have been proclaimed classics while others have become somewhat obsolete. But all are fascinating examples of an artistic rebellion that influenced the film industry for years to come (all the more astounding as much of the company's financing came from the funds generated by the Monkees).

My personal favorite within "America Lost and Found" is Peter Bogdanovich's "The Last Picture Show" which has been begging for a better DVD release. An evocative look at a dying small town, this gorgeous black and white film is supremely entertaining and boasts a spectacular cast. Desolate and spare, the film tells the story of Sonny and Duane who as they approach manhood must face the harsh realities of life, love, and friendship. Nominated for eight Oscars including Best Picture, the film won supporting statuettes for Ben Johnson (a career high) and Cloris Leachman. Jeff Bridges and Ellen Burstyn also received nods as did Bogdanovich for Directing and Screenplay (which he co-wrote with the incredible Larry McMurtry).

Two other undeniable classics in counterculture are Dennis Hopper's "Easy Rider" and Bob Rafelson's "Five Easy Pieces." "Easy Rider" picked up two Oscar nods (including Jack Nicholson's first) and tells the simple story of two motorcyclists' journey across America. Capturing a specific time so perfectly, the film seems to embrace the anti-establishment freedom of its leads (Hopper and Peter Fonda) while making the compelling argument that ultimate freedom is an illusion and that choosing to challenge societal norms thus becomes the norm. And "Five Easy Pieces," another of my all time favorites, was nominated for 4 Oscars (including Jack Nicholson and Karen Black). Another journey picture (both in physical travels as well as in the spiritual/psychological realm), Rafelson's landmark has one of Nicholson's most iconic performances in a film that is immensely angry and riotously funny by turn. The chicken salad sandwich scene is an undisputed classic in American cinema!

Bob Rafelson's well regarded "The King of Marvin Gardens" is also included. An underrated gem set in Atlantic City, this tale of brotherhood and dreaming big casts a realistic light on a get-rich-quick scam gone wrong. Nicholson and Burstyn are on hand, as is Bruce Dern--and this compelling quasi-masterpiece shows the three on disparate (and times desperate) paths toward redemption. Rafelson also supplies this collection with the bizarre "Head," a meandering and psychedelic excursion into the minds of The Monkees. With a documentary feel, the film follows The Monkees on numerous and random musical encounters and celebrates their celebrity while at the same time seeming to indict the culture who embraces such excesses. Jack Nicholson makes his directorial debut on the uneven "Drive, He Said"--noteworthy mostly for the Nicholson credit. Depicting the college experience in the sixties, "Drive" tells the story of a disaffected basketball player. Introducing many plot threads, the film fails to follow an effective through line and is a fairly disjointed (though interesting) effort. And lastly there is Henry Jaglom's "A Safe Place," another oddity of interior monologue with Tuesday Weld descending into a world of fantasy.

Many of the films in "America Lost and Found" share a thematic connection. The films eschew conventional plot driven narratives in favor of character study. These directors wanted to present a realistic portrait of the era in which they lived and not an idealized film world. And many of the central characters in all the works are seeking to identify their place in the modern world or, indeed, determine if they have a place at all. The BBC story, through film, is an intriguing and progressive one in that it functioned in the studio system. Independent cinema of today still reflects many of the same ideals. A must have collection for film lovers. KGHarris, 10/10.

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For anyone who loves New Hollywood cinema that kicked off in the late 1960s and ran through most of the 1970s as documented in Peter Biskind's book Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock 'N' Roll Generation Saved Hollywood, this new box set from the Criterion Collection is essential. The extras for this set are something else and will keep you busy for countless hours.

On the Head DVD is an audio commentary by The Monkees Micky Dolenz, Davy Jones, Michael Nesmith, Peter Tork. Rather appropriately, they talk about how they got their own television show and then the film. They are all pretty candid about how badly the film performed at the time and how it was their attempt to trash the image of the band from the show.

"From The Monkees to Head" is an interview with director Bob Rafelson. He talks about the genesis of the T.V. show and how The Beatles influenced it with A Hard Day's Night. He goes on to talk about how the show led to the film and how everyone around him told him not to make it.

"BBS: A Time for Change" is a 30-minute featurette on BBS, an independent production company that existed from the late 1960s to the early 1970s. This is an excellent look at the genesis of this company and its place in cinematic history.

There are screen tests for all four Monkees that were done before the T.V. show. They were integrated into the pilot episode and helped launch the show. Their personalities really come out in this footage. We also see two of The Monkees paired up with two other guys that never made the final cut.

"The Monkees on The Hy Lit Show, 1968" is a rare T.V. appearance by the band to promote Head. It takes place next to a boxing ring (?!) and it is interesting to see them try and explain their film.

"Promotion" includes several theatrical trailers, T.V spots and radio spots for the film. Also included is a collection of stills and behind-the-scenes photographs.

On the Easy Rider disc, there is an audio commentary by co-writer and director Dennis Hopper that was recorded in 2009. He kicks things off by talking about the genesis of the film. He also talks about his motivation for making the film and what he was trying to say with it. He points out bits of dialogue and visual inserts that were improvised. There are several lulls throughout as Hopper tends to get caught up in watching the film.

Also included is a 1995 commentary by Hopper, Peter Fonda and production manager Paul Lewis. This is a much livelier track as everyone shares filming anecdotes like Phil Spector lending his limousine and bodyguard to the film. They also point out where various scenes were shot and how also just how stoned Jack Nicholson was during the famous campfire sequence.

There are two trailers.

The second disc starts off with a 30-minute BBC2 documentary entitled, "Born to be Wild". It features Hopper, Fonda, Karen Black and cinematographer Laszlo Kovacs. Hopper and Fonda talk briefly about how Roger Corman taught them to make a film fast and cheap. Of course, they address the casting of Nicholson and how Hopper didn't see him in the role. Everyone tells some good filming anecdotes in this highly enjoyable extra.

Carried over from the 35th Anniversary Edition is "Easy Rider: Shaking the Cage," an hour-long retrospective documentary featuring new interviews with Fonda, Hopper, Seymour Cassel (who worked on the crew) and Black. Hopper says that the film was an attempt to counter the mainstream fluff like the Frankie and Annette beach party movies that ignored sex, drugs and contemporary rock `n' roll. This is a top-notch look at all the wild stories of filming Easy Rider, including the infamous Mardi Gras shoot.

"Hopper and Fonda at Cannes" features a segment from French T.V. of Fonda and Hopper at the 1969 Cannes Film Festival with their film and they briefly talk about it.

Finally, there is an interview with Steve Blauner, one of the founders of BBS. He talks about the genesis of the company and about their start in T.V., creating The Monkees. He points out that the money from the show paid for Easy Rider.

If you own the Easy Rider (35th Anniversary Deluxe Edition) of the film you might want to hold on to as the commentary that Hopper does on it is not included, nor is the excellent BFI Modern Classics book on Easy Rider by Lee Hill or the bonus CD with select songs from the film.

The Five Easy Pieces disc starts off with an audio commentary by director Bob Rafelson and interior designer Toby Rafelson. Toby points out that the entire film was shot on practical locations. Originally, she didn't want to do the film but Bob convinced her when he told that he was going to use their own furniture (!). By keeping it under budget and on time, he had final cut and could also cast whomever he wanted. Naturally, Bob talks about working with Nicholson on this engaging track.

"Soul Searching in Five Easy Pieces" features an interview with Rafelson where he talks about the film's development. He was nervous about doing Five Easy Pieces because it was the first time he worked with actual, serious actors. He had written two screenplays but didn't like them. He showed them to screenwriter Carol Eastman and she threw them out and wrote her own.

"BBStory" is a 2009, 46-minute documentary about BBS Productions and features the likes of Rafelson, Peter Bogdanovich, Jack Nicholson, Karen Black, and several others. It starts off with the social and political conditions that gave birth to the company. The studio system was collapsing and BBS made films that reflected the times that people were living in.

"Bob Rafelson at AFI" features excerpts from an audio recording of Rafelson speaking at the American Film Institute. He talks about his career and the films he made for BBS.

Finally, there are two teaser trailers and one full-length trailer.

Drive, He Said starts off with "A Cautionary Tale of Campus Revolution and Sexual Freedom," a featurette where Jack Nicholson, Bruce Dern and co-producer Harry Gittes talk about making this film. It was about college campus revolution and at one point during filming a real riot broke out on the campus they were at. They went ahead and filmed it without permission. Nicholson talks about shooting the basketball sequences and how he cast actual players.

Also included is a trailer.

A Safe Place includes an audio commentary by director Henry Jaglom. He points out that the film was originally a play starring Karen Black. By adapting it into a film he wanted to make it more abstract, exploring the internal nature of Tuesday Weld's character. Jaglom is quite eloquent and engaging on this track.

"Henry Jaglom Finds A Safe Place" sees the filmmaker talking about the influence of improvisational theater and the New Wave of European cinema. He was interested in creating stories about the inner lives of women.

"Notes on the New York Film Festival" sees Jaglom and Peter Bogdanovich talk with film critic Molly Haskell about The Last Picture Show and A Safe Place in 1971. It's great to see them all in their prime talking so confidently about their work. The two directors banter playfully with each other in this enjoyable extra.

Also included are outtakes of Orson Welles blowing his lines and four screen tests.

There is a trailer as well.

The Last Picture Show includes an audio commentary by Peter Bogdanovich and actors Cybill Shepherd, Randy Quaid, Cloris Leachman and Frank Marshall. The director explains why he shot the film in black and white and says that the town was divided about them filming there. He goes into the casting choices with some interesting stories. Shepherd says that she never acted before doing that film and gives her impressions of working on it as do the other participants.

Bogdanovich returns for another commentary, this time by himself. There is some overlap from the previous track making it kind of redundant. Not surprisingly, he dwells on the nuts and bolts of filmmaking and discusses its themes.

Also included are two trailers.

The second disc includes "The Last Picture Show: A Look Back," an hour-long documentary made in 1999 with most of the key cast members and Bogdanovich and author Larry McMurtry recalling their experiences of making the film. It takes us through the genesis and filming to its reception. There is a fair amount of crossover of information from the commentaries but if you're not into listening to commentaries then this is for you.

"A Discussion with Filmmaker Peter Bogdanovich" sees him talking about how he got into show business, what directors influenced him and, of course, The Last Picture Show.

"Picture This" is a documentary about Bogdanovich and key cast members reunited to make the sequel, Texasville while also talking about their experiences making the original film. It also paints a fascinating portrait of the people that lived in the town.

Also included are 16mm screen tests of several actors in the film.

There is location footage that Bogdanovich shot while scouting places to shoot for the film.

"Truffaut on the New Hollywood" features filmmaker Francois Truffaut talking briefly about the New Hollywood directors in 1972 on French T.V. He also offers high praise for The Last Picture Show.

For The King of Marvin Gardens, there is a selected-scene commentary by Bob Rafelson. He talks about some of the stylistic choices he made. After Five Easy Pieces, he wanted to make a more abstract film. He talks about the film's style and comments on the characters.

"Reflections of a Philosopher King" sees Rafelson and actress Elle Burstyn talking about the characters in the film and how they came to be and evolved over the course of filming.

"Afterthoughts" features Rafelson, cinematographer Laszlo Kovacs and actor Bruce Dern talking about the style of the film and how it was achieved and why. There is some overlap from the previous extras but Dern and Kovacs' comments are quite good and funny as hell.

"About Bob Rafelson" is brief text biography of the man's career.

Finally, there is a trailer.

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Nothing in Common (1986)

Nothing in CommonThis is one of my most treasured films of all time and I can't understand why it receives so little attention. This is the story of an immature but successful bachelor whose world is disrupted when he gets an unexpected call from his estranged father, telling him his mother left him. Tom Hanks gives one of his BEST performances (comedically AND dramatically) as the carefree fellow who is forced to get to know his parents all over again while supporting them emotionally.

While many label this a comedy--and it IS pretty funny-I find it one of the most heartfelt and touching films ever thanks to a brilliant director, soppy but appropriate music, and an extraordinary cast. There've been so many films made concerning father-son relationships but if you're looking for the most genuinely realistic one, this is it. The final line of dialogue spoken by father to son ("You're the last person on earth I would've ever expected to come through for me") never fails to choke me up.

This is one of Tom Hanks' (and director Garry Marshall's) best films, yet it has received little publicity.

Among Hanks' fans I know who have seen this film, all hold it in very high regard. It's classic Tom Hanks funny and serious at the same time. As it's promoters said, "It's a comedy and a drama, just like life." You will surely love it.

Jackie Gleason, Eva Marie Saint, Hector Elizondo, and the rest of the cast do wonderful jobs.

I only wish it was on DVD, but hopefully in time it will be.

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I've watched this movie dozens of times, and was overjoyed to find it on DVD at last. This was (I believe) The Great One Jackie Gleason's final screen performance, and it showed the way of the future for Tom Hanks. Sela Ward also appears as a love interest, along with Hector Elizondo as his boss, and Eva Marie Saint as Hanks' mom.

The only thing that gets on my nerves just a little is the soundtrack. I think it's Christopher Cross, surely one of the most annoying alleged musicians ever to hit the big time.

The transfer to disk is good. The cast is excellent. The plot makes sense, and the script is near perfect. The story is about the relationship between Tom Hanks' character, David Basner, and his father, Max Basner. Its a wonder that anyone comes out right as an adult, and Hanks had no idea how screwed up his childhood had been until the night his father told him his mother had split. And soon thereafter his secretary gave him a message that his mother had called, and added "I had no idea you had parents."

Wonderful. Buy it, enjoy it.

Read Best Reviews of Nothing in Common (1986) Here

This is the first movie where Tom Hanks really began to show his depth. It was a film that required him to open with the comedic chops he's honed so well but then, because of the deepening of the film's story from comedy to drama, requested so much more of him. He ultimately delivers in spades.

This is really a story about a son moving very fast in the fast lane of advertising. He's a pro and he loves what he does. He's also a personality that lives on charm and in the moment. But when his parents separate after years of marriage, his life changes rapidly from no personal responsibilities to a multitude of them. It's also begs a question that rarely gets told wellhow do sons and daughters deal with parents as life turns the tables and we suddenly start having to deal with listening to and taking care of them? The changing of roles and responsibilities. As the film unfolds, it presents those concerns with proper weight, depth, sadness, growth and understanding.

Gary Marshall directed the film prior to his mega hit with Pretty Woman but I really think this is the better film of the two. He draws the best from Jackie Gleason, Eva Marie Saint and Beth Armstrong and Hector Alonzoeach lending a real ensemble cast feeling to the piece and although Tom Hanks shinesso do they.

Jackie Gleason deserves special mention because he really plays a rather hard, sad man at the end of the road as a clothing salesman, and he digs deep, never lending anything false to how this man thinks, feels and operates. The exchanges between him and Hanks about how he was raised lend a real truth to the role.

If you're looking for a film that has some humor and some depth of feeling in the same breath, this is an interesting evening's viewing.

An underrated film that deserves a second look and a larger audience.

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I found Nothing in Common to have all the attributes of a wonderful film. From its soundtrack to its cast. The subject, a selfish advertising executive, thinks only of himself, but finally learns that family is important, and old friends are the best.

It is my most favourite Tom Hanks movie.

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Glory (Mastered in 4K) (Single-Disc Blu-ray + Ultra Violet Digital Copy) (1989)

Glory This review refers to the Columbia Tristar 1/98 release of the DVD edition of "Glory"....

There are many glowing reviews of "Glory" to be found here. I feel the same way about this wonderful film, and after touching on the story I would like to talk about this DVD release(see above) which is an outstanding quality and excellent value.

"Glory" is an exceptional film. A true story of the Civil War that is both touching and inspirational. It depicts the story of the first black unit from the North to be trained and actually go into battle. Led by their very empathetic but very young Colonel(played brillantly by Matthew Broderick), the 54th Regiment endures many hardships felt not only by being soldiers of this devastating war but as African Americans as well.Their spirit, pride and tears along the way, is projected in this film by these wonderful actors in a way that will make you feel all the anguish and pride that they felt.

The cast includes Morgan Freeman as the Sergeant who is the motivating force behind the soldiers. His performance is stirring. Denzel Washington, awarded Best Supporting Actor by Oscar for his role as the runaway slave looking for a home will move you to tears(or at least put a lump in your throat, which remains throughout), and Andre Braugher's smile and tenacity will grab you and keep you.The cinematography and sound(both also honored by Oscar) are exquisite.Beautifully directed by Edward Zwick it is a war story that is more than action, it is one you won't soon forget.

Often, the different DVD editions wind up on the same product page. You may have found yourself on the page of the "Special Edition" of Glory. That is the 2 disc edition with lots of special features. If these are important to you in a DVD than that is the one you should probably go with. However, if you really love this film, but don't want to spend as much for all the extras, this edition is identified by ASIN:0800177967. It is half the price of the "Special Edition",and is a beautiful transfer as well.You have the choice of viewing it in the original widescreen(1.85:1) or a full screen version. The picture is beautiful, sharp, crisp and clean. Colors spectacular. Depending on your set up the sound options are 5.1(Digital Dolby) or 2-channel surround.I watched it in the 5.1 and was very impressed. All the sounds of the Civil War were clear and distinct. The music wonderful. It may be viewed in Spanish or French and has subtitles in English, Spanish and French also.

Whatever edition you choose, this a a film that is a beautiful addition to your DVD collection.It is one that will be watched again and again. Thank you and enjoy.....Laurie

I first saw this film right after its release on video nearly 16 years ago, and I can say in all honesty that it changed my life. Having grown up with an interest in Civil War history, this film made me realise just how little I actually knew of the period beyond what most people learn in school about this era of American History. So as the credits rolled, I wrote down the names of the books quoted, sought them out at the library, and it wasn't long before I began to realise that this would beg some further research. Taking the bibliography of one of the sources for this film, "One Gallant Rush" by Peter Burchard, I did my utmost to find and read as many of his sources as I could possibly get my hands on.

The result of this research has been that now I wish that the film had been truer to the actual story of what really happened. There are some obviously glaring historical inaccuracies in the film, but if you don't know the actual story as intimately as I do, it does little to detract from the fact that this is a superb film that brought to light one of the less known and more obscure aspects of Civil War history, that blacks fought in rather large numbers for the Union Army and were instrumental in turning the tide in favour of the Union in the war. In the end, nearly 200,000 blacks would fight in blue under the auspices of the United States Bureau of Coloured Troops. The 54th would keep its state regimental designation, but all the rest of the black troops were part of the USCT, the United States Coloured Troops.

Had the filmmakers stuck more rigourously to the actual history of the 54th Massachusetts, it would have been far more dramatic than what the film suggests. The 54th did not spend Christmas 1862 in camp; in point of fact, that regiment hadn't even been raised by that point. Robert Gould Shaw was still very much with the 2nd Massachusetts at that point, the regiment that he belonged to at the time that he was offered command of the 54th, by his father, in proxy for Governor Andrew, who came to visit him in winter camp in Virginia. Shaw at first refused, because he'd fought and bled beside his brethren of the 2nd and felt a strong bond with these men after what they had been through Antietam, Cedar Mountain, Winchester. Shaw had been twice wounded in these engagements, though not badly. He did not wish to leave this regiment and command a coloured troop. He also fought his own personal prejudices over the idea of the Union raising black troops. After some deep thought for a few days, he changed his mind, however, and decided to take this enormous risk of his military career.

The 54th was not made up of escaped slaves as was portrayed in the film. The character of Corporal Thomas Searles (Andre Braugher) is closer to the kind of man who would have fought in the 54th educated, free, literate. Men in this regiment came from as far away as Canada to enlist in the 54th. In fact, the town that sent the single largest number of men to the 54th was not one in Massachusetts, but then considered radical Oberlin, Ohio. John Mercer Langston, whose famous descendent would be the black poet Langston Hughes, recruited for the 54th Massachusetts in Ohio and was responsible for Oberlin sending so many free black men to fight in that regiment. It might have been interesting to show the variety of free black men who volunteered to fight in this regiment and the kinds of professions that they left behind, from farmer to cabinet maker to sailor to teamster and beyond. However, I suppose having characters who were escaped slaves such as Jupiter Sharts (Jihmi Kennedy), Trip (Denzel Washington) and John Rawlins (Morgan Freeman) and contrasting them with Searles made for an interesting story.

The real Robert Gould Shaw was a far more complicated character than the one that Matthew Broderick brought to the screen. I must commend his portrayal, though. He has generally made a reputation for playing either light comic or wise-ass characters, and he showed remarkable depth and pathos in playing this vaguely tragic character. His soulful eyes regularly reflected the horrors of war and he seemed to have that same haunted, far away look that photographs of the real Robert Gould Shaw seem to have, as if all along he knew that he would not survive the war to come home to his loved ones. His uncanny resemblance to the real Shaw also helped and I have to wonder if he was drafted to play the part after the director saw the pictures of the real Shaw or whether he decided to play that part himself as a break from his usual comic work. Either way, I commend his performance and wonder why he hasn't done other dramatic work in the same vein as this film.

This film is a fitting tribute to both the reluctant hero Robert Gould Shaw and to the brave black men who fought under him, fighting prejudice and skepticism with bravery and honour. It is a good thing that this film was made and that this story was resurrected from certain obscurity. It is my hope that history classes in schools are now showing this lesser known side of Civil War history and that not all blacks were slaves awaiting liberation by the Union with 40 acres and a mule. This film, as I mentioned at the beginning of the review, changed my life, and it is my hope that it will change others as well. It is a powerful story well acted by the entire cast with a five hankie ending that will leave a real lump in your throat. If you aren't crying by the time the film closes, you are far harder hearted than I am. I highly recommend seeing this film. It is one I never tire of seeing over and over again.

And just to end this review, I will add some recommended reading if you are interested in following up on this film once you've seen it and want to know more. "Blue Eyed Child of Fortune", ed. by Russell Duncan, is a collection of Colonel Shaw's letters home to loved ones. A fascinating read, to hear Shaw speak with his own voice on his Civil War experiences with both the 2nd Massachusetts and the 54th Massachusetts regiments. Follow that up with Duncan's biography of Shaw, "Where Death and Glory Meet". You might also want to read the book that partly inspired the film, Peter Burchard's "One Gallant Rush". If you want to hear the voices of Shaw's soldiers, read Capt. Luis F. Emilio's regimental memoir of the 54th, "A Brave Black Regiment". A young seaman from New Bedford, Massachusetts, Cpl. James Henry Gooding wrote letters that became the book, "On the Altar of Freedom". He fought in Company C of the 54th, was gravely wounded at the Battle of Olustee, Florida, was captured by the Confederacy, sent to Andersonville, where he died of his wounds. Sgt. George E. Stephens of Company B wrote letters that became the book, "A Voice of Thunder". Stephens would end his war as a 1st Lieutenant, an officer in the 54th. "A Grand Army of Black Men" contains some letters from members of the 54th as well. All of these books are highly recommended reading if you want to get to know the members of this historic regiment through hearing their own voices speak of their experiences.

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Here's one of those rare movies that succeeds as both a sweeping, visually sumptuous historical epic AND an intimate, character-driven personal drama. This fact-based account of the first black regiment to fight for the Union in the Civil War is filled with scenes of grand pageantry: the bloody battle at Antietam Creek; the first assembly of the 54th Regiment; the proud parade of the finally-trained and uniformed soldiers; the climactic attack on Fort Wagner. And yet despite these heart-pounding, majestic sequences, the film at no time loses its focus on the individual characters whose stories provide an emotional connection to the action. The performances of the once-in-a-lifetime cast are uniformly superb: Matthew Broderick, Morgan Freeman, and Andre Braugher are all at the top of their game, and Denzel Washington (who deservedly won the Supporting Actor Oscar) is amazing, especially in the scene in which he undergoes a bitterly harsh punishment. The dozens of emotions that flicker across Washington's face in that sequence, wordlessly conveying his character's essence, represent a powerful economy of acting that is rarely achieved in any medium.

Happily, the DVD transfer of this cinematic masterpiece is exceptional. The Oscar-winning Cinematography and Sound are beautifully showcased, putting the viewer right in the middle of the story. (You'll understand Francis Scott Key's line about "the rockets' red glare" on a level you never before imagined!) And James Horner's soaring, elegant musical score is a revelation. This absorbing film makes for a phenomenal DVD experience!

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BLU-RAY UPDATE: My original review was based on the first, single-disc DVD edition of "Glory". At the time, I lamented the lack of special bonus features that I felt would have enhanced viewers' understanding and enjoyment of the film. A few years later, a 2 Disc DVD of the film was released, which contained a wealth of bonus materials. I upgraded, and was very happy with the 2 disc edition.

I recently upgraded again, to the 2009 Sony Blu-Ray release, and am happy to report that the film looks and sounds better than ever. Comparing it to the previous Laser-Disc and DVD editions, I can honestly say that the Blu-Ray package is worth the additional expense, if you're as big a fan of the movie as I am. Several of the bonus features from the 2-Disc Special Edition DVD have been retained, and there's also an impressive Virtual Civil War Interactive Battlefield Map exclusive to the Blu-Ray. Very highly recommended!

Read Best Reviews of Glory (Mastered in 4K) (Single-Disc Blu-ray + Ultra Violet Digital Copy) (1989) Here

That line, uttered by an obscure character, a white Union soldier watching the Massachusetts 54th Infantry prepare to assault a heavily-fortified Confederate fort, signifies the acceptance of the Union Army's first all-black regiment. GLORY, director Edward Zwick's Civil War masterpiece, shows us the evolution of the 54th, from a ragtag group of former slaves and freemen--a group under supplied, underpaid, and initially used for manual labor and looting--to an efficient fighting machine.

Like many other reviewers, I was pleasantly surprised by Matthew Broderick's portrayal as Colonel Robert Gould Shaw, the young, idealistic leader of the 54th. Broderick gives this character depth, compassion, credibility, and yes, maturity. And what else can be said about the supporting cast, including Denzel Washington, Morgan Freeman, and Cary Elwes, other than "exceptional?"

GLORY is profound entertainment: gripping, violent, raw, and emotional as the fragile subject of race--of racism--is brought to the forefront. It is a story that is as timeless as it is transcendent.

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In 1989, "GLORY" would become an important movie that introduced many Americans unfamiliar to Civil War history but most of all, to show viewers the impact African Americans had in the role of fighting for the Union.

The film would focus on Col. Robert Gould Shaw, the letters he sent to his family and him leading a group of African American men who volunteered to fight against the Confederate Army. This group is known as the 54th Massachusetts Volunteer Infantry. The film is also adapted from Lincoln Kirstein's book "Lay this Laurel" and Peter Burchard's book "One Gallant Rush".

"GLORY" was directed by Edward Zwick ("DEFIANCE", "Blood Diamond", "The Last Samurai" and "The Siege"), screenplay by Kevin Jarre ("The Mummy"and "Rambo: First Blood Part II"), music by James Horner "Enemy at the Gates", "A Beautiful Mind" and "Troy") and cinematography by Freddie Francis ("Dune", "Clara's Heart" and "Cape Fear").

The film would star major talents Matthew Broderick ("WarGames", "Ferris Bueller's Day Off", "Godzilla" and "Inspector Gadget"), Denzel Washington ("American Gangster", "Training Day", "Man on Fire" and "Remember the Titans"), Morgan Freeman ("The Dark Knight", "Wanted", "Million Dollar Baby" and "Deep Impact"), Cary Elwes ("The Princess Bride", "Twister", "Liar Liar" and "Days of Thunder") and Andre Braugher ("Fantastic Four: Rise of the Silver Surfer", "Poseidon", "Frequency" and "Primal Fear").

The film would receive five Academy Award nominations and win three for "Best Actor in a Supporting Role Denzel Washington", "Best Cinematography Freddie Francis" and "Best Sound Mixing".

"GLORY" is powerful!

VIDEO & AUDIO:

"GLORY" is presented on 1080p High Definition (aspect ratio of 1:85:1). The film manages to capture the haziness of war due to the smoke in the battlefield and the colors are not featured as vibrant as most of the settings are in blues and browns but you will see reds on the flag and the flares, amber colors from the gunfire and the greens of the grass and tress, but I believe that the limit of color was the Director Edward Zwick's purpose. Zwick is director that has made several films to capture the dreariness of war as he did nearly a decade later with "ENEMY AT THE GATES", he manages to capture the look of the battlefield in 1989 with "GLORY".

The film does have quite a bit of grain that comes clear due to its High Definition transfer but I would rather have grain than overly used digital noise reduction that would make the characters look waxy and the picture quality as soft. In fact, one thing you will notice with "GLORY" is you see quite a bit of detail of the actors, their surroundings but also objects such as shovels, rifles, clothing, etc. But overall, the picture quality is solid.

As for the audio, the film is featured in Dolby TrueHD 5.1 (also in French, Portuguese in Dolby True HD 5.1 and Spanish 5.1) and the lossless soundtrack manages to capture the many explosions on the battlefield. But what captures your attention when it comes to sound is James Horner's musical score. The music sets the tone of the film especially during the final battle. Dialogue is clear and very clean and many of the scenes during the battles where artillery, gun fire and people yelling (even those yelling from a far distance) can be heard. There were scenes that do utilize the rear channels effectively and I believe there were some scenes where explosions took advantage of some low frequency booms on the subwoofer. Overall, "GLORY" receives its best audio presentation compared to its original DVD counterpart.

As for subtitles, the film is presented in English, English SDH, French, Portuguese and Spanish.

SPECIAL FEATURES:

"GLORY" comes with the following special features:

* Audio Commentary by Director Edward Zwick Edward Zwick is known for his war films from "GLORY", "Enemy at the Gates" and "The Last Samurai" and one thing that I enjoy about his commentaries is that he really gets into the technical goals and explain the difficult scenes. "GLORY" features just that as he really goes into detail of the filming techniques used on the film. Such as trying to drown out the blue skies with smoke, working with the talent, the staff, James Horner for the music and tidbits such as not having enough money to hire more stuntmen, so the stuntmen trained the extras on several scenes. Also, how challenging it was for Morgan Freeman to have to run countless times especially uphill to having horses that were trained to fall. A very informative commentary.

* Virtual Battlefield Civil War Guide Map This was actually pretty good. By using your remote, you can learn about certain battles from the Civil War with photography and text information. But some have video commentary by Civil War historians which was quite informative.

* The Voices of Glory (11:16) This features letters from the Civil War written by actual soldiers of the 54th Massachusetts Volunteer Infantry and giving a voice to the men who fought in the various battles including the battle at Fort Wagner. Featured in Standard Definition.

* Documentary: The True Story of Glory Continues Narrated by Morgan Freeman (45:18) A documentary featuring the factual information of the soldiers that fought during the war and were members of the 54th Massachusetts Volunteer Infantry with additional detail on Col. Robert Gould Shaw. Also, the coverage on the Civil War re-enactments that are ongoing today and an actual re-burial of soldiers. A documentary that is very informative and you learn about other names that were instrumental during the battle against the Confederate Army at Fort Wagner. Featured in Standard Definition.

* Original Theatrical Making-of Featurette (7:35) Featured in Standard Definition, this is the original featurette with interviews with the talent and Director Edward Zwick. The featurette has a few behind-the-scenes footage from the film.

* Deleted Scenes with Optional Commentary There is commentary by Director Edward Zwick on two scenes. For The Applepicker (3:03), a scene which revolves around Pvt. Trip making his first kill. The second and final deleted scene is one that Zwick calls one of his worst and glad it was cut from the film. The scene is titled "Crisis of Conscience" (2:35) which is a scene involving both Col. Robert Gould Shaw (Matthew Broderick) and Major Cabot Forbes (Cary Elwes).

For those who owned the two-disc special edition DVD release of "GLORY", you may not want to ditch your DVD just yet as the "Picture-in-Picture Video Commentary featuring Ed Zwick, Morgan Freeman & Matthew Broderick" is not included on this Blu-ray disc. Nor are the scene selections on the Blu-ray sporting any motion.

JUDGMENT CALL:

"GLORY" is a powerful war film that shows an epic depiction of the battles that have taken place at that time. Powerful performances from Matthew Broderick, Morgan Freeman, Denzel Washington and Andre Braugher, I was in awe of how epicly enormous this film was from start to finish.

I really enjoyed "GLORY" for its storyline but also being educated about a part of Civil War that many people are probably not familiar with.

In fact, Director Edward Zwick talked about in the commentary of going to Harvard University and living in Boston and never knowing the significance of the Memorial to Robert Gould Shaw and the 54th Massachusetts Volunteer Infantry Regiment on the Boston Common. And how he felt that this film not only was a positive for the people who worked on the film, great for his career but mostly for how significant the film is used by teachers using "Glory" as a tool to teach about the Civil War.

The film definitely made me interested in learning more about the war but also key figures which include Colonel Shaw and American abolitionist Frederick Douglass. But the film also opened my eyes at the time of how soldier placement truly was. This is very interesting because these people stood probably less than a hundred yards from each other before they shot at each other. Where forts had the use of cannonballs and artillery for long distance destruction, foot soldiers were just really close to each other and had to constantly reload their rifles. And watching the final battle and in a way, oncoming military groups were like sitting ducks. The military tactics of the time made me realize why the Civil War had the most number of deaths compared to Americans killed in World War I, II, the Korean War and the Vietnam War combined.

Of course, the film and the actual history have some differences and its important to note that the only major character from the film's regiment that truly existed was Col. Robert Gould Shaw but the challenges that the 54th Massachusetts Volunteer Infantry faced during that time was quite real. The combat role that African-Americans played in Civil War very much real. The factual events, especially details that have come out right after the film was released is documented on "The True Story Continues" documentary which is included on the Blu-ray.

Again, for those who own the 2-disc DVD Special Edition released back in 2007 and wonder if its worth the double dip. For picture and audio quality, my answer is yes but I highly recommend not to get rid of the DVD as the "Picture-in-Picture Video Commentary featuring Ed Zwick, Morgan Freeman & Matthew Broderick" is not included on this Blu-ray release. Personally, I think people would have loved to hear insight from both Freeman and Broderick about working on this film. So, I'm a bit surprised it was not included on this Blu-ray release.

But nevertheless, "GLORY" is still a solid Blu-ray release. The HD transfer definitely gives the viewer more detail and makes the battlefield come alive. It's a powerful film and definitely worth owning and having in your Blu-ray collection.

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Big Mommas: Like Father, Like Son (2011)

Big Mommas: Like Father, Like SonWow..this is my very first review...and what can i say...I don't understand why this movie is recieving so many negative reactions and reviews. I thought it was very funny and just an enjoyable movie. I actually like this one better than Big Momma's House 2. Martin Lawrence and Brandon T. Jackson have great chemistry both on-screen and off-screen,they are both comedians so the jokes were on point.(my opinion). Brandon T. Jackson replaced Jascha Washington after he declined to reprise the role of Trent, which in this movie, due to the plot and his character having a leading role, he probably wasn't the best fit for the "new" Trent anyway as the storyline makes it out to be.(my opinion)

The plot: FBI agent Malcolm Turner(Martin Lawrence) and his 17-year old stepson Trent(Brandon T. Jackson) go undercover at an all-girls performing arts school after Trent witnesses a murder. Posing as Big Momma and Charmaine, they must find the murderer before he finds them.

The movie also stars Jessica Lucas(Haley),Portia Doubleday(Jasmine),and Faizon Love(Kurtis Kool).If you are a true Big Momma fan, you'll love this one!-----or maybe not, depending what YOU like.. Just give it a chance for once, I highly reccomend viewing this film if you love comedy!

Big Mommas House 1 was good. Big Mommas House 2 was much better. Big Mommas House: Like Father Like Son was better then the the first movie, but not as good as the second movie. I enjoyed this movie a lot. I wasn't crazy about the musical dances. I'm not crazy about musical movies. But I enjoyed it any ways.

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I am not sure why this movie is getting so many bad reviews.

What I Can Tell You: I have seen all the Big Momma Movies and still crack up when I see Martin Lawrence as Momma/Malcolm. Come on, too funny. Lawrence and Jackson are funny together. My favorite scenes were any that Jackson had to act like a chick with hot dorm girls walking around in towels. Classic comedy at its best. A dude in drag, done a hundred times, but still funny. Oh, and I have got to mention Momma does nude modeling. Hahahaha...hysterical.

Although I missed Nia Long, as Malcolm's girlfriend I thought as far as a third attempt goes, this was funny.

This is obviously not an Oscar worthy movie, but, if what you are looking for is a good time, a few laughs at hidden identity and some physical comedy, this is a good choice.

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I have the other two DVD's of Big Momma so I knew I had to have the 3rd DVD. This movie is funny just like the other two dvds. I always like a good laugh.

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Personally I preferred part 1 and 2 the best.

This 1 is lacking some of the humor and comedy of it.

It is a good film and well worth watching. But I suggest watching part 1 first if you have never seen it.

It was much Much Better.

I couldn't wait for this to be aired so I could watch it then When I seen it I was glad I never Spent extra on it.

All in all yes I am sure I will watch it again. But it is not as funny as 1 and 2

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