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Wild America (Snap Case) (1997) Review

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(More customer reviews)I think the title kind of explains it all really. Three guys going off into the wild of America, on a mission to find a cave filled with a thousand bears, although being told that they sleep alone, the boys don't believe anyone, find the cave, and have loads of adventures along the way!! Jonathan Taylor Thomas played a great part in this movie and he really narrated it well too! As I live in the UK, I was lucky enough to see it while I was in America, I'd always liked Jonathan and Devon's films, and this was another one I HAD TO HAVE!!! I would also say that this is a great film for all the family, only recently has it been released in the UK, but I bought it in America, luckily I have an international VCR. This film is way cool. I would really reccommend it.

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Based on the true story of the daredevil Stouffer brothers, "Wild America."DVD Features:Production NotesTheatrical Trailer

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My Dog Skip (2000) Review

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(More customer reviews)I didn't watch the movie in the theater because I figured that it's one of those children movies and I probably won't enjoy it. After reading about three reviews on Amazon.com and the good reviews from the viewers (dog lovers) out there, I had to give it a try.
My wife and myself watched the movie with our two dogs sitting next to us. We love our dogs but I wanted to watch the movie not because of the story of a boy and his dog (I could have watched "Ben") but because I wanted to see this touching story and the relationship one has with their pets, that's what I was interested in.
After we were done watching, we were both in tears. I looked at my two dogs and it reminded me of how much these pets are a part of our lives. The storyline of a kid who is bullied and how his dog helps him through his young life and eventually gains friends to the last 15 minutes which will nearly shatter your heart. An emotional roller coaster this movie turned out to be.
Ok...as for the DVD, the audio is mostly dialogue but the rear speakers are used pretty well.Especially during the baseball game. The video is clear and the colors are good.As for the special features, you get two feature-length audio commentaries. One with Frankie Muniz and animal trainer Mathilde DeCagney and the other with director Jay Russell. It was cool to see the deleted scenes and part of me wishes they left it in and I wish the director elaborated why he removed them from the movie. And of course, the ever loveable trailer and scene selections which I don't count as special features (all DVD's should have those).
All in all, "My Dog Skip" is a wonderful movie. I recommend this movie to all dog lovers. Those who dislike canines or any pets would probably not watch this movie anyway... Highly recommended for the dog loving fans out there and remember to have the tissue box nearby.

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Running on Empty (1988) Review

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(More customer reviews)I recently watched this film again, as I do periodically, and thought I'd comment. Several reviewers have pointed out that although the film is uniformly excellent, the DVD presentation is lacking, and I am of mixed feelings on that point. While it's true that the DVD doesn't offer more than the film, it's a film of such understated perfection and poignant brilliance that I wonder if we have the right to demand more. Sure, a director's or screenwriter's commentary track, or even a quick comparison of this to Lumet's earlier and similarly-themed Daniel, would be nice, but sometimes a movie is so good it doesn't need help.
I saw this movie on HBO as a kid, probably soon after it came out. I feel certain that I must have seen it several times, but although I vaguely recalled liking it immensely, I went for some years without thinking of it much. Then I went on a huge Sidney Lumet kick in 1997/1998 (owing to his compelling appearance on Inside the Actor's Studio and his intriguing book) and rediscovered this. To my utter astonishment, I began to see that the film had transformed me when I saw it as a kid, and it would be months before I unraveled all its subconscious shaping of my pysche.
This is a gorgeous, unflinching and aching film about tough choices and living with consequences, and I'm glad to say that despite numerous opportunities, it never once sinks into the chasm of Hollywoodisms that have capsized most films that even attempt something like this. It manages constantly to be honest and to present the gray areas of its characters, rather than letting them fit into simple archetypes of hero/protagonist, etc. I like that, because I don't find it helpful to understand the world in black and white, and clearly Lumet doesn't either. Even the most villainous character is given the opportunity to express his point of view, and although I don't sympathize with it, I at least understand it.
In short, there are really only a small handful of 'family' dramas that I would argue are completely genuine, and this is in that august company. (Ordinary People is the only other that leaps to mind at this moment.) It is a rare accomplishment indeed, and everyone in it is at least superb, with a couple of performances managing to go even beyond (Lahti's multiple, and heart-wrenching, inner conflicts toward the end are all clear without being tediously overacted -- an amazing feat, while Phoenix's Danny captures not only the torment of his character that's in the script, but the added burden of being a 17-year-old boy in general).
So would it be nice if they gave this the Special Edition treatment? Of course, and I'll replace my copy if they decide to. But is the lack of special features an excuse for not owning this? An unequivocal no. That's like declining to purchase an original Michaelangelo because the frame isn't perfect.

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Two fugitive radicals must face the painful consequences of their teenage son striking out on his own. Year: 1988 Director: Sidney Lumet Starring: Christine Lahti, River Phoenix, Judd Hirsch, Martha Plimpton

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The Outsiders (1983) Review

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(More customer reviews)Coppola's original version was quite faithful to Hinton's book and this new edit is even more so. He has put back in 22 more minutes, most noticeably at the beginning and end of the movie. This new footage opens up the film more. We are introduced to the greasers much earlier on now that Coppola isn't reigned in by the dictates of test screenings. He is able to take the time to immerse the audience in this richly textured world shot in glorious widescreen by Stephen Burum who adopts a look that evokes another epic about troubled youth, Rebel Without A Cause (1955). The film is drenched in the golden hues of warm sunrises and sunsets like something right out of Gone with the Wind (1939).
Another significant change has Coppola replacing all of his father's beautiful, classical score in favour of period rock `n' roll music. In some cases, like the opening scene where Ponyboy is jumped by some Socs, it works and in others, like the whimsical surf music that plays over the scene where the Socs jump Johnny and Ponyboy, it feels awkward and out of place. Part of the film's original charm was its moments of `50s style melodrama, as epitomized by the film's orchestral soundtrack, and this diminished by the newly inserted period music that could be right out of an episode of Crime Story. Hinton's books are timeless with their universal themes and the original music reflected that. This new music, while accurate for its time period, contributes to a loss of some of the timeless feel.
On the first DVD is an audio commentary with director Francis Ford Coppola. He addresses the changes in the soundtrack by saying that after all these years he wanted to move away from a score that commented on what was happening to music that the characters would actually be listening to. The filmmaker delivers another top notch commentary full of smart observations and talks at length about why he prefers this cut.
There is an additional commentary featuring Diane Lane, Ralph Macchio, Patrick Swayze, C. Thomas Howell, Rob Lowe and Matt Dillon. Coppola invited all of them back to see this new cut of the film with Lowe and Dillon recorded separately. This is an entertaining track that fans will love. It's great to hear these actors talk about this movie after all these years.
The second disc kicks things off with a retrospective look at the movie, entitled, "Stay Gold: A Look Back at The Outsiders." In a nice touch, we see Lane, Macchio, Swayze and Howell being reunited with Coppola at his ranch where they recorded their commentary. This is an excellent look at the movie with all kinds of good, on set footage.
"S.E. Hinton on Location in Tulsa" features the publicity-shy author revisiting the locations that Coppola used in the movie, including the drive-in which still exists. She talks about how Coppola worked closely with her on the set to make sure that the script was true to her book.
"The Casting of The Outsiders" has casting director now producer Fred Roos take us through the casting process with audition footage from back in the day. People like Kate Capshaw and Adam Baldwin tried out for the film. Anthony Michael Hall even read for the role of Ponyboy!
A nice addition is "Readings," with some of the cast who came back for these featurettes reading their character descriptions from Hinton's novel.
"NBC News Today Segment: The Outsiders Started by School Petition." This is a new story done during the film's original release about how a class of California school kids wrote a letter to Coppola asking him to make Hinton's book into a movie.
There are six "Additional Scenes" with more footage from the opening that is even more faithful to the book but the rest of the scenes amount to extensions of existing ones.
Finally, there is a theatrical trailer.

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Deuces Wild (2002) Review

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(More customer reviews)I was looking forward to seeing this movie because of its all-star cast, but I was disappointed by the film's poor writing. The storyline was extremely cliched and predictable, as was the dialogue. It seems like the writer of Deuces Wild took every greaser movie cliche you've ever seen and rolled it into one script.
On top of that, the attempts at New York accents were not very accurate.
Renfro and Balk are the film's one bright spot, their characters seem to have a little more depth than the others, and they have good on-screen chemistry. Renfro is believable and sweet as a well-meaning guy who is torn between loyalty to his brother (who is leader of the neighborhood gang) and asserting his independence by courting the girl he loves (who just so happens to be the sister of the gang's rival)
Balk is charming as a sensitive girl pretending to be a "tough city chick" meanwhile she is watching city life destroy her family and all she wants to do is escape.
It is a shame that this big name cast didn't get a better script and a more original storyline to work with.

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The Power of One (1992) Review

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(More customer reviews)is the topic of Bryce Courtenay's novel of the same name. The DVD does credence to his excellent (5 star!) book. Virtually unknown to the viewing audience thanks to release errors made when the movie came out in 1992, the story provides a showcase
for the acting talents of Stephen Dorff - then a virtual unknown, today one of our strongest young character actors; he stars as Peekay, a young English orphan torn by the promise of an easier future outside of his native South Africa and his love for all things and most people of his land. He is drawn by his past and the lessons learned from a series of wise mentors, who see in him the promise and hope of a better future for South Africa. Color blind, he grows up speaking many tribal languages, and is foreign only to the politically powerful movement that created the system of Apartheid in South Africa.
Power of One was recommended to me by a dear friend, who said the movie inspired him in many ways. He was so right. The music, a mixture of soaring melodies and tribal songs, inspires on its own. The scenic beauty of the land of South Africa, from the grasslands to the waterfalls is breathtakingly portrayed on film and captured with true artistry in the DVD.
There are many fine supporting players in this tale, some famous, some unknown. Like most tales of heroes and leaders, they shine for awhile in the tale of the child, the adolescent and then the young man Peekay (kudos to the casting director for the two youngsters who play Peekay in his early years; they light up the screen!) and each one's sun sets as Peekay lives through the losses and tragedies that form the backdrop for most heroes.
Really a fine tale - a little long in the last hour, some gratuitous violence - a story of the African struggle that few of us know was taking place while the world watched the Nazis.
If you see the Power of One, and are moved by the story, be sure to read Courtenay's novel. Both are outstanding!

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The Power of One is an intriguing story of a young English boy named P.K. and his passion for changing the world. Growing up he suffered as the only English boy in an Afrikaans school. Soon orphaned, he was placed in the care of a German national named Professor von Vollensteen (a.k.a. "Doc"), a friend of his grandfather. Doc develops P.K.'s piano talent and P.K. becomes "assistant gardener" in Doc's cactus garden. It is not long after WWII begins that Doc is placed in prison for failure to register with the English government as a foreigner. P.K. makes frequent visits and meets Geel Piet, an inmate, who teaches him to box. Geel Piet spreads the myth of the Rainmaker, the one who brings peace to all of the tribes. P.K. is cast in the light of this myth. After the war P.K. attends an English private school where he continues to box. He meets a young girl, Maria, with whom he falls in love. Her father, Professor Daniel Marais, is a leader of the Nationalist Party of South Africa. The two fight to teach the natives English as P.K.'s popularity grows via the myth. Maria is killed. P.K. looses focus until he sees the success of his language school among the tribes. He and Guideon Duma continue the work in hopes of building a better future for Africa.

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The Kite Runner (2007) Review

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(More customer reviews)Khaled Hosseini's THE KITE RUNNER was one of those first novels that captured both public interest and the hearts of the many who read this story of childhood unconditional love and redemption set against three stormy decades in Afghanistan. Though Hosseini was approached about the story's adaptation to the screen soon after the novel was published, there seems to have been a rush to get the visual form of the poetic novel before the audience, a journey besieged by unsuspected political intervention and criticism by the Afghan government. But after seeing the film, this intrigue heightens the intent of those involved in translating the book to film - writer David Benioff and director Marc Forster.
People may argue both sides of whether or not the dialog be in Afghan languages (Dari, Pashtu,Urdu) with English subtitles or be in English throughout: the choice of using both languages is severely hampered by the decision to place the Afghan translations in an overlay on the screen while the English subtitles are place off the viewing field. A small point, perhaps, but one that makes the first viewing of the film difficult to follow visually. As far as the actors are concerned, the two young lads who were chosen to portray Amir (Zekeria Ebrahimi) and Hassan (Ahmad Khan Mahmidzada) are perfect: closest of friends living in a household where one (Amir) is the son of the master of the house and the other (Hassan) is the son of the grounds and house keeper - a factor that serves to underline class differences that will later become increasingly poignant. The boys are inseparable, reading stories together and flying kites in competitions - each lad specializing in one of those pastimes. But disaster crumbles the boys' victory in the kite flying contest when Hassan is beaten and raped by the town bullies while Amir cowardly runs for safety, deserting his friend. Suddenly the Russians invade and that change factors into the need for Amir and his father to move to America where Amir is educated and becomes a writer. Twenty years pass. After the fall of Afghanistan to the Russians and subsequently to the Taliban, Amir (now actor Khalid Abdalla) receives a telephone plea from Hassan's father to return to Kabul. Amir, now married and a successful writer, feels the need to return to amend for his past omission as well as to assuage Amir's fears. When he arrives in Kabul he encounters a war torn country he no longer recognizes, discovers past secrets as to his and Hassan's true identities, and sets out on a journey to bring closure to a childhood love and promise. It is a touching tale of redemption and the strongest echo of the magic of the novel.
THE KITE RUNNER as both novel and film will appeal to all audiences sensitive to scars that wars leave on children and adults alike. For this viewer the film lacks the intensity of the book in that the time spent with the childhood of the two boys feels secondary to the personal journey of the adult Amir. But that is not to say the film is less powerful in the end: the story is one that leaves an imprint on the audience that last long past the ending credits. Grady Harp, March 08

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Amir is a young Afghani from a well-to-do Kabul family; his best friend Hassan is the son of a family servant. Together the two boys form a bond of friendship that breaks tragically on one fateful day, when Amir fails to save his friend from brutal neighborhood bullies. Amir and Hassan become separated, and as first the Soviets and then the Taliban seize control of Afghanistan, Amir and his father escape to the United States to pursue a new life. Years later, Amir – now an accomplished author living in San Francisco – is called back to Kabul to right the wrongs he and his father committed years ago.

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Europa Europa (1990) Review

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(More customer reviews)This is one of the best films in the genre--historial film from autobiography. Marco Hofschneider brings to brilliant life the story of Salamon Perel, a German Jew. From the days of Kristallnacht--the Night of Broken Glass, when Jewish businesses were trashed and vandalized throughout Germany, to his final reunification with his brother--to poignant to say more about this here...this is a cinematic masterpiece.
I've seen few films that capture the turmoil of adolescent identity and identification so well. True, the Nazi era is the backdrop, but the themes couldn't be more universal. In that respect, it is also more relevant today, in 2004, than during the 1980s, when it was filmed--especially in America, where the American identity has been deconstructed so as to be hardly palpable. Also, it is equally relevant in Europe, where national distinctions could meld into a Confederacy if not a Union of some power.
Politics aside, this is an intensely personal film, one where the unquestioned identity of youth (German) falls victim to oncoming War and cruel happenstance. Perel must continually revise his vision OF himself and FOR himself, and at one point wishes for nothing more than to be an Nazi, for a beautiful young German girl becomes enfatuated with him. How did he end up in this position, wearing the uniform of the Hitler Youth at an Elite boarding school in Berlin? Or lose his virginity to a high-ranking female Party member while he is escorted by train from the Eastern Front to Berlin, as a Folk Hero (Volksdeutscher Held). Perhaps you think it unimaginable. I do not.
I've seen places in German where the remnants of Jewish culture and tradition are clear as day--such as a former High School for Jews in Berlin--with Hebrew and German inscribed clearly in the stones.
No, though Germany seems to some a heartless pillar of unemotionality, efficiency, heartlessness, the German characters in Europa, Europa are as human as those found anywhere. They fall victim to their personal aspirations, desire to please, deceitfulness, betrayal...simply put, human.
Although current fashion is to think of the period as one of the "banality of evil" (attributed to Hannah Arendt, Holocaust scholar), this film exposes the period as one more of human triumph and tragedy, and that, while we grow into adulthood, our personal identity is as much at the mercy of the passage of time and events as a unique, solitary construction.
See this film! It will draw you into the themes of Life, Love, and Redemption, and be over leaving you desperate for more.

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This "incredible, true story" (Los Angeles Times) is at once "eye-opening, harrowing and humorous" (Leonard Maltin) as it recounts the severe actions a young boy must take in order to survive the Holocaust. Based on the autobiography of Solomon Perel, a young German Jew, the film "bounds from one jaw-dropping episode to the next" (The New Yorker) and puts you in the middle of war-torn Europe where ingenuity, timing and luck are the key to survival.Separated from his family at the age of thirteen, Solly (Marco Hofschneider) takes on various identities to hide his Jewishheritage. First passing himself off as an orphan and later as one of the "Hitler Youth," Solly carries on his charade, hoping desperately to keep his identity hidden and make it through the war alive.

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City of God (2002) Review

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(More customer reviews)"City of God" ("Cidade de Deus") is the story of a boy, but also the story of a "favela" (Portuguese word with similar meaning to slum or shantytown) on the outskirts of Rio de Janeiro. That shantytown is called "Cidade de Deus". Throughout this extraordinary movie both the boy and the favela grow, albeit obviously in very different ways :)
The boy is Rocket (Buscapé in Portuguese, played by Alexandre Rodrigues), who is born in Cidade de Deus and grows up before our eyes living in it. He is quiet and easygoing, just a non-violent person seeking a way to survive in a brutal environment. Rocket ends up doing exactly that through his passion, photography, that ends up making him an intermediary between the local gangs and the press. He is also the narrator of this movie, the voice that accompanies us throughout many of the stories that "City of God" has to offer...
The other main character of "City of God" is the "city" itself, that starts merely as a couple of houses, but that grows immensely as years go by. The activities in which its inhabitants are involved also change, from petty robbery to organized crime that involves drug dealing and arms trafficking. We see Li'l Zé (Zé Pequeno in Portuguese, played by Leandro Frimino), one of the boys that used to play soccer with Rocket, grow up to become a murderer and a drug lord, someone that makes his own laws. The same happened with others, but Li'l Zé probably represents to most dangerous kind of sociopath that the favela can produce. Rocket and Li'l Zé, same circumstances, different persons, different choices. Who says that where you lives determinates how you are and what you do?. This is an excellent example that that is not always the case...
Directors Fernando Meirelles and Kátia Lund somehow managed to convey in their movie the full strenght of the novel (written by Paulo Lins) on which "City of God" is based. This film is full of colour and energy, carrying the spectator at a dizzying pace through the twenty years it covers, never giving him time to get bored. It is wortwhile to point out that most of the "actors" didn't have any real experience as such, they just happened to live in different slums of Rio de Janeiro (including Cidade de Deus) at the time when the film was being made. I think that is something that shows in the realism of the results...
On the whole, I can say that I loved "City of God", notwithstanding the fact that it is undeniably bloody and has some very violent scenes. In my opinion, they are not gratuitous, because they help the directors to capture what may really happen in a Brazilian shantytown, and show it to us. All in all, this movie is nothing short of an experience worth having and sharing. If you watch "City of God" and love it as much as I do, do your part and recommend it to others :)
Belen Alcat

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Celebrated with worldwide acclaim, this powerful true story of crime and redemption has won numerous prestigious awards around the globe! The streets of the world's most notorious slum, Rio de Janeiro's "City of God," are a place where combat photographers fear to tread, police rarely go, and residents are lucky if they live to the age of 20. In the midst of the oppressive crime and violence, a frail and scared young boy will grow up to discover that he can view the harsh realities of his surroundings with a different eye: the eye of an artist. In the face of impossible odds, his brave ambition to become a professional photographer becomes a window into his world ... and ultimately his way out!

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Stephen King's It (1990) Review

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(More customer reviews)This movie rules! I'm a huge fan of the book, and I can say that the movie really does it justice. The whole story involves a group of kids, all "losers", drawn together by a supernatural force to confront an ancient evil that takes the form of a malignant clown.
Tim Curry was, I think, born to play Pennywise the Clown. Sadistic, waddling freak with his doughy, grinning white face, red wet lips stetched as wide as his ears. In his clown form, he is able to charm the younger kinds, but he becomes the fears of the older ones, taking them down into his sewer dungeon to feed on them. The kids that finally beat the monster, Big Bill and Haystack and Bev and the rest of the Loser's Club, manage to force It back into It's lair, not dead, but nearly mortally wounded....
Driven by a feeding cycle, It rises again decades later, and the Loser's Club, now forgotten in adulthood, is drawn back together to face the monster one final time. This was originally made-for-television, so the movie is only capable of so much, but I think that fact alone gives the movie special merit. The casting was pretty much dead-on (especially in the case of Pennywise) and the special effects were surprisingly good. Probably the fact that the film makers were incapable of going the hack-and-slash rated-R route helped to improve the suspense and the atmosphere. The book was great, and the movie was great. I would recommend them both. I think that the humble perfection of a classic good versus evil story can sometimes be overlooked. The purity of a tale in which you can easily lose yourself. And that's just what It is. Two big thumbs up from me.

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Based on the King Of Horror's 1986 Best Seller, "It" is a jittery, jolting excursion into personal fear. "It" raises goosebumps-and brings out the stars. Harry Anderson, Dennis Christopher, Annette O'Toole, Tim Reid, John Ritter, Tim Curry and Richard Thomas star in this thriller about a malevolent force in a small New England town.

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The War Zone (1999) Review

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(More customer reviews)THE WAR ZONE (****) BY ROGER EBERT It must have been somethinglike this in medieval times, families living in isolation, cut off from neighbors, forced indoors by the weather, their animal and sexual functions not always shielded from view. Tim Roth's "The War Zone," brilliant and heartbreaking, takes place in the present but is timeless; most particularly it is cut off from the fix-it culture of psychobabble, which defines all the politically correct ways to consider incest. The movie is not about incest as an issue, but about incest as a blow to the heart and the soul--a real event, here, now, in a family that seems close and happy. Not a topic on a talk show. The movie takes place in winter in Devon, which is wet and gray, the sky squeezing joy out of the day. The family has moved from London "to make a fresh start," the mother says. They live in a comfortable cottage, warm and sheltered, life revolving around the big kitchen table. Mum (Tilda Swinton) is very pregnant. Dad (Ray Winstone) is bluff and cheery, extroverted, a good guy. Tom (Freddie Cunliffe) is a 15-year-old, silent and sad because he misses his friends in London. Jessie (Lara Belmont) is 18 years old, ripe with beauty. This looks like a cheerful story. Roth tells it obliquely, sensitive to the ways families keep secrets even from themselves. Early in the film the mother's time comes and the whole family rushes to the hospital; there's a car crash, but a happy ending, as they gather in the maternity ward with the newcomer, all of them cut and bruised, but survivors. Back at home, there is a comfort with the physical side of life. Mum nurses her child, in kitchen scenes like renaissance paintings. Tom is comfortable with his sister's casual nudity while they have a heart-to-heart talk. Mum helps wash her men at the kitchen sink, Jessie dries her brother's hair in the laundry room, the family seems comfortable with one another. Then Tom glimpses a disturbing part of a moment between his father and his sister. He challenges Jessie. She says nothing happened. Something did happen, and more will happen, including a scene of graphic hurtfulness. But this isn't a case of Tom discovering incest in his family and blowing the whistle. It's much more complicated. How does he feel about his sister, and about her relationship with her new boyfriend Nick? What about his father's eerie split personality, able to deny his behavior and see Tom's interference as an assault on their happy family? What about the mother's willingness not to know? What about his sister's denial? Does it spring from shame, fear or a desire to shield Tom and her mother from the knowledge? ... The movie's refusal to declare exactly what the London episode means is admirable, because this is not a zero-sum accounting of good and evil, but a messy, elusive, painfully complex tragedy in which no one is driven by just one motive. When Tom is accused of destroying the family and having a filthy mind, there is a sense in which he accepts this analysis. One critic of the film wrote that a "teenage boy (from the big city, no less) would surely be more savvy--no matter how distraught--about the workings and potential resolutions of such a situation."... Incest is not unfamiliar as a subject for movies, but most incest stories are about characters simplified into monsters and victims... The father here is both better and worse because of his own probably traumatic childhood. He must long ago have often promised himself that he would be different than his own father, that he would be a good dad--loving, kind, warm, cheerful--and so he is, all except for when he is not. When he's accused of evil, he explodes in anger--the anger of the father he is now and also the anger of the child he once was. For a moment his son is, in a sense, the abuser, making Dad feel guilty and shameful just as his own father must have, and tearing down all his efforts to be better, to be different.
Unsurprisingly, "The War Zone" affects viewers much more powerfully than a simple morality tale might. It is not simply about the evil of incest, but about its dynamic, about the way it does play upon guilt and shame, and address old and secret wounds. The critic James Berardinelli says that when he saw the movie at the Toronto Film Festival, a viewer ran from the theater saying he couldn't take it anymore and went looking to pull a fire alarm. Roth was standing near the exit and intercepted him, becoming confessor for an emotional outpouring that the movie had inspired. Roth is one of the best actors now working, and with this movie he reveals himself as a director of surprising gifts. I cannot imagine "The War Zone" being better directed by anyone else, even though Ingmar Bergman and Ken Loach come to mind. Roth and his actors, and Stuart's screenplay, understand these people and their situation down to the final nuance, and are willing to let silence, timing and visuals reveal what dialogue would cheapen. Not many movies bring you to a dead halt of sorrow and empathy. This one does. END

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The War (1994) Review

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(More customer reviews)I went into this thinking it would be a fairly lighthearted view of one family's troubles living in 1970 Mississippi. After one viewing, I was shocked. Shocked enough to end up watching it three times in two days.
Are people really so mean to one another? Adults will stand by while a child gets beaten by a gang? People will purposefully ram other cars when they break down in the road? Children will fight and do life-threatening dares for property? You bet. This reality was what made this movie so compelling and unique in a world of bland, "let's not be controversial" movies.
It isn't perfect, by any means. It's too long, has too many sub-stories to successfully complete them all, and is downright cheesy at times. But in terms of acting, Costner combines the haunted vet and nuturing father together believeably, and all the children are well done (there are some great faces, really interesting to look at). The most interesting relationship was between the three girls: a relationship which succesfully merged race, strength, loyalty, and good old fashioned girliness. Elijah Wood also has some truly great moments.
The children's war was horrifying, and by far the best part of the movie. I couldn't look at the screen the first time I watched it because it was so disturbing (not because it's violent, but because it's kids who obviously don't realize the seriousness of the situation). It's a really good piece of work, transitioning from innocent to vicious so smoothly the viewers don't consciously realize there was even a shift. Very very well done.
The thing I like about The War is that I still find myself thinking about it weeks later. Not so much about war itself, but about children and growing up, and losing the things you love. Only good movies make you do that.

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It was a different time…and a different pace. Elijah Wood and Kevin Costner star in a rich feast for the senses from the director of Fried Green Tomatoes. This heartwarming film tells the tale of a close-knit family and their remarkable Mississippi summer of 1970. With the help of their friends, Stu (Wood) and Lidia Simmons (Lexi Randall) are determined to build the ultimate treehouse, a place of wonder and magic. Their father Stephen (Costner), a newly returned Vietnam vet, has equally high hopes to rebuild his life and fulfill his family's dreams.Co-starring Mare Winningham, The War will captivate all who fall under its spell. It's a film rich with humor, nostalgia and mesmerizing performances. It is, in the words of the National News Syndicate, "a must-see movie."

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