pixalstix

Loved this film. One of the best from the golden age of cinema (1970's). Robert Reford was as his peak. Faye Dunaway's best role since Thomas Crown Affair. Not to be missed for those fans of 70's cinema... Really touches on Big Brother and the threat that a secret government entity lived and breathed within the CIA. Robert Reford's character embodied the unsuspecting paranoia that characterized that time. A very non-Hollywood ending will surprise you. The cinematography was top-noch (Owen Roizman). Nothing has come close to this film. This film has intrigue, suspense, and above all a moral conscience. It presents the idea that what does our government do, and at what cost?

This show was too smart for it's own good. A detective show with a twist. Parker Stevenson is a scientist that solves mysteries by way of science. Created by Isaac Asimov, the show centers around eccentric scientist Austin James and his assistant Michelle Castle. Both are tasked with investigating mysteries that can only solved by deductive logic. Fortunate enough for Austin, he possesses the uncanny ability to solve crimes by science alone...I was sad when this show ended after one season. It was the thinking-mans detective/mystery show. Each episode centered around a crime that could only be solved by Austin and his side kick. The show was pre-CSI...

I remember this show when was around 12 years old. I loved the Screamin Mimi helicpoter and the robot that Murray created/manned. I also loved the characters of Nick and Cody. It was definitely on par with Magnum PI and Simon & Simon. Every week they would have a challenging case to solve, of course with the help of Murray and his robot. One of the first TV shows to include a robot/computers. Too bad it only lasted two seasons. I loved the premise of this show. The actors went on to other TV shows (Jake & the Fatman, Melrose Place, etc.) It's too bad Murray (Thom Bray) didn't have much of a career after the show ended, aside form the occasional movie of the week...

When I first saw this made for TV movie back in 86 I was chilled to my bones. In the vain of Helter Skelter, this TV movie ranks as one of the best of all time. If you can get it on DVD, Mark Harmon will chill you to the bone. The best thing about this movie was that it was told from the Detectives point of view. Spanning 4+ states, this movie was able to encompass the extensive manhunt that would eventually lead to Ted Bundy's capture. Them most compelling part about this Made for TV movie was the fact that he was able to continue his rampage for so long and it's all documented within this 3 night mini-series. Once again, Mark Harmon played the role of his career. Frederic Forrest and Ben Masters were so convincing as the detectives that finally brought Ted Bundy to justice.

This show followed up the great classic 70's detective show's: Barnaby Jones, Cannon, Banecek, McMillan and Wife, Mcloud, Starsky and Hutch, Ironside, Longstreet, and Columbo, and was equal on par in terms of quality. I used to watch this show every Sunday night with my family. CJ was hot, Murray was cool, and the Lts where always willing to help solve the crime. What better premise can you have than A millionaire Texan that has nothing better to do than solve crimes. I even remember the running "baddie" in a couple of episodes who was Houston's arch nemesis played bu Chuck Connors. And when Buddy Ebson joined the cast as uncle Floyd it added some credibility to the show.

Contmporary films pale by comparison. This film has no equal. A journey through the surreal life of 4 people caught up in a night of chaos. This film was so far ahead of its time. It's amazing how this film was made when it was made (1966). This film broke so many barriers in terms of what was to become the standard of non-traditional films but accepted and rated by the MPAA. A reflection of the seedy side of social interaction. One of the first films to show the traps of alcoholism, while at the same time examining the interpersonal relationships of people having to deal with the consequences of alcoholism.

Full of so many great scenes, this ranks as not only a classic of film history, but also a representation of the period it was made. Filled with so many classic and ground breaking scenes this film has to to be at the top of the list for any self-proclaimed film buff. The egg eating scene was so well created that it ranks as one of the most memorable scenes. The scene were Joy Harmon is washing her car has to be one of the most erotic, yet somewhat minimalistic (in terms of showing body parts) scenes in film history. And who can forget the famous line, "What we got here is a failure to communicate." Paul Newman's character was trying to come to terms with the institution of prison as a means to punish the lawbreaker, while he was also trying to understand the limits of punishment that man has to endure within the cofine of the penal institution.

Don't get me wrong, I like Pierce Brosnan, but if any film should not have been re-made it was this film. The thing that was so appealing about it was the lack of technology. This film survived solely on story alone. It wasn't really about how the heist went down, but how the heist wast was orchesrted. The sexual tension between the two leads was unparrelled. The cat and mouse game so paramount to the plot, how could you remake it without the same passion. The score as well as the songs deserved and won the Oscar. The limitations of the time (e.g. special FX) forced Norman Jewison to focus on characters, which made the film all that much enjoyable. If you want to experience the best heist movie, definitely view this one...

While I applaud Scorcese for his effort, Gangs of New York is one of his most forgettable films to date. Incoherent at best, the film seems to lack a clear line of events. This film has been so badly hacked (no doubt cut for length, if you believe the rumors that the original version was 4+ hours) that I would suggest waiting for the DVD, which will hopefully include all of missing pieces. I found myslef struggling to define the central meaning of the plot. Is it revenge? Honor? Survival? Is Amsterdam's stuggle within himself, his past, or his future? This film lacks what makes other Scorsese films so superior---a twisted heart. Usually his characters are so devious, so criminal, so complex, I was genuinely surprised to learn that the only thing complex about this film was the 19th century politics, which by the end of the film became downright boring. Who should I sympathize with: Amsterdam, Bill the Butcher, or just Scorcese himself? The one redeming quality was Daniel Day Lewis' portrayal of Bill the Butcher. His best role in years, worthly of a Best Supporting Oscar.