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Watch Video Here: http://www.amazon.co.uk/review/R25B4ZOL1714W9

This is one of my favourite movies of all time. I harass as many of my friends as possible into watching it (preferably with me so I can have my fix!).
Most American comedies rely on people doing silly/stupid things for their humour as opposed to being witty. 'As good as it gets' aims to address this in my opinion. Most of the humour comes from Jack Nicholson being the scathing, disinhibited (and hence) friendless Melvin.His OCD means he visits the same diner every morning for breakfast where Helen Hunt is a waitress. She is also the only person who will put up with him, always quite happy to tell him to watch it and/or shut it she is Melvin's secret love.
The robbery and assault of Melvin's neighbour serves as the catalyst for change in his life which includes trying to win Carol's affections with some funny faux pas as a result.

This is an utterly brilliant movie. The romance subtle as is some of the humour. There are many layers to what is happening making it more than just a romantic comedy. Defintely deserving of the oscars garnered.

Even if you don't like all the selections on here, if you like Evita, Phantom or Sunset Boulevard, it's worth it.

Antonio Banderas is amazing in "Phantom of The Opera". His voice, usually warm and rich is here cold and sinister. It makes an interesting contrast to Gerard Butler's portrayal of a passionate man who, but for his disfigurement, would have been a romantic hero. Banderas, although not in costume or make up, vividly conveys the dark side of the character. Sarah Brightman is, of course, splendid in her performance.

In the funeral scene from Evita, Banderas acts the part as well as singing it. This scene is most welcome for anyone who remembers fondly the original staging of Evita, before the messy film and Lloyd-Webber's tarting up of the stage show (If it isn't broken, don't fix it!). The mourners are perfectly costumed for the period, and it's expertly staged. A clever touch is that Banderas reacts when the mourner's prayer for Eva Peron becomes their prayer to her instead. It's good to hear another of the fine songs from this show, High Flying Adored. Personally I could have done without Elaine Paige's contribution being "Don't Cry for Me Argentina", as we've only just heard the tune already during the funeral scene. "Rainbow high" would have been a better choice as it has always shown Ms Paige's soaring vocals more effectively.

Then there's Glen Close - absolutely fantastic. Hers must have been the definitive Norma Desmond if this performance is anything to go by. There's drama, pathos and a big dollop of madness in her performance that virtually sums up the character in the space of two songs.

I was very pleased to buy this disc for these sections alone.

This is the only version of Mishima I have seen, so am not able to contrast it with the cinema version (too young...). Mishima is one of the most interesting biopics I have seen (this is the field my theses concerns at Uni), Schrader contrasting scenes from Mishima's life with episodes from his fiction. Between the wonderful scenes from Mishima's descent towards his death, we get scenes from books such as The Temple of the Golden Pavillion, Kyoko's House, Runaway Horses and Sun & Steel.

The script is brilliant, written by Paul Schrader and his brother Leonard (who also wrote/co-wrote Kiss of the Spider Woman, Blue Collar & The Yakuza). Paul, of course, had written the brilliant biopic of Jake La Motta, Raging Bull for Martin Scorsese (along with Mardik Martin, De Niro & Scorsese). He would work on an unproduced biopic of Hank Williams, which according to Schrader on Schrader would have been similar in structure to this . He would make a later biopic, the so-so Patty Hearst (this he did not write). Mishima is one of the great films Schrader has directed, along with American Gigolo, Light Sleeper & Affliction.

The score by Philip Glass suits the sumptuous visuals that John Bailey provides, as well as in Koyaanisquatsi and a less repetitive than Glass's work in Kundun. The performances are excellent, particularly Ken Ogata as Mishima. It's also notable that the executive producers are Francis Coppola and George Lucas, attempting to be associated with art cinema for the first time since producing Kurosawa's Kagemusha (1980). As their own careers were hitting lows- Lucas about to embark on drivel like Willow & Howard the Duck (before moving back to the Star Wars franchise, the latest instalments of which make you wonder if Lucas can write or direct rather than just produce); while Coppola would abandon experiments like One from the Heart & Rumble Fish and move towards films that are in it for the money (like The Rainmaker and Jack). In a way, Mishima is the full stop on the artistic aspirations and freedom of New Hollywood/the Movie Brats; dollar bills are more fun it seems.

Schrader made this bold movie which touches on the myth of the life of Yukio Mishima and makes an interesting dichotomy between his art and life. The colours and the scenes that appear to be theatrical are a wonder; there is a nice reference to the mirror/body shot from Performance (Roeg & Cammell) in the Kyoko's House section. Schrader is able to deal objectively with Mishima by virtue of being an outsider it seems, though themes of loneliness, repression and violence are common to his earlier works such as American Gigolo, Hard Core and Taxi Driver.

Mishima is not only one of the finest films of the 1980's, it is one of the finest films ever. It would be nice, in this age of DVD, for it to be reissued in all its sumptuous glory and hopefully contribute to a rediscovery of Schrader's talent (though Biskind's Easy Riders, Raging Bulls should have kickstarted that). I say it all the time, but watch this and realise it's a masterpiece.

Rare vhs starring Michael york, Andie Mcdowell and Ben Kingsley

This is definitely to be watched while burning incense sticks and eating something very hot. I will not go into print recommending anything stronger than this, but you get my drift...

This stuff is completely mind blowing, black and white, whatever... For a start, the music is really that kind of thing that gently lulls you into another world. It may be understated flamenco, but it has this subdued and mystical quality which is definitely from the other side of the fence. Combined with Johnnie Morris's amazing voice, which is so gentle and irresistable, well, you are crazy if you don't go for this, and crazy if you do. Who knows?... It's like a souped up version of William Blake, uneven maybe, but most certainly impressive and great art.

Me? Well, that's it, sign me up, I'm DEFINTELY interested in becoming a hamster right away....

This movie is an absolute must-see for anyone. It combines everything a classic should have - great actors (Audrey is tops and Peppard was never better), a great screenplay, a perfect score and New York (as usual) doing its best. The screenplay departs from the Capote's original but it does so in a way which makes the story work and which could be presented on the screen in 1961 - actually, the story is quite daring for the early 60s but you have to read between the lines every now and then to get it. Anyway, why shouldn't you reach for the original book once you are done watching?
In short - How does it look? I must say I'm amazed.
PS I wouldn't, however, recommend the movie to anyone who wants to quit smoking... ;)
PPS If you need more, you should also reach for Love and Other Disasters.