Tout pour réussir

One of John Boorman's finest films. Dabney Coleman rises above his paper-cutout character status of the "bad guy" to become a basic family man with real family problems and the "kids" played by Hannah, Glover and Amis are really fun characters. The plot actually has twists in it that make the whole thing fun to watch and the ending has a "rightness" to it which lets you come away from the film with a good feeling about life and people. A really good way to spend a couple of hours.

In this day and age, many people have forgotten what really matters in their lives. Materialism is fleeting, and trying economic times are shining new light on this wonderful cautionary tale of twenty years ago.

The McBains are, like most of us, a product of their times. Not merely a dysfunctional family, but one so immersed in the material world that they've lost sight of what truly matters in their lives. But when it all comes crashing down around their feet, they discover that the loyalty of family and friends reigns supreme.

I consider it wrong to classify this wonderful story as a comedy - it is a drama through and through, despite comedic moments. Though there are moments of coarse language and nudity, they are done tactfully and the movie should probably be re-rated to PG-13. The family learns a hard lesson on what it is to be a family, and people shouldn't be so quick to dismiss it due to its R rating.

The themes are hardly suitable for pre-teens but, all-in-all, a wonderful movie for the entire family.

A very good film, with very inspired art direction. Enough different than all the other movies Hollywood produces. A surprise from West side stories... It is the first time that black humor is colored...

We are sure that Van would be proud...

The ending ties things up a bit too neatly, but this is a ravishingly beautiful film. Good ensemble work by all the cast (although the lovely Uma has obviously had some acting classes since this role)...However, the art direction is the true star - it's definitely worth checking out for that alone. This may not be Boorman's best work, but it didn't deserve the panning it got from the mainstream media when it came out.

This film brought out the barracuda in most of the major critics. And did the public take one bit of notion? It did and flocked elsewhere.

But I still remember the overall impact this forgotten little gem had on me when I watched it some 14 odd years ago in one of these little arthouse cinemas that had all but vanished as multiplexes became the latest rage. 'Breathtaking' was the word for it. This reaction was caused by the picture's extraordinary visual beauty: cinematography as an art form has never been more ravishingly demonstrated as in the composition of light, shade and colour. I remember a series of scenes so beautiful I wanted to stop the moving pictures occasionally and just be a picture.

But like other visual masterpieces, its triumph did not extend to the screenplay and dialogues that were often boring, sometimes even downright foolish.