Rating: 
Summary: This film do not let us down.
Review: This film certainly takes the cake. Especially, Tatum's performance is a deodate for us. Additionally, the soundtrack is bang-up. I have seen it over 100 times. This film do not let us down.
Rating:
Summary: One of the BEST
Review: There is no question....this is one of the best ever....I never get enough of this film....I suppose it relates very much to the fact that my daughter and I have seen it so many times over the years and we almost know the words by heart....this is must see classic stuff.....thanks Tatum & Ryan...
Rating:
Summary: "Now Shut Up And Eat Your Coney Island"
Review: Comming on the heals of his brillant Last Picture Show, director Peter Bogdanovich again demonstrates why he ranks within the top echolon of post-war Hollywood directors. His uncanny ability to recreate a depression era small mid-western town feel, right up to the radio broadcasts the serve as a backdrop of the day is as stunning here as it was in Last Picture Show. I won't get into the plot as other reviewers have covered that ground exhustively. Surffice to say Paper Moon is one of the most engaging comedies ever. With great ensamble performaces by Madaline Kahn, John Hillerman and P. J. Johnson and the truely inspired casting of Ryan O'Neil and daughter Tatum, Paper Moon will delight endlessly. Absoluely Must-See entertainment!
Rating:
Summary: where's the DVD?!
Review: Yes, as others are saying, this is a great film. The question is why hasn't it been released on DVD yet? 'Nough said.
Rating: 
Summary: Peter Bogdanovich's delightful Depression-era valentine
Review: Director Peter Bogdanovich was on a real roll in the early 70s what with "The Last Picture Show," "What's Up, Doc?" and then 1973's "Paper Moon," a thoroughly clever, engagingly sharp period comedy adapted from the novel "Addie Pray" by Joe David Brown. Focusing on a slick, small-scale con artist who finds more than he bargains for after being saddled with a feisty little orphan, "Paper Moon" may be slightly reminiscent to Shirley Temple's "Little Miss Marker" by nature, but it's certainly not similar in attitude or style. Ryan O'Neal has never been more ingratiating than as the aptly-named Moses Pray, a sly, charming rogue who resorts to chicanery and flimflammery for survival, targeting little old ladies whose husbands have just passed away. "Moze" sets up his victims via the obituary notices. His con game consists of engraving bibles with the name of some dearly departed's widow, then showing up at the doorstep of the grievous wife and presenting her with the "deluxe" version of a bible that her late spouse supposedly "ordered" just prior to his death, asking, of course, for an outlandish price. Inevitably, the old ladies cave in and pay out, touched by their husbands' significant "gesture." Things are running fairly smoothly for Moze until scruffy little Addie Loggins shows up unannounced. Addie, whose mother was just killed in a car accident, claims she has pretty good evidence that Moze, who had an affair with the mother, is her long-lost daddy and now expects to be reimbursed for certain expenses. The angry, flustered Moze denies the paternity accusation but reluctantly agrees to pay her off after his next few scams and drive her across the state line to her nearest unknown relatives...but, that's it! And now the good stuff starts... It's uphill most of the way for this mirthful, beautifully realized entertainment as Moze and little Addie, who becomes an expert partner-in-crime, scam their way through the Kansas heartland. Ryan O'Neal's keen comedy instincts are on all four burners here, but never at the expense of his character or the film's intentions. As he earlier demonstrated in "What's Up, Doc?", he knows exactly where to draw the line, showing expert skill at 'slow burn' comedy, especially in his scenes with the flinty, steadfast little Addie. The surprise, of course, is neophyte Tatum O'Neal, Ryan's real-life daughter, whose first film this was. As the obstinate, worldly, cigarette-smoking waif who could out-curse a sailor, the Oscar-winning Tatum steals practically every scene she's in. A cross between Little Orphan Annie and Wallace Beery, she lights up the screen so naturally and unaffectedly. The casting of both father and daughter is not only inspired but absolutely sublime, possibly the funniest grownup/kid interplay since W.C. Fields and Baby LeRoy. And if that wasn't enough, you have the delectable Madeline Kahn as the frisky, flirtatious Trixie Delight, a carnival cooch dancer who moves in on Addie's territory - that is, Moze - half way through the film. The late, plummy-voiced Kahn, an expert comedy farceur, will keep you rolling in the aisles as she barnstorms her way right into Moze's front seat while disrupting the team's money-making roll, leaving an increasingly peeved Addie no choice but to nip the hotsy-totsy little affair in the bud. Young P.J. Johnson turns in a wonderfully sullen, deadpan perf as Imogene, part of Miss Trixie's "entourage." Chief maid and luggage carrier for the unappreciative Miss Trixie, Imogene's disdain for her boss is no secret, comparing her at one point to white specks on chicken droppings. One of the film's highlights is watching Addie and Imogene, in cahoots, cook up and carry out a scheme to split up the adults. The movie loses a bit of steam toward the end with a somewhat less-involving subplot dealing with bootleggers and a corrupt sheriff (John Hillerman), but it's certainly not enough to hurt the genuine appeal of the film. Careful attention has been paid to the look and feel of this film, which is greatly enhanced by the stunning midwest landscape (shot impressively, like "The Last Picture Show", in black-and-white), and period-perfect incidentals, which give the film a wonderfully authentic 30s feel. Unfortunately, Bogdanovich's career took an unexpected and momentous nosedive after this film. So, perhaps in retrospect, "Paper Moon" becomes a wonderful valentine to better days and a loving tribute to a once budding genius. Sheer delight.
Rating:
Summary: A grossly underrated masterpiece.
Review: I can't think of a big enough cynic who can dismiss the charms of this movie. On my list, Paper Moon qualifies as one of the best comedies ever made, a mixture of childlike wonder and wry sarcasm, simultaneously detached in its narrative approach (thanks to amazing understated camerawork) and intimate. The script has no faults. Scenes hurtle forward at a brisk but never hyper pace, every moment pregnant with character development and sharp dialogue. Ryan and Tatum O'Neal's exchanges are pristine in their comic timing, side-splitting and touching at the same time, effortlessly exploiting the chemistry between father and daughter. Their scenes in the car are so hilarious and endearing that you'd wish you could ride with them for hours longer. And the film is rich in period flavour, from the stark black-and-white photography to the music to every character, evoking a sense of longing for a more innocent age without ever lapsing into downright nostalgia. The themes -- the vagabond heart which can't stand still, growing up, identity, friendship -- ring as true today as they always did. I saw this movie when I was quite young and it's never lost its magical hold on me. Watch it again even if you have already; you will discover something new every time.
Rating:
Summary: "I don't have it..." "then get it!"
Review: 1st things 1st...
Tatum O'Neal should have won the Oscar for Best Actress not the Supprting Oscar and the magnificent Miss Kahn should have won the Supporting Oscar...Now that I said this...
It is just a perfect film on all levels! The photography is super and the old scratchy 78's used for the film's score is wonderful. Bogdonovich's direction is pitch perfect and the acting...well, even the tiniest roles are played to perfection...
Rating:
Summary: Compelling portrait of the seedy side of 1930s America
Review: This film gives us wonderful visuals in a way that could only have been done at (or after) this time in black and white. When Black and white was the only option, the film stock and processing techniques were not so sophisticated as they are here and the contrasts would not have been so subtle. As it is, Peter Bogdanovich's decision to shoot in monochrome is vindicated. Laszlo Kovacs deserved an academy award for his cinematography, but was not nominated. The story is one of an adopted father and daughter, seen from the point of view of the girl most of the time. There are some very funny moments, with Ryan O'Neal's con-man selling a bootlegger his own whisky, but also some nasty bits, like when the bootlegger catches him. Ryan's daughter Tatum plays the orphan he takes with him for the ride, and she plays this well, despite the script giving her lines that seem a little too adult from a nine year-old. Madelaine Kahn gives a well-observed and very amusing performance as a tart. Well-selected period music combined with a stunning array of costumes give this an authentic, depression era feel.
Rating:
Summary: Quite possibly the world's perfect film
Review: As a movie buff, I have viewed and enjoyed a number of pictures, but I have never considered one of them my "all-time favorite movie." Then I saw "Paper Moon." Ryan and Tatum O'Neal's on-screen chemistry sparkles. If you love witty comedy, not to mention a bit of suspense and emotion, this is for you. I decided to have my mother watch it with me one night, and before she would consent to seeing it, she said, "Now is this 'Paper Moon' going to depress me?" I couldn't help but laugh. "No," I said, "it's a happy movie." And it is. I can't help but smile, each and every time I watch it.
Rating:
Summary: Even richer than its beautiful surface.
Review: You could look at 'Paper Moon' as a nostalgic recreation of John Ford's 'Grapes of Wrath', complete with pretty Depressioon and comic-relief caricatures. You could look at 'Paper Moon' as a charming buddy-buddy road movie/Western, a long haul through the sideroads of America, denying the quest for the self that is the usual end of these genres. With its doubles, its mirrors, its use of disguises and playacting, its same actor playing cop and bootlegger brothers, its provisionality of gender; most importantly, in its main character as a conman who refuses to deal with the consequences of his self-aggrandising caprices, I prefer to see this Depression recreation as an allegory of another, more recent Depression, a moral Depression: Watergate. Any way you look at it, 'Paper Moon' is marvellous, and a reminder of how brilliant Ryan O'Neal could be.
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