Rating: 
Summary: Terrific Dark Comedy!!
Review: Talk about your strange films! This one is in that category, and it's kind of a cult favorite, although I wouldn't call it "cultish." It got wide viewing when it came out, and there are so many great scenes in this movie. Zach Galligan and Phoebe Cates head up this great movie, and when Zack's Dad comes back from the city with a gift for his son, beware, and make sure you don't feed it after midnight, or so the legend has it.As movies goes, this is terrific. And to see the part where the Gremlins wreak havoc on the small town, to include the minions of them singing "Heigh Ho" in the local theater is a riot! Highly recommended!! Lots of laughs!!
Rating:
Summary: There's a gremlin in my DVD player!
Review: Gremlins is one of those movies that will always have a place in my heart. I first saw it when I was about five years old. Rest assured, I didn't go near the Christmas tree that year (a reference you'll understand if you've seen the film). But, despite the fact it scared the crap outta me when I was a tot, I loved it just the same. I'm 22 now, so the nightmare factor is toned way down. Still a great, funny movie. And, on all accounts, Gremlins is a classic. Warner did DVD fans a good service with this Special Edition. The picture quality is like night and day when compared to the original bare bones edition and the sound is a little improved. Where this edition really shines is in the extras, particularly the commentary with Joe Dante & Friends. Zach Galligan's photographic memory is the high point of it. There's also a typically cheesy 80's making-of featurette where the cast talk about the green guys as if they were living, breathing things. Pretty entertaining. I'd rank Gremlins up with those other quintessential 80's movies: the Breakfast Club, Back to the Future, E.T., Raiders of the Lost Ark, the Goonies, Batman, etc. Fantastic movie... and the sequel is even funnier!
Rating: 
Summary: I Laugh at how unfunny the jokes are....
Review: There is really nothing special about this movie. The creature effects look fake, the jokes recycled, and the casting looks like it was done by a five year old. Ignore this movie and buy something else.
Rating:
Summary: One of my favorites. They're back!
Review: Some films are not what they seem. Take "Gremlins" (1984) for example. It is the story of a small-town kid who acquires a strange creature that spawns a pack of menacing green beings that terrorize the inhabitants of the cheery little area. A silly idea, yes, but surely a fun one, and surely one to be cherished. It isn't technically a great movie, or even a very good one, but it doesn't mean to be. The genius lies in the modest scale of the film -- it isn't just a crude horror film with evil alien species (see "Critters"), but a tongue-in-cheek parody of the rest, that still manages to fit in a few thrills along the way as if by accident. Thank Joe Dante for this movie. And thank him for providing us with magnificent and imaginative films over the years. He is one of cinema's great underrated directors, the man responsible for bringing other creatures to life very often, whether it is werewolves or small toys or Looney Toons. The movie is centered around Billy Peltzer (Zach Galligan), the small-town kid mentioned above who is handed a Mogwai by his father (Hoyt Axton), who picked the puffy furball up in Chinatown during one of his routine salesman trips. Billy's father is a sort of failed inventor, reminding us of the frizzle-haired Doc Emmett Brown played by Christopher Lloyd in "Back to the Future," only not quite as eccentric. "Back to the Future" came out a year after "Gremlins," and the two are similar in the way they entertain -- silly little ideas that nevertheless become almost genius. Time travel was a myth before "Back to the Future," which turned it into an adventurous notion, a way of being able to transport people back in time to see their own parents. (H.G. Wells himself hadn't even approached these topics, and I can guarantee he would have never sparked a relationship between the sibling and his mother.) "Gremlins" is milestone movie-making magic, a simple idea like "Back to the Future," stretched out into a bigger picture. I won't kid you -- it's not as complex as "Future" is, but it doesn't need to be, and certainly doesn't want to be. It relies on humor and charm, and it has plenty of it. Billy works at the town bank, hounded by the city grouch (Frances Lee McCain) and threatened by the vice president (Judge Reinhold). His long-time sweetheart (Phoebe Cates) works there, too, and at the local bar, occupied by drunks at night (and on occasion some nasty gremlins). The town loon (Dick Miller) is convinced there are gremlins about, and soon he is right. "Don't ever get them wet," Billy is more or less told by his father. "And don't feed them after midnight." (See if you can spot the huge flaw in that rule.) Well, the small little Mogwai, Gizmo (voiced in burps and small cutesy sentences by Howie Mandel), does get wet, and spawns a set of fellow furballs -- all apparently mean-spirited and vile. And after tricking Billy by cutting the power on his clock, they get fed after midnight -- and basically evolve overnight into a bunch of green, nasty little gremlins, all of which continue to spawn throughout the town and cause absolute chaos. Will Billy defeat the gremlins, get the girl, and save the town? Take a wild guess. Everything Joe Dante touches is usually magic. Even his live-action/animation film "Toy Soldiers" was a load of fun because of its charming disposition. Dante doesn't try to make his films anything other than what they are -- charming and wildly, wickedly funny -- and that is undoubtedly the key to the outrageous success of "Gremlins," one of the biggest box office moneymakers ever released. I wasn't a huge fan of the sequel, even though I have it in my DVD collection right next to the original. It lost the darkness of campiness of the original and went for all-out laughs (many of which failed) instead of the laugh-out-loud laughs of the original, which were concealed within a film that actually made sense (in some ways) and still managed to be dark and fun. The sequel also introduced the mandatory Goofy Idiot Character. In fact, it had two -- a Donald Trump-like manager and a gremlin that more or less belonged in The Three Stooges, and definitely not in a movie about menacing creatures. In fact, another of the first film's highlights was the way it made its creatures dark, hurtful, and just plain funny. (People complained that the launching of Frances Lee McCain out a window was too much, but come on.) As a whole, I didn't think that the sequel worked especially well. But it has as big a fan following as the original in some respects, for those who favor goofy, pointless cash-ins over original, hysterical movies. I wouldn't expect many people to love "Gremlins" as much as I do, but its charm is certainly worth commenting on -- and so is its wicked humor. Dark, chaotic and pretty darn infectious, the film's sense of humor quickly kicks into boot even during the campy voice-over narrative. The whole film is campy. And unlike something like "Critters" (which I loathe), this film is endearing and fresh and funny and has a bunch of likable characters -- especially Gizmo, the favorite and most infamous little critter ever seen on screen, and Stripe, the lead gremlin whose unfortunate frying incident at the end of the film actually makes you sad. No sequel for that little creep.
Rating: 
Summary: Still The King of Revolting Creature Features
Review: Footnote: Official Actual Review: **** 1/4 stars (four and a quarter star rating) In the summer of 1984 as Ivan Reitman's ceaselessly beloved supernatural box-office comedic powerhouse Ghostbusters was prevailingly netting all the profuse blockbuster revenues and inestimably enshrining itself adamantly with adoring audiences across all divides as the year's principally paramount money rainmaker of the year, a minor monster film B-Movie tribute to Capracorn and 1950's space paranoia exploitation flicks came into circulation at around the same time. Internationally released to movie theaters around the globe, Gremlins was an unappeasably premeditative liberating commandeering of the world's silver screens in one fell swoop of cinematic amnesty from the norm. Unhesitatingly conspiring and invigoratingly procuring to unhesitatingly unleash a mischievous torrent of cantankerously inconsolable scaly adversarial devils wantonly assailing restrained movie tastes with the provocatively stimulating rousing sensationalism of maliciously volatile foresight. Joe Dante's phenomenally lucrative massively unfashionable bold creative re-imaging of the exploitation genre sensationally ran amok with the general public as it universally grossed resoundingly beyond anyone's comprehension and beguilingly entranced millions more into an atypical personal connection with the film.
Dexterously consolidating into a whole new age of pop cultural advertising packaging integrating (beginning with Star Wars and exploding with E.T.), Gremlins was principally choked with indefinite unattributable mountains of merchandise. The Gizmo doll, Gremlin action figures, Gremlin lunch boxes, Gremlin posters, Gremlin story-time audio cassettes (do you remember those?) and all sorts of other cherished child and adult paraphernalia that became incredibly dispensed at an glaringly astronomical pace. Yet at the heart of this significant immeasurable love affair with the Gremlins and it's essential myth, lies ultimately the film itself. After nearly twenty years and untold droves of imbecilic rehashes, moronic re-shoots, and Kindergarten retreads, the film remains an indisputable pop culture cinematic touchstone classic of the 1980's. Directed by cinematic maverick satirist Joe Dante (Gremlins 2: The New Batch, The Howling, Looney Tunes: Back In Action) and executive produced by the omnipresent commercial dynamo of the 1980's Steven Spielberg, Gremlins is the uncanniest ironclad combination of subversive divine parody (Frank Capra's It's a Wonderful Life) and thrillingly riveting acute joyride (Howard Hawk's The Thing from Another World)
we've yet seen in the last generation of motion pictures. Name me another picture that can so instantaneously, ambidextrously, and completely shift gears from brutal savagery to out-and-out comedic lunacy (just think of the Christmas Cookies/Blender Sequence) with the stunningly ghoulish extraordinary clout that Gremlins accomplishes without ever batting a reptilian eye. You may attribute this attractive charisma entirely to the Gremlins. However it's also Dante's steadfast no compromise craftsmanship that delivers the delicate balance of menace and perversity that remains so universally adored about this film to this very day by so many legions of fans and new viewers alike. Overflowing with the quintessential Looney Tunes spirit of jovial irrelevance pulsating throughout its daffy festivities, the Gremlins bar sequence remains one of the single most mentally arresting moments of Eighties cinema. With it's gleeful lunatic goofiness taken to the very optimal zenith of cantankerous hilarity, this definitive burlesque showcase of pricelessly gut-busting spectacle lampoons the shear shallow splendor of binge drinking, chain-smoking, gluttony, high-stakes poker, Dashiell Hammett film noirs (The Big Sleep), misogynistic anarchy, the television show Cheers, urban crime, and Jennifer Beals's cheesy Flashdance renown to the absolute euphoric dizzyingly heights of galvanizing comedic possibilities. Billy Peltzer (Zach Galligan) and Kate Beringer (Phoebe Cates) chaotically desperate escape from the old-town movie house is an especially exceptional affectionately subversive amicable nod to Disney's masterwork Snow White and the Seven Dwarfs (1938). This singularly breathtaking climatic chase sequence remains a transcendental majestic tribute to the film medium's boundless past that remains supernaturally priceless beyond the mere mention of words, and blows continuing proof of Dante's ecstatically voracious exhilaration in ransacking the respectable into indelible comical genius. The exemplary majesty of Gremlins remains in it's devilish application of absurdity so effortlessly that it leaves many viewers blushing way beyond the restriction of age. Gremlins has carved its own permanent niche in American Pop Culture and it's definitely not likely to be carted away by any philosophical Asian mystic anytime soon. As for the new Gremlins Special Edition DVD, it includes a 2001 remastering of the entire film with the inclusion of numerous extras including: a commendably impressive 1.85:1 anamorphic widescreen presentation, a properly atmospheric Dolby Digital 5.1 audio track, an impressive Dolby Digital 2.0 Surround audio track, a charmingly nostalgic director and star commentary track featuring Joe Dante, Zach Galligan, Phoebe Cates, Howie Mandel, and (Dante regular and greatly under-appreciated) Dick Miller, an intriguing director and special effects department commentary featuring Joe Dante, Michael Finnell (producer) and Chris Walas (Effects Supervisor), ten minutes of behind-the-scenes footages, theatrical trailer, and several other fascinating trappings to siphon through at your leisure. P.S. Break-dancing Gremlins now that will be the day. Oh wait we do have hundreds of Agent Smiths, a skeletal Geoffrey Rush, a half-cranium mechanistic Schwarzenegger (was that a change?), and liquid medal invulnerable supermodels clamorously roaming around by now so who knows.
Rating:
Summary: this is a great movie
Review: I first saw this movie when I was real little, not knowing there was a sequel, but when I saw them both, I knew their plots were original and funny, Zach Galligan is probably my favorite actor. So I was very impressed by what I saw.
Rating:
Summary: Fans will be pleased.........
Review: (Instead of reviewing a film you probably already know, I stick to DVD Special Features) Those extras: Commentary: Not a bad job as Galligan, Cates, director Dante, and Mandel reminisce about the days on set. Unfortunately Dick Miller was asked to participate as well, but pretty much only backs up everyone else's comments: "Isn't that right, Dick?", "Yes, that's right". Galligan annoys a little with his endless "Remember that, Pheebs?", a total schoolboy crush in his voice. But they didn't blow it, it's fun. There's another track with Dante, Producer Finnell and FX man Walas, though not as fun as it's bogged down in technical aspects. Behind the Scenes: An odd 16mm, narration-less piece showing various moments on set in between takes. Interesting, but could've been so much more. Deleted Scenes: A nice collection of stuff dropped from the film, some amusing, some you see why they cut it. But one is a real good resolution to the fate of the Judge Reinhold character. Overall: A pretty good job, little bare in the behind the scenes and interview area, but enough to satisfy.
Rating:
Summary: IF U RATE THIS BELOW A 5....
Review: Your the kind of person who didn't shed a tear when old yeller got blasted... This movie was made to be dumb... All your serious raters are like its too violent! WOW! I bet you don't let your kids watch cable! This movie is not too violent! You people are making me laugh! This movie is great! I'm in my 20's and I still love this movie! I don't care about the actors! The movie is great! You want a movie to diss, go see Jackass! This movie is a classic! I hope the visitors of Amazon have a sense of humor cause you love this movie!
Rating:
Summary: Awesome
Review: The whole idea was great. Unlike Critters (a personal favorite actually), it put a good comic twist on the creatures, and gave them more personality, and rules, too. Critters was more in the label of horror, and Gremlins more in the label of Fantasy.
Rating:
Summary: Think about it...the Peltzer Pet!
Review: The first time I saw this was on my birthday, at the theatres, no less. I went to see it two more times after that. The familiar concept of bringing the other, the unknown, the unique, to a picture postcard small town like Kingston Falls, is typical of aliens landing on Earth-type sci-fi. OK, there is a difference between Chinatown and Mars, but still... To say that Kingston Falls and indeed Billy Peltzer, the son of the man who brings the Mogwai Gizmo to town, will have the most memorable Christmas in its history is quite the understatement, and all because three strict rules regarding Gizmo are unwittingly ignored. They are, keep him away from bright lights, keep him away from water, and never ever.... let him listen to Barry Manilow...just kidding, never ever feed him after midnight. Guess what happens? The glowing green and steam emerging from the YMCA swimming pool is the prelude of the mayhem that is to come from the red-eyed, growling, cackling reptilians, and who also seem to have full-time munchies. Anyone happening to drive or walking on Christmas Eve happens to pick the wrong night to be human. Contrast that with the ghastly neon glare of the red lights splashed on the Chinatown streets in one shot. Red light for peaceful standby...green for go mayhem. The adorable Gizmo's clearly the star in this It's A Wonderful Life meets Invasion Of The Body Snatchers/War Of The Worlds picture. His facial expressions alone are very articulate, from his smiles, expressions of horror, sadness, and disgust, and a silly grimace when he's emulating Clark Gable in the racing car movie, To Please A Lady, which he's watching on TV. Howie Mandel also deserves credit for providing Gizmo's voice. And as he was raised by a Chinese man, it makes sense for him to have huang chung, or perfect pitch in the synthesizer scene. Zach Galligan and Phoebe Cates make a nice couple as Billy and Kate, but Hoyt Axton as Rand Peltzer has a great turn as an inventor who keeps on trying to find an invention that's marketable and isn't frustrated by setbacks to the Bathroom Buddy, a kind of Swiss Army Knife of toiletries. He keeps on trying, as evidenced by the plethora of inventions in his household, such as the Peltzer Peeler Juicer (great scene), and the electric hammer. And the phone remote kind of previews handheld cordless models so commonplace today. Yet there's an undertone of enterpreneurial, corporate capitalism going on. Rand Peltzer is an example of it for good. Gerald's remarks to Billy is of the bad. He boasts how he is a junior vice president of the bank at age 23. "At 25, I'll have Mr. Corben's [the president's] job. At 30, I'm going to be a millionaire. The world's changing, you gotta change with it. You gotta be tough." And Mr. Futterman's jab at foreign cars reminds us of the trade gap between the US and Japan during the Reagan era, as well as the accompanying Japan-bashing. And the rich and powerful harridan Ms. Deagle is a cariacature of robber barons meet Ebenezer Scrooge. In fact the exchange between her and tenant Ms. Harris is a variation on Scrooge and Bob Crachitt. Trivia notes: note the Indiana Jones style writing on the Rockin' Ricky Rialto sign at the beginning, which figures, as both were Spielberg-Kennedy-Marshall productions. And at the inventor's convention, executive producer Steven Spielberg, cast on his leg, wheels past Hoyt Axton watching TV on an electric sofa/wheelchair. And the Coleco-vision Donkey Kong Stripe is playing is an example of 80's technology long gone. Yes, another return visit to my golden decade. Some aspects of this movie have not worn well. The behaviour of the gremlins are rather uneven, ranging from extremely malicious (the traffic lights) to downright comical (the Christmas carolers, the different outfits worn by the gremlins), to the rare poetic justice (Mrs. Deagle). But the otherworldly teddybear with elfin ears, whose furry hands grip the edge of the box he came in, then slowly raises his head for all to see, that's what I remember the most. (Rating: 4.5, rounded to 5).
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