NekoHomey Purely Joyful Movie!

Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Keira Brennan The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Lee Eisenberg I have a feeling that I speak for much of my generation, maybe MOST of my generation, when I say that it's hard to take these old musicals seriously. Always happy-go-lucky, they set themselves up to get heckled. I did just that while watching "That's Entertainment!". If you've read my reviews of musicals, then you'll know that I watch them only so that I can throw out the sorts of comments that Mike, Servo and Crow hurl at the crummy movies sent them by Dr. Forrester and TV's Frank on "Mystery Science Theater 3000". Most of the time here, I just blurted out quotes from other movies ("Army of Darkness", "Monty Python and the Holy Grail", etc).Here's a few other things. I noticed that one movie contained a scene of people performing in blackface. "Show Boat" was little more than a whitewash of the Jim Crow south. I recognize the New York song from "On the Town" from the time that "The Simpsons" spoofed it: Bart and Milhouse OD on sugar from an entirely syrup-based Squishee, and sing about Springfield. And then there's "Over the Rainbow". Everyone remembers Judy Garland singing it, but lesser known is that the song's co-writer Yip Harburg later got blacklisted for holding socialist views.Anyway, my favorite movies from Hollywood's golden age are comedies, gangster flicks, and sci-fi/horror flicks*. Most of the movies here would be a lot more interesting if remade my the creators of "South Park". Or if presented by Elvira.*Speaking of horror flicks, "The Wizard of Oz" DID scare me when I was little: that scene where the woman turns into a witch in the tornado freaked me out. That movie and "Ghostbusters" are the only movies that authentically scared me.

LeonLouisRicci This Compilation of Clips from MGM Musicals can serve two distinct and delightful Audiences. Those Older Folks who have been there and done that, and those who have not. It can be a Nostalgic Trip down Memory Lane or an Introduction to these Popular Movies for those that are Curious. The Movie is heavy on Self-Congratulatory MGM Hubris, but if taken in that context it can be forgiven. Because the Movie is non-stop in its inclusion of Colorful and Timeless Musicals and some of the Famous Songs and Dances, some in their Entirety, and others Shorten for Time Restraints.It is an Eye-Popping Extravaganza of Talent, be They Hoofers, Crooners, of Choreographers like the inimitable Busby Berkeley. The Film zips along and hardly wavers in its Title Conceit. There is much to take in here and it is a rewarding Experience.Recommended for an Introduction to the Musicals of the past as a Primer to determine further Exploration of the Genre. Also for those with a Yearn for Yesteryear and this Time-Stamped Art Form.

moonspinner55 America was so high on nostalgia in the early 1970s that Roaring Twenties dances were being taught at Arthur Murray and even a remake of "The Great Gatsby" was pulling in viewers. MGM, on the verge of financial ruin (and about to liquidate its assets), finally found a way to turn a profit very cheaply: edit together sequences from their library of hit musicals into one splashy package. Lesser-known clips are dropped in to keep things curious, but most of the footage here includes musical centerpieces from classic films that many viewers in 1974 had only seen on the late show. Despite an editing job that is so smoothly-efficient it's practically lethargic, "That's Entertainment!" quickly became a movie-encyclopedia for film buffs interested in plumbing the past, although it isn't very useful today (what with cable channels like Turner Classic Movies showing these pictures in their entirety). Star-narrators turn up to put their own histories into perspective, but most of them look dazed or tired--especially Elizabeth Taylor (filmed through layers of gauze), Frank Sinatra (squinting in the sunlight), and Fred Astaire (who was actually on the verge of a career comeback at this time). Some enjoyment and razzle-dazzle, especially in the Esther Williams montage, but pointless to anyone who craves the satisfaction of creative output. Followed by two wan sequels in 1976 and 1994, and a second-cousin, "That's Dancing!", in 1985. ** from ****

ackstasis How times change! Just last year, I declared with complete resolution the utter pointlessness of the movie musical. I considered myself immune to the charms of the genre, lest I have to admit to my friends that my weekend involved watching two skilled performers dancing across a stage. 'Singin' in the Rain (1952)' was the first picture to chip away at my cocoon of ignorance, and the farcical comedic trappings of 'Top Hat (1935)' sealed the deal. It was only then that I rediscovered the delights of childhood favourites 'Mary Poppins (1964)' and 'Willy Wonka & the Chocolate Factory (1971),' and I've since enjoyed the glamour and spectacle of three more Astaire/Rogers pairings, George Cukor's 'My Fair Lady (1964)' and the unspectacular but solid 'An American in Paris (1951)' and 'High Society (1956).' Throughout the 1930s, 1940s and 1950s, one studio stood above all others when it came to producing musicals, and, even today, Metro-Goldwyn-Mayer (MGM) continues to be identified with the glossy Technicolor masterpieces remembered so fondly by film-goers.'That's Entertainment! (1974)' is the first in a trilogy of documentaries tracing the history of MGM as a producer of musicals, telling the story through the compilation of classic musical numbers. What might have been a simple, inconsequential clip-show is offered a vital touch of class through the participation of some of cinema's most beloved stars, including Fred Astaire, Gene Kelly, Mickey Rooney, Jimmy Stewart, Bing Crosby, Peter Lawford, Elizabeth Taylor, Donald O'Connor, Debbie Reynolds, Liza Minnelli (representing her mother, Judy Garland, who prematurely passed away in 1969), and also some guy named Frank Sinatra. As temporary co-host, each performer offers a carefully-scripted running commentary on the sequences being shown to us, on occasion tossing in details of their own experience. Particularly fascinating is a clip of the 1936 musical 'Born to Dance,' in which Jimmy Stewart demonstrates, for the first and only time, what happens when he is forced into performing a musical number – but at least it's not quite as embarrassing as Clarke Gable's cheesy rendition of "Puttin' on the Ritz!"The most memorable feature of this documentary is how it includes not only the classic musical moments that we all remember, but also a variety of selections that were, as a newcomer, completely unknown to me. I've already developed a list of movie moments that I must experience in their unabridged versions, including Gene Kelly's duet with Jerry Mouse in 'Anchors Aweigh (1945)' and Fred Astaire's mind-boggling waltz across the ceiling in 'Royal Wedding (1951),' which employed a rotating set that inspired a similar sequence in Stanley Kubrick's '2001: A Space Odyssey (1968).' The actors' introductions, filmed on the soon-to-be-demolished MGM back-lots, are informative and entertaining, though it's rather saddening to see their weathered faces and to know that their glory days were, even then, lost in the past. But perhaps "lost" is the wrong word, because each of these magical musical moments linger in both our memories, and, even when these fail us, in the magnificence of celluloid. Entertainment doesn't get much better than this.