Diagonaldi Very well executed

Beanbioca As Good As It Gets

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

jovana-13676 I only came here to see La Liz in caftans and big hair and violet eye shadow overload, playing her tabloid self, and I leave satisfied. Michael Caine transforms from Stella's (Susannah York) dream lover to a Peckham vulgarian husband, depending on a woman that happens to be next to him. Caine and Taylor are fun to watch, while Susannah York's Stella, looking like a Pre-Raphaelite princess, seems out of place surrounded by the garish furniture and over the top costumes. A really horrible production design that makes a great backdrop for Zee (Taylor) and she wallows in it. You cannot not like the soap opera quality of it. The film can't decide whether it's a drama or a comedy, but I guess Susannah York's character somehow keeps it balanced, preventing it from being utterly silly.

mark.waltz Susannah York is Stella, a prominent London fashion designer who gets the wrath of she-devil Elizabeth Taylor when she begins an affair with her architect husband, Michael Caine. Liz, even more of a harpy than her Oscar Winning role of Martha in "Who's Afraid of Virginia Woolf?", runs around London in colorfully made clothes that look like "Laugh-In" backdrops. Liz is not content enough to stalk her prey-she reveals vital information of her marriage's intimacy to York, harasses her on the phone, stalks her with a gay confidante, and ultimately uses a suicide attempt to extract info about York's past from the unsuspecting woman. The revelation is a doozy, and what Liz does with it has to be seen to be believed!Liz's Zee is a dangerous woman who would rather see herself and Caine endure a miserable marriage than to let York's good girl have him. Poor Liz screeches her way through another performance, sometimes seeming older than her 40 years, all the while acting like a grown-up Rhoda from "The Bad Seed". "I don't bray!", Liz cried in "Virginia Woolf", but here she does. It's such a shame that Liz and Michael Caine's only film together was this delightfully awful movie, because they truly compliment each other. If you want to see how real bitchery can be art, however, watch Michael Caine exchange barbs with Maggie Smith in "California Suite". Fortunately, this was the end of Liz's cycle of screeching is acting films, and she took time off for another Richard Burton marriage, her fling as a politician's wife, and thankfully, her magnificently brief career on stage. When she came back to films (on television), she had a somewhat softer image, but in "The Flinstones" and "These Old Broads", this brassy side was out again. York is lovely and manages to come off a bit more dignified than Taylor, while Michael Caine is a true pro. Margaret Courtney in a cameo looks like Vincent Price getting ready to fry Coral Browne in "Theatre of Blood".

JOHNBATES-1 ... but without Edward Ablee's Pulitzer Prize winning touch. Taylor is firing on all eight cylinders again, as she did against Burton's George. This time 'George' is a remote, self-centered, enterprising individual and often on mute control around his tiger wife.You quickly get a belly full of Taylor's ranting and antics - but there are real performance gems strewn around. And you wonder why in the world York's character with her quiet temperament and lifestyle would risk getting consumed alive by two battling idiots. If it was for the excitement, a crash landing was her sad reward.Nevertheless, this forgotten film is worth watching just to see the three talented principals on the same set together go through their paces.

ONenslo Or at least see it with an eye for FABulous clothing and wild party scenes. This was made in that part of the seventies which people really mean when they say "the sixties." Every costume Liz stuffs her pneumatic self into is at least mildly atrocious and at best wildly elaborate. She's at the top of her form as a soulless, relentlessly destructive monster as unstoppable as any giant insect from the fifties. She takes her crass, unlikeable husband apart and puts him back together again at will, and the glint in her eyes shows she'll never never quit. Caine and York fill out their roles pretty well but in the end they are Liz's toys and she doesn't play nice. And since it wasn't made in America the movie doesn't dumb everything down and flake out into a happy ending for anybody but the conquering she-monster. This movie comes down right in the middle between Who's Afraid of Virginia Woolf and BOOM! - Not as grinding and emotionally draining as the former and without the lack of events and plot that makes it difficult for some people to enjoy the latter. And if for some reason you happen to like Three Dog Night, there's an extra bonus for you here as Zee likes to play them REAL LOUD first thing in the morning.