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4.1 out of 5 stars
4.1 out of 5 stars
Summer Of Sam [DVD] [2000]
Format: DVD|Change
Price:£4.70+ Free shipping with Amazon Prime

on 10 August 2017
I bought this for Kalifornia but enjoyed the other films as well. Kalifornia is such a well known film but it's got loads of stars in it. Brad Pitt, David Duchovny and Juliette Lewis. The other two films are based on true stories.
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on 8 February 2016
Three good films at a bargain price.
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on 4 April 2013
Came as sold. Summer of Sam is fantastic film in its own right. The other two arent bad either. Great service and price.
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TOP 500 REVIEWERon 18 July 2014
On face value, you'd be mistaken for believing that Spike Lee's lesser-known film 'Summer Of Sam' is a docudrama or thriller surrounding a series of murders carried out by David Berkowitz in the Summer of 1977 in New York. Whilst these slayings do provide a background to the film, the focus is actually on a close knit group of people reacting to the possibility of becoming the unknown murderer's next victim. Although it isn't your typical thriller, suspense is created with the characters wondering who they can trust.

The plot relies heavily on the relationship between married, but unfaithful man Vinny (John Leguizamo) and punk rocker Ritchie (Adrien Brody), two friends who, due to their lives, interests and principles changing, are growing further apart. With Leguizamo, Brody, as well as Mira Sorvino, and Jennifer Esposito, you'd expect excellent performances, and won't be disappointed.

Lee brilliantly captures the disco club scene in New York at the time, with outrageous behaviour from rampant hard drug use to lots of casual, meaningless sex, needless to say there's plenty of violence and salty language throughout. The cinematography and overall sound of the film, with a fantastic soundtrack which crams in an impressive list of many hit songs, is so good, that I forgot I was watching a movie shot in 1999 a number of times. It's all so realistic that you'll feel that you were there with these characters in the Summer of 1977, which was the hottest Summer ever.

'Summer Of Sam' was not what I was expecting, but I enjoyed it very much for what it is, an excellent snapshot of the time and a focus on interesting people's lives and feelings. It's a long film, and sometimes it does drag on, but it's still one of those films you just have to tick off your list to see.
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on 21 June 2017
A great, under rated movie. You can feel the heat coming from the screen. Captures the era perfectly. A must see.........
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#1 HALL OF FAMEon 10 October 2001
Spike Lee is a film-maker often like Ken Loach: brilliant, but weighed down by the politics of the piece. Sometimes characters seem to represent an ideological persepctive in too forced a manner ('Jungle Fever' feels like the forced-ideologies of Carson McCuller's 'The Heart is a Lonely Hunter'). The problem often is Lee being too CLOSE to his subject- 'Malcolm X' came across as pious and reverential, like the terminally-dull 'Gandhi'. His best work up til now had been 'She's Gotta Have It', 'Do The Right Thing' and 'Clockers'. It is the latter, with its extension on De Palma/Scorsese styled perspectives that this emanates from (bear in mind the nadir of 'Girl 6', though we would have the sub-'Hoop Dreams', 'He Got Game'). Lee focuses on an Italian-American neighbourhood in the summer of 1977- and captures,albeit in fictional form, the zeitgeist. His distance from the subject, whilst retaining an empathy for the characters works well. Because there are few overt points about race, though the joke about the reporter Lee plays being seen in a black-neighbourhood works well, we do not feel like we are being lectured to...
This film is a film about films also: references to 'Goodfellas' & 'Serpico' & 'Taxi Driver' & 'Last Exit to Brooklyn' & 'Casino' & 'Do the Right Thing' & 'Natural Born Killers' & 'Saturday Night Fever'& 'Se7en' & 'The Godfather' (and much more) abound. But, unlike with Tarantino, they are detail- not the whole. The use of music is very Scorsese- the montage scenes that use 'Baba O'Riley' & 'Won't Get Fooled Again' are excellent (The Who were kinda punk- though the band with Ruby & Richey front are a bit dubious!). The vigilante theme is depicted brilliantly, tying into the background of the Son of Sam killer, the heatwave and the movement of disco, drugs and punk...This is not about the Son of Sam killer, he is just a peripheral character and a cause of much of the paranoia. This is a much better depiction of the era than 'Boogie Nights', which celebrated the period in a Scorsese manner and 'Dead Presidents'- which was merely dull...The theme of turning on your own id interesting & pertinent & the dialogue (written by Victor Colliccio, Michael Imperioli and Lee) is excellent. Anthony La Paglia is sadly underused and the sex/orgy scenes seemed tame compared to those in 'Requiem for a Dream' or 'Salo'. The camerawork & editing are fantastic- and you will want to go out and buy the soundtrack because of it...This film is quite under-rated- it never got raved over- and the 1st time I saw it I wasn't bowled over. The 2nd time has revealed what a great film this is: Spike Lee's best film so far.
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on 16 February 2014
A little know classic but well worth watching, its really intoxicating. You can feel the heat wave just watching this movie.
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on 13 March 2016
If you're considering the French Blu-ray of Summer of Sam (in the absence of any other Region B release) then note that it is a 1080i/50Hz transfer. The picture quality throughout is a little soft while there is noticeable colour banding on gradients like walls and faces. It runs at original speed unlike many 50Hz transfers so motion is a bit jerky making it hard to watch camera pans. There is a choice of DTS Master HD original English or dubbed French audio, but if you want only English then you will need to turn off the French subtitles with your player controls.
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As an evocation of New York in that summer just as disco began to sink and punk to rise this film is hard to beat. I was in NYC that summer and it brought back the atmosphere perfectly (though therapy should help me). But authenticity is not enough to make for entertainment. The subjects of the film, a group of Bronx young Italian-American men, are by turns stupid, vicious and risible. Sometimes they manage all three together. The director clearly dislikes his subjects and that's exactly what he passes to the viewer.

(Was that the actor who became Jackie Aprille in The Sopranos?)
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TOP 500 REVIEWERon 2 November 2016
Spike Lee’s kaleidoscopic 2000 film dealing with race, sex and urban paranoia during the sweltering heat of New York City’s 1977 summer, whilst the eponymous serial killer is on the rampage, is another impressive example of the this film-maker’s vibrant and visceral approach to storytelling. With an introduction from renowned NY Post journalist Jimmy Breslin (active at the time), Lee’s film strikes an authentic note, convincingly depicting the building tension and festering community resentment at the failure of the police to apprehend the killer, against a backdrop of 70s crossover culture, taking in the flares and wide-awake fashions of Studio 54-goers and the nihilistic, safety-pin wearing regulars at the punk club, CBGBs. This makes for compelling viewing, Ellen Kuras’ cinematography impressively mixing fast-edited dynamism and more dreamy passages and providing the basis for the film’s outstanding soundtrack.

Lee’s narrative focuses on a compelling quartet of central characters. Particularly impressive are John Leguizamo’s wise-cracking, sex-obsessed hairdresser, Vinny and Mira Sorvino as his devoted and servile wife, Dionna (perhaps the only 'innocent’ character on show here?). Contrasting culturally with Vinny and his macho, baseball-obsessed Italian-American pals’ view of the world is the rebellious pairing of Adrien Brody’s 'punk’ (curiously, a fan of The Who) and some-time erotic dancer/hooker, Ritchie, and his half-sister, Jennifer Esposito’s glamorous, but wasted, Ruby. Lee eventually engenders a good deal of empathy for all four of these characters, as Vinny sides with his friend, Ritchie, against the near-fascist tendencies of his mates, who draw up a short-list of 'weirdos’ (non-conformists, essentially) who they speculate may be the Son of Sam. In the background there are also (somewhat under-developed) themes around patriarchy and race, depicted via (a typically impressive) Ben Gazzara’s Mr Big, Luigi, and Anthony LaPaglia’s cop (and ‘traitor to the community’) Petrocelli.

If anything, Lee is, for me, trying to do too much with his film, cramming in too much in the way of (borderline gratuitous) sex and violence, at the expense of wider and deeper character development. That said, my attention rarely wandered during the near 2½ hour duration and Lee’s choice of music is a major plus point (aligning his film particularly closely with the likes of Scorsese’s work). Terence Blanchard gives us another beautiful score, its romanticism providing an incongruous contrast with the film’s predominant mood, whilst the song choice (Heatwave, The Emotions, Chic, Marvin Gaye, Barry White, MFSB, Abba, Talking Heads, etc.) is outstanding. There are particularly memorable sequences to The Who’s Baba O’Reilly and Thelma Houston’s Don’t Leave Me This way, whilst the film’s parallel-track denouement to Won’t Get Fooled Again is undoubtedly brilliant cinema. For me, it’s a film that lacks the consistent quality and emotive punch of Lee’s masterpiece Do The Right Thing, but still represents impressive film-making nevertheless.
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