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One From The Heart Reviews

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Ken S

Super Reviewer

September 18, 2007
Gorgeous to look at, but kind of slow, but the cinematography is stunning, but it's fairly uneven, but that uneven-ness is photographed by Vittorio Storaro.

I would also like to note that it's a crime that so much of Stararo's work isn't avaliable on blu-ray.

Super Reviewer

September 6, 2010
I liked this movie for the most part, the story, sets, and songs go well together, but it could have been better.
Drew S

Super Reviewer

May 27, 2010
One From the Heart is really only recognized as a box office torpedo anymore, which is sort of a shame. It has a bevy of flaws, and its status as an obvious vanity project will turn off most viewers (especially those coming into the movie off of the high of Coppola's previous movie, Apocalypse Now). I found most of it unconventional and sweet, and the soundtrack is just fantastic - it has turned me into a Tom Waits fan. The plainness of the two leads is sort of difficult to get behind, but they have to be ordinary in contrast with the extraordinary people they meet up with later, and thus to convince us that they belong together. The bombing of this film confuses me in a sense, as Frannie and Hank make for successful audience avatars. You could blame it on the lack of market value of Frederic Forrest and Teri Garr, both of whom give strong performances here. They aren't completely depthless or without personality, but their struggles and lives are immediately relatable; they feel more like friends or acquaintances than surrogates or metaphors.

One From the Heart falters in its excess, such as a scary propensity toward slapstick comedy that is every bit as bad as it sounds. Forrest + Bugs Bunny = the stuff of my nightmares. The film also has a tendency to let its characters shriek unbearably about whatever's troubling them, which grows obnoxious after a while. The first half an hour of the movie is sort of an endurance test, when their relationship is at its rockiest. If you can't stomach these people in this passage of the film, you should really just stop watching. Furthermore, the visual approach is distracting and, though unique, doesn't seem to serve much of a purpose in the film's goals at large. Bathing the shot in overcontrasted red or blue or yellow looks cool the first couple of times, but then you start to wonder what it's all for.

Despite all that excess, One From the Heart sort of registers as a trifle, which is the last think Coppola wanted it to be I think. With its comparatively high budget, histrionic composition and the overall challenge that appreciating the film seems to bring, something about it doesn't really feel consistent. Perhaps musical romantic comedy is just a genre in which I'm not versed, but I didn't find it to be an exceptional movie, even though I appreciated and sympathized with it. This will assuredly be remembered as the point of Francis Ford Coppola's burnout, an unfair role for it to assume in history. I do recommend it, but only as a strange pit stop into some of the murkier depths of his filmography.
Sean G

Super Reviewer

April 2, 2011
Well, there is brief nudity from Teri Garr, but otherwise you can see why this movie flopped and ruined Francis financially. It is always good to see Raul Julia though.
Alec B

Super Reviewer

July 12, 2010
The film that ruined Francis Ford Coppola. I know it gets a lot of shit, but I rather enjoyed it. The sets, the lighting, and the music creates am eerie, dreamlike quality that allows the story to transcend the real world. Not all of the film works, but Coppola was really trying something different here and I really like that. In my opinion he mostly succeeded. The best thing is that Tom Waits score with some wonderful sad songs.
Marion R

Super Reviewer

November 8, 2008
I felt the music took me out of the story, it was too distracting. An interesting, surrealistic feeling and background were the best thing about the film.
Donna D

Super Reviewer

August 30, 2008
Oh...this one I loved from Frances Ford Coppola so long ago in 1982. The movie was awesome, but I need to rewatch it again to review it accurately. But it was a great movie. :)
September 13, 2009
Not bad at all, but very bizarrely experimental. Some of it works and some of it doesn't, and none of it all the time. I'm not really sure what to think about this film, but it certainly had its memorable moments and it looked very pretty (most of the time.)
June 22, 2010
Although it is quite interesting that they were able to film an entire movie on a stage in a theater, I can't decide weather that was a good idea or not. On one hand, the whole movie feels really claustrophobic and everything looks fake. On the other hand, the fake sets enhance the feelings of Garr's character, and the idea that Las Vegas is a fake city. Another device I don't think worked well was the Tom Waits songs sung while the characters were either lying around, walking around, or just sitting around. Why couldn't they sing themselves like in an ordinary musical? They just looked lazy. I loved the part where Raul Julia gets to sing and dance with Terri Garr, it was very romantic. Plus, the ending is predictable, but unexplained. There were a lot of things I liked about this movie, but some things that I didn't like. You just have to see it for yourself.
October 21, 2009
Got mixed feelings. First, it's not really my kind of music or film, so it's kind of hard to be objective. Visually it was very well done. Strangely, I liked the supporting roles by Raul Julia & Nastassia Kinski better than the leading roles (especially Frederic Forrest). Why did they show so much of Teri Garr's skin, but the men couldn't even be seen from behind without their tighty whities on? I watched this just to hear Tom Waits and sadly he was truly out of his element. It's probably the best singing he's ever done, but without the edge, well, Tom Waits just isn't Tom Waits. For lovers of musicals only.
September 21, 2007
In 1982, Francis Ford Coppola made a film that if it didn't succeed, it would close Zoetrope Studios, his studio, forever. This was the result. Built and filmed entirely at his studio lot, the film stars Teri Garr and Fredric Forrest as Frannie and Hank, a couple who have been together for almost five years, but the relationship threatens to break apart at every turn. Finally, she breaks it off, and off into the night they wander with their friends (He, with Moe, played by Harry Dean Stanton, and she, with Maggie, played by Lainie Kazan) and they both end up having romanitc liasons. Frannie, with a siner/waiter named Ray (Raul Julia), and Hank, with a circus performer (Nastassia Kinski). But are they willing to give it one more try? The film's backdrop is Las Vegas, and as built entirely on the Zoetrope soundstages is a sight to behold. The performances are great, and the music, by Tom Waits and Crystal Gayle is beautiful to listen to. It's almost as if the music gives the film another dimension to it. I'll admit, the closing moments brought tears to my eyes, but I guarantee that this movie will not play for everybody, but it might play for you just like it played for me.
April 11, 2014
Beautiful but really not very good.
January 7, 2014
Fuck what a lot people think this is good.

Great soundtrack
December 22, 2013
I wanted to like this movie. Everything that you come to expect from a Coppola production seems to be here, at least, in terms of casting and production values. The music by Tom Waits, the cinematography by the legendary Vittorio Storraro, as well as the amazing set design which recreates the Vegas Strip to incredible detail. Clearly, Coppola had his heart in this project, but unfortunately, he fails to give the audience a reason to care about any of it. The story is barely there, the characters are sketchily designed, more type than person. If all you're after in your film viewing is a feeling and narrative is of secondary importance to you, you'll really enjoy this. Anyone else will be bored despite the technical beauty.
September 14, 2013
Sadly this is a masterpiece that is ultimately flawed. There is so much that is quality, visually unique and stunning,ground breaking, a superb soundtrack and a title that sums up the story and the very making of the movie. It took me a while to put my finger on why it was a movie that was among my all time favourites but one that I was reluctant to recommend to anyone. After yet another viewing it finally dawned on me, it was the casting that they got so terribly wrong. Frederick Forrest and Terri Garr don't work, they lack any chemistry and sadly they were the wrong choice, no doubt an honest mistake, but one that sunk an otherwise perfect ship.
November 11, 2010
Francis Ford Coppola's notorious flop is fill with beautiful set design and visuals. Unfortunately, Coppola ruins the whole thing by wasting it all in a story that's probably one of the least inspired attempts at a romantic comedy musical put onto celluloid. A Oscar-nominated score by Tom Waits is also wasted.
Denise F.
May 9, 2010
Underrated archetypal movie depicting the dangers of projection as a romantic search engine. This is my favorite movie of all time and the sound track is a must-have. No other movie so precisely nails what happens to relationships after the razzle dazzle of "chemistry" fades and one begins to withdraw the fantasy based projections. It reveals the "swindle" we experience after the pheromones fall away and one is left "Picking Up After You". As a marriage and couples therapist, I see this pattern repeating endlessly.

This film is as classic as they come. That some find it pure boredom only tells me that they have yet to look within to see the truth this film delivers--or they have, and looked away. The beauty of the film to me is that the couple is able to find their way back to one another, to recover what was not based on fantasy but the real bond between them, and that, in the end, it is not only "enough" but beautiful. The connectedness, stripped of its cultural overlay of crap, is real and palpable. "Take me home, you silly boy, wrap your arms around me. Take me home ,you silly boy, cause I'm still in love with you".
The settings serve up Americana as we know it today--the over stylized, consumer-driven advert addled ninny splashing in the shallow waters. Yet, in the tinsel town carnival, Coppala still finds deep water in the truth, real connection,and heart. I love this film. It just gets better with time.
son of bloody sam
November 28, 2009
boredom. pure boredom. nothing saves the movies misfortune. not even tom waits, not even the intelligent theme about staying or escaping.
April 30, 2009
Coppola once again delivers over stylized, extremely pretentious tripe that he thinks is fine cinema art. I feel bad for the performers, they do try, but with the ridiculous material they have to work with they sink. What a mess of a movie. The only thing about this movie that is good is the score.
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