Console best movie i've ever seen.

CommentsXp Best movie ever!

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Kayden This is a dark and sometimes deeply uncomfortable drama

MisterWhiplash The Golden Voyage of Sinbad is a prime example of a mixed bag. I really couldn't stand many of the actors; Caroline Munro is nice eye-candy, but not much more, and Aldo Sambrell feels wasted, and don't get me started on the 'comic relief' of the young kid with the big hair and goofy attitude). And the first half hour especially, or the first half really, is flatly directed and poorly written stuff.Two things keep this afloat though: the Harryhausen effects (though they take time to really get going, it's really the six-armed buddha-statue, and the Minotaur and falcon-beast that steal that part of the show, though a bat-spy is kinda cool), and, actually more than Harryhausen, Tom Baker. Just his eyes are the stars of the movie. At first I thought he'd come off kind of like a second-rate Anthony Quinn from Lawrence of Arabia- kind of an Arab minstrel show. That goes away very quickly, and he really digs in to the heart and soul of his character. He is a dastardly villain this Prince Koura, going after these three golden trinkets that will give him the fountain of youth. And of course he conjures monsters and every time he does it makes him old and weak.But keep an eye on his intense, sky-blue eyes and how he moves his face and mannerisms, or just the fervor his Koura has when he is searching through the golden chests inside the part of the temple for the piece as Sinbad and his men (and woman) approach: you almost want him to get it, just by the nature of how bland Law is. He might have been a fine Diabolik, but that was without a lot of his face showing. It has the similar problem as Jason and the Argonauts - matter of fact, the similar structure of a Man on a Voyage on a Ship (he even gets some crew, though a lot of the men are already assembled ad the start) - only with Argonauts, the effects were really masterpieces of effects work.Here, frankly, Harryhausen has his moments, surely for the climax of creatures, but he has not one but two creaky statue-monsters this time (the woman on the ship that break off and attacks the men is OK, but feels like a retread of Talos from Argonauts), and the final fight involves an invisibility trick that hasn't aged well, one of those rare times watching a movie with practical effects where I wished for CGI of all things.So even with him it's not all aces. Still, there's a part of me that has an admiration for this fluffy stuff meant to really keep kids in 1973 occupied on a Saturday afternoon. For that, it is a low matinée-worthy price. And Baker especially, well, one can see why he was picked as the Fourth Doctor after this movie. He really is the reason to see the movie more than anyone else: a fully embodied, passionate, crazed and even sympathetic villain.

Neil Doyle THE GOLDEN VOYAGE OF SINBAD is an enjoyable fantasy with lavish looking sets, colorful costumes and a plot that takes advantage of the odd looking creatures Sinbad must fight to achieve whatever goals he has.John Phillip Law makes a dashing Sinbad, Caroline Munro is the briefly clad heroine and Tom Baker makes a menacing enough villain who often steals the scenes he's in. But the real scene-stealer in this case are Ray Harryhausen's special effects creatures, particularly the six-armed statue that comes to life. All of the stop animation is amazingly well done for the time.Only drawbacks are the lack of humor to keep the story moving with a lighter touch here and there. The music by Miklos Rozsa is fitting and the color photography is gorgeous to behold in the outdoor scenes. Many of the indoor scenes take place in dark caves which only emphasizes the dark nature of much of the story. But as with "Harry Potter," kids seem to love dismal darkness as well as the brighter aspects for their fantasies. Here there's a mixture of both.Well worth watching for escapist fantasy entertainment.

Robert J. Maxwell This story is based on The Thousand and One Arabian Nights and on the imaginations of Brian Clemens and special effects artist Ray Harryhausen. The Arabian Nights were a Medieval collection of stories in the Middle East that borrowed from all kinds of sources -- Persian, Greek, Indian -- and they all established a certain undeniable atmosphere.You have to hand it to the Medieval Middle Easterners. The stories are full of magic, adventure, mystery, and beauty. Jasmine is mentioned often. It is sometimes used as a girl's name. It was the name of Rita Hayworth's daughter by Aga Kahn, and there is, or was, Yasmin Bleeth. I don't know who else has grown jasmine but there is no other scent like it. But the Arabian Nights evokes all kinds of perfumes, as well as melons, turbans, bloused pantaloons tucked into boots, sandals, pomegranates, and monsters. It's an entire iconic universe.Then there is the Wisdom Of The East as reflected in the dialog of this fantasy. "He who walks on fire will burn his feet." And "A live dog is better than a dead lion." And "Always trust in Allah, but tie up your camel." The writers omitted one passage from Richard Burton's translation that's puzzled me for years: "Her navel was so capacious that it could easily contain an ounce of ointment." Anyway, Sinbad comes into possession of part of a small golden charm which, when fitted together with two others, will give him "absolute power". He sets off in pursuit of the other two pieces, not recognizing the danger of absolute corruption. He's pursued by an evil prince who can make statues come to life and do his bidding, and he runs into a couple of Harryhausen's creations. The most effective monstrosity, I thought, was the figurehead on Sinbad's ship. The wood suddenly acquires life and tears itself away from its wooden prison to fight Sinbad and the crew. It moves slowly, wears a puzzled expression, and creaks and groans with every motion, rather like Dolph Lundgren trying to act.Mention should be made of this young woman Sinbad picks up along the way, the delicious and hypermastic Caroline Munro. She doesn't have much to do. She's given only a dozen lines at the beginning and the end. She spends most of her on-screen time cowering against walls, wearing an expression of distress. Sometimes her expression changes to one of disgust, as if someone had just offered her a jellyfish to hold. Her chief job seems to be following Sinbad and her bosom around from place to place.Harryhausen's effects always have an appealing fey quality, but here they seem a little crude. A bat-like creature spies on the hero and his body resembles that of the Ymir in "Twenty Million Miles to Earth." When an organic creature is killed, it often quivers realistically, which gives me the creeps. One of the inorganic creations is a direct copy of the famous Hindu dancing Shiva or Nataraja statue, here called "Kali" because everyone knows the evil Kali from "Gunga Din." Most of the creatures have a garish color. The little bat, for instance, is a sort of magenta. I wonder if Harryhausen's best days weren't behind him by this time.It's not an insulting movie, and these days that's saying a lot, but it seems mainly for kids or for moments in your life when you're looking for entertainment that's less than challenging.Does Sinbad get the crown that brings absolute power? Does he give it away because he enjoys his freedom and doesn't want the responsibility that kingship would bring? Does he get the girl? Is she bursting out of her bodice with love for Sinbad? Are we kidding?

TheLittleSongbird By all means this is not my favourite Sinbad movie, that is the family favourite that is The 7th Voyage of Sinbad, but I still really like this movie. The ending isn't quite as strong as the majority of the film, in fact the last twenty five minutes or so meander slightly, but it is certainly isn't terrible either. The Golden Voyage of Sinbad is still a delight to watch, especially visually. The story is exciting enough, the screenplay has some nice elements to it, the direction is fine and the score by the legendary Miklos Rosza compliments the film beautifully. The acting isn't that bad really. John Phillip Law is likable enough in the lead, and Caroline Munro is incredibly beautiful. Tom Baker is a joy to behold as a somewhat campy villain(even so it works!), while Douglas Wilmer is good as the Vizier. The cinematography is skillful, and the scenery is splendid. What steals the film though are the fantastic special effects by Ray Harryhousen. They all look wonderful and meticulous after all this time. My favourites are the walking figurehead, the hideous centaur and the multi-armed statue. Overall, delightful film, well worth watching for the special effects alone. 9/10 Bethany Cox