Product Description

Bill Parrish (Anthony Hopkins) has it all - success, wealth and power. Days before his 65th birthday, he receives a visit from a mysterious stranger, Joe Black (Brad Pitt), who soon reveals himself as Death. In exchange for extra time, Bill agrees to serve as Joe's earthly guide. But will he regret his choice when Joe unexpectedly falls in love with Bill's beautiful daughter Susan (Claire Forlani).

Product Details

• Amazon Sales Rank: #4847 in DVD
• Brand: Universal Studios
• Released on: 2007-11-16
• Rating: PG-13 (Parental Guidance Suggested)
• Aspect ratio: 1.85:1
• Formats: Widescreen, Closed-captioned, Color, Dolby
• Original language: English, French
• Subtitled in: English
• Number of discs: 1
• Running time: 178 minutes

Amazon.com essential video
Meet Joe Black seemed almost fated to fail when it was released in 1998, but this romantic fantasy--a remake of 1934's Death Takes a Holiday--deserves a chance at life after box-office death. Although many moviegoers were turned off by director Martin Brest's overindulgent three-hour running time, those who gear into its deliberate pace will find that Meet Joe Black offers ample reward for your attention.

Brad Pitt plays Death with a capital D, enjoying some time on Earth by inhabiting the body of a young man who'd been killed in a shockingly sudden pedestrian-auto impact. Before long, Death has ingratiated himself with a wealthy industrialist (Anthony Hopkins) and pursues romance with the man's beautiful daughter (newcomer Claire Forlani), whom he'd briefly encountered while still an earthbound human. Under the assumed identity of "Joe Black," he samples all the pleasures that corporeal life has to offer--power, romance, sex, and such enticing pleasures as peanut butter by the spoonful.

But Death has a job to do, and Meet Joe Black addresses the heart-wrenching dilemma that arises when either father or daughter (the plot keeps us guessing) must confront his or her inevitable demise. The film takes its own sweet time to establish this emotional crisis and the love that binds Hopkins's semidysfunctional family so closely together. But if you've stuck with the story this far, you may find yourself surprisingly affected. And if Meet Joe Black has really won you over, you'll more than appreciate the care and affection that gives the film a depth and richness that so many critics chose to ignore. --Jeff Shannon

Amazon.com
Meet Joe Black seemed almost fated to fail when it was released in 1998, but this romantic fantasy--a remake of 1934's Death Takes a Holiday--deserves a chance at life after box-office death. Although many moviegoers were turned off by director Martin Brest's overindulgent three-hour running time, those who gear into its deliberate pace will find that Meet Joe Black offers ample reward for your attention. Brad Pitt plays Death with a capital D, enjoying some time on Earth by inhabiting the body of a young man who'd been killed in a shockingly sudden pedestrian-auto impact. Before long, Death has ingratiated himself with a wealthy industrialist (Anthony Hopkins) and pursues romance with the man's beautiful daughter (newcomer Claire Forlani), whom he'd briefly encountered while still an earthbound human. Under the assumed identity of "Joe Black," he samples all the pleasures that corporeal life has to offer--power, romance, sex, and such enticing pleasures as peanut butter by the spoonful. But Death has a job to do, and Meet Joe Black addresses the heart-wrenching dilemma that arises when either father or daughter (the plot keeps us guessing) must confront his or her inevitable demise. The film takes its own sweet time to establish this emotional crisis and the love that binds Hopkins's semidysfunctional family so closely together. But if you've stuck with the story this far, you may find yourself surprisingly affected. And if Meet Joe Black has really won you over, you'll more than appreciate the care and affection that gives the film a depth and richness that so many critics chose to ignore. --Jeff Shannon

From The New Yorker
Martin Brest's new weepie is a loose rehash of Mitchell Leisen's 1934 "Death Takes a Holiday." Leisen brought his work in at less than ninety minutes; Brest has time to kill, and after three hours of emotional splurge he can hardly bear to tear himself away. Anthony Hopkins plays a media tycoon with a heart, which is in itself a difficult concept to grapple with; Claire Forlani plays his daughter, who is engaged to a dork in a good suit. She hopes for something better, and along it comes in the shape of Brad Pitt. He has the misfortune to die shortly afterward, but you can't have everything. Death then assumes Brad's body, and, taking the name Joe Black, arrives to claim the tycoon's soul and woo his daughter all over again. There are many unanswered questions here (why, for instance, does Pitt's Grim Reaper seem semi-retarded?), not to mention unintended spasms of comedy; in the end, however, they all get swallowed up in the mush. -Anthony Lane
Copyright © 2006 The New Yorker

Customer Reviews

Subtle...like a feather from Heaven
I'm not a Brad Pitt fan. His physical attributes don't astound and thrill me! But, I've got to give it to him: He was convincing in his dual roles as the coffee shop sweetie and Mr. Death. Claire Forlani, whom I've never seen in a film before was simply luminous. She's the perfect Susan in this parable of one man's last days on earth. Anthony Hopkins as Bill Parrish is remarkable, as always. He truly makes you feel as though he's a man with little time left and has to spend the rest of his alloted time cleaning up his act, making amends with his loved ones, assuring his daughters that he loves them and has always loved them. Also, Marcia Gay Hardin and Jeffrey Tambor are both extremely good as the number two daughter (in her father's heart) and her slightly inept (business wise) husband. They're both touching. I wasn't put off by the length of the film. I think we should take the time to savor some things in life. Slow down, relax and enjoy this beautiful offering from Martin Brest. You did a good job, Marty!

Anthony Hopkin's Oscar worthy performance
I'll admit that only morbid curiosity led me to watch this movie upon it's initial release. The premise of this remake sounded interesting, but the over the top costs and production problems had been tabloid fodder for months. When it didn't do blockbuster business, not many people were surprised.

It's a shame that this movie didn't do better than mediocre reviews and lukewarm boxoffice receipts. There I sat in the audience marveling at the gorgeous design and antiques, not to mention the exquisite costume design. So many films these days go for established designers, but this movie used a studio designer much like the days of the old Hollywood system. The attention to detail is exquisite.

As for the acting, it all boiled down to one scene for me. Anthony Hopkins describing the first time he'd ever had a lamb sandwich to Brad Pitt. It turns into one of the most beautiful remembrance speeches of a widower for the wife he still grieves. Needless to say even this heartless cynic got a bit misty. To have a man express such love without sounding condescending or corny is quite a feat. It's enough to make you believe in the power of a good actor.

Brad Pitt also deserves kudos for this role. Despite living through a personal hell and sustaining an injury, he does a great job in his double role. I thought the scene in which Death says good bye to Claire Forlani's character was some of his best acting.

A Really Classy Film
This film has something that most flicks today can only dream of: class. It doesn't spoon-feed the plot to you, and it doesn't have useless dialogue crammed into every nook and cranny. Those who say this film drags should stick to children's cartoons. There is so much happening beneath the surface. Some just tune out the gaps in dialogue, and that's a real tragedy, because that's when the most happens, and the film really shines. Pitt, Hopkins, and Forlani are tremendous. Pitt's combination of power and innocence is flawless. This film is the most sophisticated to come out in a while, and the fact that the critics don't like it doesn't phase me one bit, nor does it surprise me. Meet Joe Black is a breath of fresh air: a truly elegant film.