Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

AutCuddly Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

mark.waltz The ribbon is tied on the large cake celebrating MGM's upcoming 70th Anniversary when this came out. It is amazing that it has been 20 years since the fourth installment in MGM's salute to their glorious past came out and all but a few of these great stars are now gone. Gene Kelly is the groom on the wedding cake, having appeared in all four films, and looking dashing as the veteran older statesman of the golden years of the MGM musical. Mickey Rooney is like the wacky uncle of the family, filled with great stories, yet sometimes sentimental and sad. Toss in the most glorious group of "Auntie Mame" types you could have in your old movie family: June Allyson, Ann Miller, Lena Horne and Debbie Reynolds, with "little sister" Liza Minnelli representing the younger line of Hollywood royalty.The glorious aspect of "That's Entertainment III" is the inclusion of some extremely obscure clips, as well as out-takes of musical numbers which didn't make it into the final print. Audiences who have clamored to see some of Judy Garland's cut numbers from "Easter Parade" and "The Harvey Girls", as well as her uncompleted version of "Annie Get Your Gun!" need look no further. They are all there, and for me, the delight was "March of the Doagies", a big number from "The Harvey Girls" that seems a shame to have lost. "How long is too long?", Angela Lansbury once asked audiences after seeing a clip cut out of "The Wizard of Oz", so you wonder what made the editors make that decision to snip out such a huge moment that a lot of people worked hard to get on-screen, only to have it disappear from view.Fun-filled and nostalgic, this came out just as Turner Classic Movies was taking off, and home video audiences clamored for more of old Hollywood. At this time, I was working at a huge video store in Los Angeles where classic movies were the specialty, and our customers began asking for "More! More! More!". It was a great feeling to share the new releases coming out (particularly from Turner Home Entertainment) with them and hearing their usually satisfied responses upon their return. To mention the name of one of the title songs from one of the movies utilized, this was really one terrific "Hollywood Party".

MartinHafer I was rather dubious about watching "That's Entertainment! III". After all, there were two previous films in the series and you wonder how much more is worth seeing. After all, the best singing and dancing scenes MGM made were in the first two films--so why watch this one too?! Well, there IS a good reason! Instead of showing just having old stars introducing the typical clips of old musicals, the Turner Entertainment folks did some REAL digging and brought out many, many clips that you never could have seen! They found alternate versions of dance numbers, film showing the sets being moved while Eleanor Powell danced and many numbers that never made the final cut--but were still very good song and dance numbers. Because it's a treasure chest of hidden material, it is a must-see for lovers of the genre. Others might not be so impressed...especially if they are the sorts who are unfamiliar with classic Hollywood films and have the mistaken belief that the only good films are newer ones.By the way, of all the clips I saw, the one I enjoyed the most was by some of the most obscure folks. The Ross Sisters did the most amazing dance number--and when you see it, you'll understand what I mean!

Marco The movies highlighted in all 3 That's Entertainment! films makes you feel a bit sad. Sad that the world has lost so much innocence so quickly. The difference between the great MGM musicals and the effects-filled action films of today is incredible - and the last MGM musical was only made 49 years ago. And what a difference that 49 years has made! This instalment of the That's Entertainment! series is very interesting from an historical perspective. We see many deleted dance sequences, and a few behind-the-scenes views of great numbers. It was very nice to have Leena Horne featured so much as well, and her candid comments about Hollywood's attitude to her as a black performer was very moving. And its always pure joy to watch Fred Astaire doing what he does best - showing us all he was the greatest dancer who will ever live.All-in-all, this film is a terrific addition to the That's Entertainment! series, and a film all movie buffs and movie historians must see. I don't think its as good as TE! 1, but its much better than TE! 2.

petershelleyau Part 3 of the Ted Turner compilation of MGM footage and in celebration of the studio's 70th anniversary (thus the Overture, one gathers), this documentary written and directed by Bud Friedgen and Michael J Sheridan, and hosted by various surviving contract players is notable mostly for the out-takes and alternate takes of musical comedy numbers. That MGM was required to release one film a year and that they had no competition from television at their height, is still no excuse for the mediocrity that blights a lot of the historical footage here. It's hard to ridicule vaudeville and novelty acts like the athletic Ross Sisters, who tumble erotically as one joined mass, when the alternative are people as limited as Eleanor Powell, Esther Williams, and June Allyson. One questions the reason given for the unfinished March of Time, begun in 1930, as audience interest in technicolor musicals had fallen, though the editors goof when they supply a montage of black and white "Hollywood Parties" of the period and include Garbo in Two Faced Woman. The use of split screen to show alternate takes works best with Fred Astaire using identical choreography for Dancin' Man from Belle of New York. The footage of stage hands taking the set apart to allow the camera to move and follow Eleanor Powell dancing Fascinatin' Rhythm from Lady Be Good is done in too long a shot for us to make a comparison with Powell's closer shot. The choices between Cyd Charisse in The Band Wagon and Joan Crawford in Torch Song both dubbed to India Adams singing Two Faced Woman, and the alternate takes of Debbie Reynolds doing A Lady Loves from I Love Melvin, both reveal awful numbers, though Crawford's "tropical" makeup and disposal of her wig a la Julie Andrews in Victor/Victoria has camp appeal. Ava Gardner's own vocal of Can't Help Lovin' Dat Man from Showboat is preferable to the generic dubbed Annette Warren vocal, even if Lena Horne sours the idea of Gardner's casting by telling us the Production Code of the time banned interracial romances. Horne had performed the number in Till the Clouds Go By, but had been passed over for the film. She scores some unintentional laughs by not be able to match her younger vocal of Where or When from Words and Music, and practically falling over the musicians chairs in the recording stage, though her Aint it the Truth cut from Cabin in the Sky sees her naked (supposedly) in a bathtub, which the Production Code also objected to as being too riske. The credits are removed from the opening of The Barkleys of Broadway so we can see the Astaire and Ginger Rogers dancing The Swing Trot, even if Rogers looks uncomfortable and looking at her feet. Remember Barkleys had been planned to re-match Astaire and Judy Garland after Easter Parade, but Garland was too exhausted and subsequently replaced. However we see her Mr Monotony number cut from Easter Parade, which pre-figures the same outfit she would wear for Get Happy in Summer Stock, with Mr Monotony featuring an extreme close-up of Garland, surprising when MGM musicals never went for this kind of intimacy. We also get Garland's cut March of the Doagies from The Harvey Girls, and an edited version with cut-aways of her I'm an Indian Too from her aborted Annie Get Your Gun.