"In the twilight of the 20th century, here is a comedy to reassure us that there is hope — that the world we see around us represents progress, not decay. Pleasantville, which is one of the year's best and most original films, sneaks up on us. It begins by kidding those old black-and-white sitcoms like Father Knows Best, it continues by pretending to be a sitcom itself, and it ends as a social commentary of surprising power."

"Though writer/director Gary Ross works in some heavy-handed strokes, his portrait of stodgy Eisenhower America dazzles with some of the loveliest imagery of any 1990s film."

"Pleasantville is one of the year's delights. It flies off the screen with a freshness and wonder that tickle you with the though that film itself is reborn, not just the characters in Gary Ross's allegorical fairy tale. The device Ross uses as springboard on behalf of passion and intensity — and the antinostalgic belief that you can't go back, only forward, is simply brilliant and brilliantly simple."

"The wonder or this film, its grand feat, is to recast the nostalgic and imperturbably pleasant black-and-white landscape of Pleasantville as in need of a strong dose of our violent, endangered, live-and-in-color, three-dimensional world. The film identifies as repressive (and ultimately dangerous) the "false front" of Pleasantville as it contrasts with the emotional untidiness of "real life." By the end, instead of continuing to hope his actual family becomes like the one on Pleasantville, the brother models the no longer idealized Pleasantville on "real life.""

"Every now and then, a movie comes along that does the motion picture industry proud. … What seems at first to be a gently satiric nostalgia piece gradually turns serious when the twins introduce spontaneity and a dose of 90′s reality to Pleasantville’s pre-programmed denizens. This reality virus, manifesting as color, gradually spreads through the town. While this awakening adds color, knowledge and diversity to their previously rote existence, the unprepared citizens must also come to grips with such decidedly unpleasant scourges as intolerance, violence and racism. When that once-charming black and white 1950′s Main Street view transforms into B&W newsreel-like footage of a book burning, hatred-spewing mob chanting “No Coloreds,” the film certainly tempers our nostalgia – and cleverly fires its warning shots right across our bow. Sure times are tough in the 90′s, but it ain’t all bad and the “good old days” weren’t always all that good. This is an exquisite, timely film. It’s nice to know that occasionally, even Hollywood does something right."

"Pleasantville is a morality tale concerning the values of contemporary suburban America by holding that social landscape up against both the Utopian and the dystopian visions of suburbia that emerged in the 1950s."

"Reliable TV Repair · We'll fix you for good."

"Pleasantville — It's Just Around the Corner."

"Nothing is as simple as Black and White."

"Words are flowing out like endless rain into a paper cup, They slither while they pass, they slip away across the universe. Pools of sorrow waves of joy are drifting through my open mind, Possessing and caressing me. Jai Guru Deva Om. Nothing's gonna change my world."

"At last My love has come along My lonely days are over And life is like a song."

"Where am I going to see colors like that? Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are."

"People, people.... I think we all know what's going on here. Up until now everything around here has been, well, pleasant. Recently certain things have become unpleasant. It seems to me that the first thing we have to do is to separate out the things that are pleasant from the things that are unpleasant."

"Look, you can't always like what you do. Sometimes you just do it because it's your job. And even if you don't like it, you just gotta do it anyway."

"Dana Carvey - Garth Algar"

"Alice Cooper with Pete Friesen, Derek Sherinian, Stef Burns, and Jimmy DeGrasso as themselves"

"Robert Patrick - T-1000"

"Chaz Healy - Concert-goer"

"Carmen Filpi - Old Man Withers"

"Charles Noland - Ron Paxton"

"Mike Myers - Wayne Campbell"

"Robin Ruzman - a waitress"

"Ione Skye - Elyse"

"Donna Dixon - Garth's dream woman"

"Frederick Coffin - Officer Koharski"

"Mike Hagerty - Davy"

"Ed O'Neill - Glen"

"Frank DiLeo - rock promoter Frankie "Mr. Big" Sharp"

"Meat Loaf - Tiny"

"Chris Farley - the well-informed security guard"

"Kurt Fuller - Russell Finley"

"Let me bring you up to speed. My name is Wayne Campbell. I live in Aurora, Illinois, which is a suburb of Chicago — excellent. I've had plenty of joe-jobs; nothing I'd call a career. Let me put it this way: I have an extensive collection of nametags and hairnets. OK, so I still live with my parents, which I admit is both bogus and sad. But at least I have an amazing cable access show! And I still know how to party! But what I'd really love is to do "Wayne's World" for a living. It might happen! Sh'yeah! And monkeys might fly outta' my butt! Ah, the MirthMobile..."

"Colleen Camp - Mimi Vanderhoff"

"Brian Doyle-Murray - Noah Vanderhoff"

"Sean Gregory Sullivan - Phil, Wayne and Garth's perpetually wasted friend"

"Dan Bell - Neil"

"Lee Tergeson - Terry"

"Michael DeLuise - Alan"

"Lara Flynn Boyle - Stacy"

"Rob Lowe - Benjamin Kane"

"Tia Carrere - Cassandra Wong"