Along with Deconstructing Harry which would follow seven years later, this is Woody Allen's most somber comedy-drama, as well as his most ambitious film of the 1980s. Allen weaves together two central stories about very different groups of Manhattanites, linking them through a mutual friend, a rabbi (Sam Waterston) who's going blind. This image is key to the sometimes ponderous, often clever musings on faith, morals, and vision (or lack thereof) that obsess his deeply troubled and unhappy characters. At its center, the film explores people who, through lack of religious conviction or arrogance, rationalize their awful, selfish acts by presuming that God couldn't possibly be watching. The central story--a neo-noir of sorts--follows a fortuitous ophthalmologist (Martin Landau, all sweat and grimaces) who faces the prospect of his obsessed mistress (Anjelica Huston) ruining his life by telling his family of their affair. Desperate, the doctor hires his slimy criminal brother (Jerry Orbach) to eliminate the situation, and then suffers overwhelming regret afterwards. The flip tale is more typical Allen. Funnier and lighter, it focuses on an impossible romance between Allen's character and Halley Reed, a film producer played by Mia Farrow. Between Allen and his Hollywood fantasy stands his brother-in-law (Alan Alda, perfectly cast as an obnoxious, successful sitcom producer), who also desires Halley. Allen is Landau's opposite: an honest, struggling documentarian who cares nothing about fortune, suffers in a loveless marriage, and is surrounded by triumphant phonies. The nice-guys-finish-last moral may be as contrived as it is devastating. Yet, when Landau and Allen finally share a final scene during a wedding, their faces, subtle body movements, and contrasting fortunes somehow suggest that indeed God may be blind, and if not, the deity has a very sick sense of humor.



Dan Aykroyd Film Reviews:

Coneheads (1993)
Editorial Review
by Alan Smithee at Amazon.com

I was expecting a light comedy but what I got was a whole lot more. Following a similar plot to the Saturday Night Live skit, Coneheads is the story about the Beldar Conehead family who crash on earth during a scouting mission for planet conquest. While here, they dodge the INS, have a child and discover that life on Earth is quite good. This is where the movie shows its heart. It could have been a movie of comedy bits but by the end, it is about happiness in a stable family, which is quite refreshing in these days of depressing movies about divorces and unmarried couples. It is nice to see Beldar be a father figure to his daughter rather than the "Let Your Kids Be Who They Are" mentality of these days. The direction of the film in excellent, setting up many nice visual gags and shots that are very impressive for a comedy film. And at times, the film feels "epic" as you see the family on the run from the INS, to moving to the suburbs to returning to their planet. There are great performances throughout the film and the many cameos are perfect. Look for funny scenes from Jan Hooks, Adam Sandler, Michael Richards, and Garrett Morris. Michelle Burke makes a nice debut as Connie Conehead and I expect to see more of her in the future. On the surface, this seems like a dumb movie and it has received many poor reviews. But if you sit back and let it take you on an adventure (and if you can keep up with the way the Coneheads use different words for common items) you will be pleasantly surprised.



Lauren Bacall Film Reviews:

To Have and Have Not (1945)
Editorial Review
by Tom Keogh at Amazon.com

Yes, it's true: you can virtually see Humphrey Bogart and Lauren Bacall falling for each other in this Howard Hawks variation on Casablanca but adapted from--as legend has it--Ernest Hemingway's self-declared "worst novel." (The story goes that Hawks told Hemingway he could make a movie of the author's least work, and Hemingway gave him the rights to this story.) The script by William Faulkner and Jules Furthman actually makes this one of Hawks's and Bogart's most interesting and often exciting films. Bogart plays a boat captain who reluctantly agrees to help the French Resistance while wooing chanteuse Bacall. Hoagy Carmichael, wry at the piano, adds a delicious accent to an already wonderful mood.



Warren Beatty Film Reviews:

Bugsy (1991)
Editorial Review
by Jeff Shannon at Amazon.com

Bugsy represents an almost miraculous combination of director, writer, and star on a project that represents a career highlight for everyone involved. It's one of the best American gangster movies ever made--as good in its own way as any of the Godfather films--and it's impossible to imagine anyone better than Beatty in the movie's flashy title role. As notorious mobster and Las Vegas visionary "Bugsy" Siegel, Beatty is perfectly cast as a man whose dreams are greater than his ability to realize them--or at least, greater than his ability to stay alive while making those dreams come true. With a glamorous Hollywood mistress (Annette Bening) who shares Bugsy's dream while pursuing her own upwardly mobile agenda, Bugsy seems oblivious to threats when he begins to spend too much of the mob's money on the creation of the Flamingo casino. Meyer Lansky (Ben Kingsley) and Mickey Cohen (Harvey Keitel) will support Bugsy's wild ambition to a point, after which all bets are off, and Bugsy's life hangs in the balance. From the obvious chemistry of Beatty and Bening (who met and later married off-screen) to the sumptuous reproduction of 1940s Hollywood, every detail in this movie feels impeccably right. Beatty is simply mesmerizing as the man who invented Las Vegas but never saw it thrive, moving from infectious idealism to brutal violence in the blink of an eye. Director Barry Levinson is also in peak form here, guiding the stylish story with a subtle balance of admiration and horror; we can catch Bugsy's Vegas fever and root for the gangster's success, but we know he'll get what he deserves. We might wish that Bugsy had lived to see his dream turn into a booming oasis, but the movie doesn't suggest that we should shed any tears.



Yul Brynner Film Reviews:

The King and I (1956)
Editorial Review
by Sam Sutherland at Amazon.com

The third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It's Brynner's proud king that provides the fulcrum to the plot, and it's Brynner himself, with his piercing gaze and graceful physicality, that demands our attention. The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king's formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including "Hello, Young Lovers," "Shall We Dance," and two ensemble pieces for Anna and the royal children ("Getting to Know You" and "I Whistle a Happy Tune") that suggest prototypes for Rodgers & Hammerstein's later hit, The Sound of Music. For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video. But, regardless of format, the glorious music is reason enough to hit "play."



Sandra Bullock Film Reviews:

Demolition Man (1993)
Editorial Review
by Tom Keogh at Amazon.com

Searching for new directions, Sylvester Stallone starred in this farcical, 1993 SF piece about an ex-cop (Stallone) freed from 36 years of forced hibernation to help catch a criminal (Wesley Snipes) who released himself from a similar incarceration. The futuristic story finds Los Angeles a sea of Taco Bells and enforced peace, and within that satiric overview Stallone's character becomes a gun-toting fish out of water. The film plays like a live-action cartoon, and while there is nothing particularly wrong with that, Demolition Man is a rather flat experience. The irony of a peaceable society that both requires and despises its bloody saviors has been captured far more profoundly in movies like Dirty Harry. Sandra Bullock costars. The DVD release has optional full-screen and widescreen presentations, production notes, theatrical trailer, Dolby sound, optional Spanish soundtrack, and optional French and Spanish subtitles.

The Net (1995)
Editorial Review
by Jim Emerson at Amazon.com

The Net, the first of Hollywood's big cyberthrillers of the mid-1990s, was also the most successful, thanks in large part to the natural appeal of star Sandra Bullock. Still riding high from Speed and While You Were Sleeping, Bullock plays a computer expert victimized by sinister cyberforces who steal her identity for reasons unknown. It's a clever combination of high-tech paranoia and Hitchcockian references (including Jeremy Northam as a romantic stranger named Devlin, after Cary Grant in Notorious). Film historians may look back someday on films like this--Roger Ebert calls them "hacksploitation"--to see what they reveal about our society's reaction to the increasing role of technology in our lives, just as we now study the fears of Communism and the atom bomb reflected in films of the 1950s. Dennis Miller and Diane Baker costar.



Nicolas Cage Film Reviews:

Gone in 60 Seconds (2000)
Editorial Review
by Andy Spletzer at Amazon.com

Kip Raines (Giovanni Ribisi) is a cocky young car thief working with a crew to steal 50 cars for a very bad man whose nickname is "The Carpenter." Being young and cocky, Kip messes up, so it's up to his big brother, Randall "Memphis" Raines (Nicolas Cage), to come out of car thief retirement and save him. With a cast that includes Robert Duvall, Angelina Jolie, Delroy Lindo, Cage, and Ribisi, it would be easy to say this story wastes all their talents--which it does, but that's not the point. This is a Jerry Bruckheimer film. A good story and complex characters would only get in the way of the action scenes and slow the movie down. No, Gone in 60 Seconds (based on the cult 1974 film of the same name) is not about the stars as much as it's about cars. Fast cars. Rare cars. Wrecked cars. All cars. Too bad director Dominic Sena (Kalifornia) doesn't come across as more of a gearhead; he seems less interested in fast cars than fast cuts. But is this movie fun? Absolutely, and it's fun because it's so stupid. With pointless car chases and hackneyed dialogue in one of the most predictable plots of the year, Gone in 60 Seconds is a comic film that's not quite a parody of itself, but darn close.



James Coburn Film Reviews:

Payback (1999)
Editorial Review
by a reviewer at Amazon.com

What a straightforward, action-packed flick this was, with no confusing sidebar twists or excess baggage. This is the first film I've seen Gibson portray a character only described as a good-bad guy. This time he has the upperhand (most of the time) and does a bit of the damage control. It's always the real bad guys that get that privelage. Without giving away too much of the film's minor portion of comical slapstick, there is one scene where Gibson's character Porter is repeatedly slapped in the back of the head by one of the movie's shadier characters (this is a funny scene, especially when America remembers a time when Mel was US Magazine's Sexiest Man Alive in the past). His deadpan expressions and deep serious voice let the bad guys know he is not kidding around. Lucy Liu, from Ally McBeal fame, turns in one of the most kinkiest performances without actually using any nudity! She adds quite a sensational spark to the movie. All in all, people should take it for what it is -- a typical action/comedy/drama flick done Mel Gibson style. Mel's antics rate 5 stars and the story rates 3 stars. It was also a real hoot to see some old Hollywood heavyweights, like James Coburn, Kris Kristofferson, and William DeVane, in the cast.



Kevin Costner Film Reviews:

Bull Durham (1988)
Editorial Review
by Rochelle O'Gorman at Amazon.com

Bull Durham is about minor league baseball. It's also about romance, sex, poetry, metaphysics, and talent--though not necessarily in that order. Susan Sarandon plays a loopy lady who just loves America's national pastime--and the men who play it. At the opening of every season, she attaches herself to a promising rookie and guides him through the season. Unfortunately, the player she bestows her favors upon does not really deserve it. She knows it, and veteran Kevin Costner knows it. Her choice, a dim bulb played for laughs by Tim Robbins, is the only one who doesn't know it. The film, directed by its writer, Ron Shelton, a former minor league player, is rich in subtle detail. There are Edith Piaf records playing in the background, fast-talking managers, and minor characters as developed as the leads. Sarandon's retro-'50s outfits make you think she's just another bimbo, not an English teacher very much in control of her life. And Costner's clear-eyed, slightly vitriolic performance is devastatingly sexy and keenly witty. The love scenes, though tasteful, are almost as humorous as they are hot. Sarandon's character likes to tie her players up and expand their horizons by reading Walt Whitman to them, "'cause a guy will listen to anything if he thinks it's foreplay." How can you not love a movie with such a wicked sense of humor?



Billy Crudup Film Reviews:

Almost Famous (2000)
Editorial Review
by Doug Thomas at Amazon.com

Almost Famous is the movie Cameron Crowe was waiting all his life to tell. The fictionalization of Crowe's days as a teenage reporter for Creem and Rolling Stone has all the well-written characters and wonderful "movie moments" that we expect from Crowe (Jerry Maguire), but the film has an intangible something extra--an insider's touch that will turn the film into the ode to '70s rock & roll for years to come. We are introduced to Crowe's alter ego, William Miller (Patrick Fugit), at home, where his progressive mom (Frances McDormand, just superb) has outlawed rock music and sister Anita (Zooey Deschanel) has slipped him LPs that will "set his mind free." Following the wisdom of Creem's disheveled editor, Lester Bangs (Philip Seymour Hoffman in an instant-classic performance), Miller gets on the inside with the up-and-coming band Stillwater (a fictionalized mixture of the Allman Brothers, Led Zeppelin, and others). A simple visit with the band turns into a three-week, life-altering odyssey into the heyday of American rock. Of the characters he meets on the road, the two most important are groupie extraordinaire Penny Lane (Kate Hudson in a star-making performance) and Stillwater's enigmatic lead guitarist (Billy Crudup), who keeps stringing Miller along for an interview. From the handwritten credits (done by Crowe) to the bittersweet finale, Crowe's comedic valentine is an indelible, heartbreaking romance of music, women, and the privilege of youth.



Tom Cruise Film Reviews:

Eyes Wide Shut (1999)
Editorial Review
by Richard T. Jameson at Amazon.com

It was inevitable that Stanley Kubrick's Eyes Wide Shut would be the most misunderstood film of 1999. Kubrick died four months prior to its release, and there was no end to speculation how much he would have tinkered with the picture, changed it, "fixed" it. We'll never know. But even without the haunting enigma of the director's death--and its eerie echo/anticipation in the scene when Dr. Bill Harford (Tom Cruise) visits the deathbed of one of his patients--Eyes Wide Shut would have perplexed and polarized viewers and reviewers. After all, virtually every movie of Kubrick's post-U.S. career had; only 1964's Dr. Strangelove opened to something approaching consensus. Quite apart from the author's tinkering, Kubrick's movies themselves always seemed to change--partly because they changed us, changed the world and the ways we experienced and understood it. And we may expect Eyes Wide Shut to do the same. Unlike Kubrick himself, it has time. So consider, as we settle in to live with this long, advisedly slow, mesmerizing film, how challenging and ambiguous its narrative strategy is. The source is an Arthur Schnitzler novella titled Traumnovelle (or "Dream Story"), and it's a moot question how much of Eyes Wide Shut itself is dream, from the blue shadows frosting the Harfords' bedroom to the backstage replica of New York's Greenwich Village that Kubrick built in England. Its major movement is an imaginative night-journey (even the daylight parts of it) taken by a man reeling from his wife's teasing confession of fantasized infidelity, and toward the end there is a token gesture of the couple waking to reality and, perhaps, a new, chastened maturity. Yet on some level--visually, psychologically, logically--every scene shimmers with unreality. Is everything in the movie a dream? And if so, who is dreaming it at any given moment, and why? Don't settle for easy answers. Kubrick's ultimate odyssey beckons. And now the dream is yours.



John Cusack Film Reviews:

Identity (2003)
Editorial Review
by Jeff Shannon at Amazon.com

With an ace up its sleeve, Identity does for schizophrenia what The Silence of the Lambs did for fava beans and a nice chianti. On the proverbial dark and stormy night, this anxiety-laced thriller offers a tasty blend of And Then There Were None and Psycho, with a dash of Sybil for extra spice and psychosis. Things go from bad to worse when 10 unrelated travelers converge at an isolated motel and proceed to die, one by one, with no apparent connection... until they discover the common detail that's drawn them into this nightmare of relentless trauma. Even as it flunks Abnormal Psychology 101, Michael Cooney's screenplay offers meaty material for a superior ensemble cast including John Cusack and Rebecca DeMornay (who wins the Janet Leigh prize in a bitchy comeback role). Director James Mangold pivots the action around one character (played by his Heavy star, Pruitt Taylor Vince, in eye-twitching cuckoo mode), and half the fun of Identity comes from deciphering who's who, what's what, and who'll be the next to die.

Say Anything (1989)
Editorial Review
by Jeff Shannon at Amazon.com

Seven years after he earned his first screen credit as the writer of Fast Times at Ridgemont High, former Rolling Stone writer Cameron Crowe made his directorial debut with this acclaimed romantic comedy starring John Cusack and Ione Skye as unlikely lovers on the cusp of adulthood. The casting is perfect, and Crowe's rookie direction is appropriately unobtrusive, no doubt influenced by his actor-loving, Oscar®-winning mentor, James L. Brooks. But the real strength of Crowe's work is his exceptional writing, his timely grasp of contemporary rhythms and language (he's frequently called "the voice of a generation"), and the rich humor and depth of his fully developed characters. In Say Anything... Cusack and Skye play recent high school graduates enjoying one final summer before leaping into a lifetime of adult responsibilities. Lloyd (Cusack) is an aspiring kickboxer with no definite plans; Diane (Skye) is a valedictorian with intentions to further her education in Europe. Together they find unlikely bliss, but there's also turbulence when Diane's father (John Mahoney)--who only wants what's best for his daughter--is charged with fraud and tax evasion. Favoring strong performances over obtrusive visual style, Crowe focuses on his unique characters and the ambitions and fears that define them; the movie's a treasure trove of quiet, often humorous revelations of personality. Lili Taylor and Eric Stoltz score high marks for memorable supporting roles, and Cusack's own sister Joan is perfect in scenes with her onscreen and offscreen brother. A rare romantic comedy that's as funny as it is dramatically honest, Say Anything... marked the arrival of a gifted writer-director who followed up with the underrated Singles before scoring his first box-office smash with Jerry Maguire.



James Dean Film Reviews:

Rebel Without a Cause (1955)
Editorial Review
by Robert Horton at Amazon.com

When people think of James Dean, they probably think first of the troubled teen from Rebel Without a Cause: nervous, volatile, soulful, a kid lost in a world that does not understand him. Made between his only other starring roles, in East of Eden and Giant, Rebel sums up the jangly, alienated image of Dean, but also happens to be one of the key films of the 1950s. Director Nicholas Ray takes a strikingly sympathetic look at the teenagers standing outside the white-picket-fence '50s dream of America: juvenile delinquent (that's what they called them then) Jim Stark (Dean), fast girl Judy (Natalie Wood), lost boy Plato (Sal Mineo), slick hot-rodder Buzz (Corey Allen). At the time, it was unusual for a movie to endorse the point of view of teenagers, but Ray and screenwriter Stewart Stern captured the youthful angst that was erupting at the same time in rock & roll. Dean is heartbreaking, following the method acting style of Marlon Brando but staking out a nakedly emotional honesty of his own. Going too fast, in every way, he was killed in a car crash on September 30, 1955, a month before Rebel opened. He was no longer an actor, but an icon, and Rebel is a lasting monument.



Michael Douglas Film Reviews:

Wall Street (1987)
Editorial Review
by Jeff Shannon at Amazon.com

Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, Wall Street grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul.



Kirsten Dunst Film Reviews:



Bring It On (2000)
Editorial Review
by Mark Englehart at Amazon.com

Sunny, happy Torrance (Kirsten Dunst) is the new leader of the Toros, the cheerleading squad of Rancho Carne, an affluent San Diego high school that has lousy football players but one hell of a cheerleading team. National champions, they're the ones who bring in the bodies to the football games with their award-winning moves and sassy grace, and they're poised to take their sixth national cheer title. Torrance's new reign as cheer queen, though, is cut short when she discovers that her snotty, duplicitous forerunner was regularly stealing routines from the East Compton Clovers, the hip-hop influenced cheerleaders of a poor inner city school, and passing them off as the original work of the Toros. Scrambling to come up with a new routine for the Toros--and do the right thing by giving the Clovers their due--Torrance butts heads with the proud and understandably wary Isis (Gabrielle Union), the leader of the Clovers, who wants nothing to do with a rich blond white girl, but does want to get her squad to the championships. Problem is, only one team can take home the national title. Who's it gonna be? An unexpected box-office hit in the late summer of 2000, Bring It On is a smart, snappy teen comedy that bristles with good cheer (literally) and lively, down-to-earth characters. The story may be fairly predictable (who's going to win the big championship?), but director Peyton Reed and screenwriter Jessica Bendinger have fleshed out their characters with formidable strength and provided them with sharp dialogue. Dunst is a radiant comedian, projecting warmth, determination, sincerity, and a sublime airheadedness, and Union is an impressive dancer and counterpart to Dunst, matching her admirably despite her limited onscreen time. An excellent young supporting cast rounds out the film, most notably Eliza Dushku (Faith of Buffy the Vampire Slayer) and Jesse Bradford (Steven Soderbergh's King of the Hill) as siblings new to Rancho Carne, who become Torrance's best friend and potential new boyfriend, respectively. All in all, a pleasantly surprising and intelligent teen movie. Don't miss the opening sequence, a hilarious send-up of all those high school cheerleading routines you had to sit through at boring pep rallies.



Edie Falco Film Reviews:

Sunshine State (2002)
Editorial Review
by Ali Davis at Amazon.com

Writer-director John Sayles weaves together the beauty, grime, and history of Florida in Sunshine State. The rumbling approach of real estate developers on a sleepy island sets the leisurely paced plot in motion. Sayles takes his time introducing his characters, gradually revealing how their lives intertwine, and, as always, teases magnificent performances out of his actors. Edie Falco is quietly brilliant as Marly, running an old-guard motel as progress marches on, and regarding the men in her life with a wry practicality. Mary Steenburgen gifts a small role with marvelous, spoiled humanity in a deft comic turn, and Angela Bassett slowly unfurls her character's depth with the elegance of a true pro. Sunshine State is a simple story, but never clichéd, possessing a glow worth basking in.



Sally Field Film Reviews:

Homeward Bound - The Incredible Journey (1993)
Editorial Review
by Jeff Shannon at Amazon.com

Walt Disney studios had previously adapted Sheila Burnford's classic animal-adventure novel The Incredible Journey in 1963, and the story proves just as durable in this popular 1993 version, in which the heroic trio of animals are given voices provided by Don Ameche, Michael J. Fox, and Sally Field. They don't actually speak (like the clever critters in Babe), but we hear their "voices" as the lost household pets--Shadow the golden retriever, Chance the bulldog, and Sassy the cat--survive a harrowing series of adventures as they struggle to find their way home. Perfect entertainment for kids, this frequently clever movie offers an abundance of wildlife and beautiful location scenery, and the vocal performances by Ameche, Fox, and Field are surprisingly effective. A hit with parents and children alike, the film was followed by a sequel in 1996.



W. C. Fields Film Reviews:

Tillie and Gus (1933)
Editorial Review
by Alan Smithee at Amazon.com

Alison Skipworth and W.C. Fields play Tillie and Augustus Winterbottom, a husband-and-wife team of con artists. The larcenous couple is summoned to a small town by their niece (Jacqueline Wells) and her husband (Clifford Jones) when the niece's father dies. Hoping for a sizeable inheritance, Tillie and Gus discover that the legacy consists of one rundown ferry boat. W. C. Fields is fabulous. His artistic comedy has never been richer or more nuanced. After you see this film you'll understand why he's considered a genius.



Kathleen Freeman Film Reviews:

Dragnet (1987)
Editorial Review
by Grant Balfour at Amazon.com

The line between parody and tribute can be hard to draw, but any marginally hip baby boomer who ever watched Jack Webb's straight-laced Detective Joe Friday caught a glimmer of the comedic vein waiting to be mined beneath Dragnet's gritty Los Angeles streets. In 1987 moviegoers had yet to be crushed under the weight of the 1990s TV remake mania, and Dragnet comes off as fresh and funny. Dan Aykroyd plays Joe Friday, the straight-arrow nephew of Webb's iconic cop. This part was made for him (in fact, he's given top writing credit), and under his steely exterior you can tell he's having a ball delivering those rapid-fire recitations of regulations and deadpan expressions of moral outrage. Tom Hanks plays Pep Streebek, the laissez-faire narco agent who is Friday's new partner. Their assignment: bust the Pagans, a wild-and-woolly gang of dope fiends, deadbeats, and beatniks behind a bewildering array of bizarre robberies. Hilarity ensues. Friday and Streebek outfox a corrupt televangelist (Christopher Plummer), bicker over chili dogs and cigarettes, alternately revile and fawn over a porn millionaire (Dabney Coleman), wrestle a 30-foot-long anaconda, and rescue the virgin Connie Swail--the only girl capable of stealing Friday's heart.



Greta Garbo Film Reviews:

Grand Hotel (1931)
Editorial Review
by Ali Davis at Amazon.com

This Academy Award winner for Best Picture is a sweeping soap opera about the guests at the Grand Hotel. Several plots intertwine, but mostly it's about Stars! Stars! Stars! Greta Garbo, Joan Crawford, Wallace Beery, and both Barrymore brothers head up the cast. Garbo is luminous as Grusinskaya, the neurotic and famous-but-slipping dancer and, yes, she "vonts to be alone." John Barrymore is a cat burglar with blue blood and a heart of gold, and Lionel Barrymore happily caroms off him as Mr. Kringelein, a dying man who wants to live out the time he has left with the rich. Joan Crawford is perhaps the biggest surprise of the movie: as Flaemmchen, a young career girl trying to decide between secretary and tart, she is uncharacteristically funny, vivacious, and downright bubbly. Along the way we discover that money, fame, and titles don't guarantee happiness, and being a jewel thief doesn't necessarily make you a bad person. The nicest touch is the hint that other, minor plots swirl around the edges of the film, suggesting that we've only seen a small chapter of the hotel's story. Grand Hotel is a great deal of fun and an excellent chance to see some famous faces in their prime.



Richard Gere Film Reviews:

An Officer and a Gentleman (1982)
Editorial Review
by Tom Keogh at Amazon.com

Richard Gere plays an enrollee at a Naval officers candidate school, and Debra Winger is the woman who wants him. That's pretty much it, story-wise, in this romantic drama, which is more effective in a moment-to-moment, scene-by-scene way, where the two stars and Oscar-winner Louis Gossett Jr.--as Gere's tough-as-nails drill instructor--are fun to watch. Sexy, syrupy, with occasional pitches of high drama (Gere having a near-breakdown during training is pretty strong), An Officer and a Gentleman proves to be a no-brainer date movie.



Mel Gibson Film Reviews:

Braveheart (1995)
Editorial Review
by Tom Keogh at Amazon.com

Mel Gibson's Oscar-winning 1995 Braveheart is an impassioned epic about William Wallace, the 13th-century Scottish leader of a popular revolt against England's tyrannical Edward I (Patrick McGoohan). Gibson cannily plays Wallace as a man trying to stay out of history's way until events force his hand, an attribute that instantly resonates with several of the actor's best-known roles, especially Mad Max. The subsequent camaraderie and courage Wallace shares in the field with fellow warriors is pure enough and inspiring enough to bring envy to a viewer, and even as things go wrong for Wallace in the second half, the film does not easily cave in to a somber tone. One of the most impressive elements is the originality with which Gibson films battle scenes, featuring hundreds of extras wielding medieval weapons. After Eisenstein's Alexander Nevsky, Orson Welles's Chimes at Midnight, and even Kenneth Branagh's Henry V, you might think there is little new that could be done in creating scenes of ancient combat; yet Gibson does it.



Whoopi Goldberg Film Reviews:

Ghost (1990)
Editorial Review
by Tom Keogh at Amazon.com

Demi Moore and Patrick Swayze are the passionate lovers whose romance is undone when the latter is murdered during a bungled hit arranged by a rival. The clever concept by screenwriter Bruce Joel Rubin (director of My Life) extends outward into comedy (Swayze's character communicates through a sassy medium played by Whoopi Goldberg, who won an Oscar for this role), horror (the afterlife is populated by hell-bound demons and the like), and romantic complications (a handsome suitor, played by Tony Goldwyn, comes on to Moore while Swayze's spirit is still hanging around). Directed by Jerry Zucker, previously best known for codirecting Airplane! and similar broad comedies, Ghost is a careful balancing act of strong commercial elements, but at heart it is a timeless Hollywood tearjerker that easily gets under one's skin.



Melanie Griffith Film Reviews:

Working Girl (1988)
Editorial Review
by Tom Keogh at Amazon.com

Melanie Griffith had a fling with stardom in this Mike Nichols comedy about an executive secretary (Griffith) who can't get her deserved shot at upward mobility in the brokerage industry. Hardly taken seriously by male bosses, things aren't really any better for her once she starts working for a female exec (Sigourney Weaver, never more delightful), a narcissist with a boy-toy banker (Harrison Ford) and a tendency to steal the best ideas from her underlings. When Weaver's character is laid up with a broken leg, Griffith poses as a replacement wheeler-dealer, flirting with Ford and working on a new client who doesn't suspect the deception. Nichols brings a lot of snap and sass to Kevin Wade's smart script about chafing against class restrictions and perceptions. Sundry scenes are played quite charmingly, especially those of Griffith and Ford's mutual pickup in a bar and Joan Cusack's championing of Griffith's crusade. Nominated for Best Picture, Director, Actress (Griffith), and two Supporting Actress awards (Weaver, Cusack); Carly Simon's song "Let the River Run" won the Oscar.



Tom Hanks Film Reviews:

Apollo 13 (1995)
Editorial Review
by Jeff Shannon at Amazon.com

NASA's worst nightmare turned into one of the space agency's most heroic moments in 1970, when the Apollo 13 crew was forced to hobble home in a disabled capsule after an explosion seriously damaged the moon-bound spacecraft. Tom Hanks, Kevin Bacon, and Bill Paxton play (respectively) astronauts Jim Lovell, Jack Swigert, and Fred Haise in director Ron Howard's intense, painstakingly authentic docudrama. The Apollo 13 crew and Houston-based mission controllers race against time and heavy odds to return the damaged spacecraft safely to Earth from a distance of 205,500 miles. Using state-of-the-art special effects and ingenious filmmaking techniques, Howard and his stellar cast and crew build nail-biting tension while maintaining close fidelity to the facts. The result is a fitting tribute to the Apollo 13 mission and one of the biggest box-office hits of 1995.



Mariette Hartley Film Reviews:

Marooned (1969)
Editorial Review
by a reviewer at Amazon.com

Director John Stuges brings to film the novel by Martin Caidin about a joint rescue mission by NASA and the Soviet space program with excellent precision and accuracy. Most of all, the late director stays true to Caidin's work. Not only does the movie have award-winning special effects, a good, solid plot, and excellent performances, but it also stays true to what NASA would do in a situation like this. The film centers around the crew of the Apollo spacecraft IRONMAN 1, and how they are stranded in Earth orbit. While NASA and the Soviets prepare a rescue operation, the astronauts learn that one or two of them must sacrifice themselves because of their limited oxygen supply. From that point on, it is a race against time to rescue the astronauts from a slow death. Another cool thing about this movie was the actual filming in Cape Canaveral, Florida, and the stock footage of the Apollo 11 mission. It really captures the era. Marooned stays true to facts while presenting excellent science fiction. If you are a follower of the space program, then you might want to consider checking this film out. It's worth watching. Starring: Gregory Peck, David Janssen, Gene Hackman, Richard Crenna, James Franciscus, Lee Grant, Nancy Kovack, and Mariette Hartley.



Dustin Hoffman Film Reviews:

Midnight Cowboy (1969)
Editorial Review
by Jim Emerson at Amazon.com

The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny.

Tootsie (1982)
Editorial Review
by Tom Keogh at Amazon.com

One of the touchstone movies of the 1980s, Tootsie stars Dustin Hoffman as an out-of-work actor who disguises himself as a dowdy, middle-aged woman to get a part on a hit soap opera. The scheme works, but while he/she keeps up the charade, Hoffman's character comes to see life through the eyes of the opposite sex. The script by Larry Gelbart (with Murray Schisgal) is a winner, and director Sydney Pollack brings taut proficiency to the comedy and sensitivity to the relationship nuances that emerge from Hoffman's drag act. Great supporting work from Teri Garr, Dabney Coleman, Charles Durning, Bill Murray, and pre-stardom Geena Davis. But the film finally belongs to Hoffman, who seems to connect with the character at a very deep and abiding level.



Bob Hope Film Reviews:

Road to Utopia (1946)
Editorial Review
by Jim Gay at Amazon.com

I feel sorry for people who can't appreciate Hope and Crosby "road" pictures. Road to Utopia is the fourth in the series and has the boys masquerading as the killers Sperry and McGurk, from whom they've stolen the map to a gold mine, but which really belongs to Dorothy Lamour, but which... and you know it really doesn't matter anyway. The point is they've got this thin plot on which to hang a series of hit-and-miss jokes, coming fast enough to make it just all right and a certain amount to see who gets Dorothy Lamour, while maintaining their fierce and friendly and wisecracking rivalry. They're in the Klondike this time around, which doesn't stop the film from working in a glimpse of Dorothy in her sarong. Along the way, animals talk, including the humorist Robert Benchley, whose thoroughly dispensable introduction and running commentary I wouldn't dispense with for anything. This is arguably the goofiest of the road pictures. My favorite joke is when Bob is bested in fishing with Bing. Bob remarks, "My worm must have B.O." Bing comes back with "Couldn't B.U." You may not care where you're going, just as long as you're with them. Put it there, pal, put it there.



Holly Hunter Film Reviews:

Always (1989)
Editorial Review
by Tom Keogh at Amazon.com

Considered by many to represent a low point in Steven Spielberg's career, 1990's Always did suggest something of a temporary drift in the director's sensibility. A remake of the classic Spencer Tracy film A Guy Named Joe, Always stars Richard Dreyfuss as a Forest Service pilot who takes great risks with his own life to douse wildfires from a plane. After promising his frightened fiancée (Holly Hunter) to keep his feet on the ground and go into teaching, Dreyfuss's character is killed during one last flight. But his spirit wanders restlessly, hopelessly attached to and possessive of Hunter, who can't see or hear him. Then the real conflict begins: a trainee pilot (Brad Johnson), a likable doofus, begins wooing a not-unappreciative Hunter--and it becomes Dreyfuss's heavenly mandate to accept, and even assist in, their budding romance. The trouble with the film is a certain airlessness, a hyper-inventiveness in every scene and sequence that screams of Spielberg's self-education in Hollywood classicism. Unlike the masters he is constantly quoting and emulating in Always, he forgets to back off and let the movie breathe on its own sometimes, which would better serve his clockwork orchestration of suspense and comedy elsewhere. Still, there are lovely passages in this film, such as the unforgettable look on Dreyfuss's face a half-second before fate claims him. John Goodman contributes good supporting work, and Audrey Hepburn makes her final screen appearance as an angel.



John Hurt Film Reviews:

The Elephant Man (1980)
Editorial Review
by Sean Axmaker at Amazon.com

You could only see his eyes behind the layers of makeup, but those expressive orbs earned John Hurt a well-deserved Oscar nomination for his moving portrayal of John Merrick, the grotesquely deformed Victorian-era man better known as The Elephant Man. Inarticulate and abused, Merrick is the virtual slave of a carnival barker (Freddie Jones) until dedicated London doctor Frederick Treves (Anthony Hopkins in a powerfully understated performance) rescues him from the life and offers him an existence with dignity. Anne Bancroft costars as the actress whose visit to Merrick makes him a social curiosity, with John Gielgud and Wendy Hiller as dubious hospital staffers won over by Merrick. David Lynch earned his only Oscar nominations as director and cowriter of this somber drama, which he shot in a rich black-and-white palette, a sometimes stark, sometimes dreamy visual style that at times recalls the offbeat expressionism of his first film, Eraserhead. It remains a perfect marriage between traditional Hollywood historical drama and Lynch's unique cinematic eye, a compassionate human tale delivered in a gothic vein. The film earned eight Oscar nominations in all, and though it left the Oscar race empty-handed, its dramatic power and handsome yet haunting imagery remain just as strong today.



William Hurt Film Reviews:

Altered States (1980)
Editorial Review
by Jeff Shannon at Amazon.com

It's easy to understand why the late, great screenwriter Paddy Chayefsky removed his name from the credits of Altered States and substituted the pseudonym Sidney Aaron. After all, Chayefsky was a revered dramatist whose original source novel was intended as a serious exploration of altered consciousness, inspired by the immersion-tank experiments of Dr. John Lilly in the 1970s. In the hands of maverick director Ken Russell, however, Altered States became a full-on sensory assault, using symbolic imagery and mind- blowing special effects to depict one man's physical and hallucinatory journey through the entire history of human evolution. It's a brazenly silly film redeemed by its intellectual ambition--a dazzling extravaganza that's in love with science and scientists, and eagerly willing to dive off the precipice of rationality to explore uncharted regions of mind, body, and spirit. William Hurt made his bold film debut as the psycho-physiologist who plays guinea pig to his own experiments; Blair Brown plays his equally brilliant wife, whose devotion is just strong enough to bring him back from the most altered state imaginable. From the eternal channels of sense memory to the restorative power of a loving embrace, this movie rocks you to the birth of the universe and back again. And while it's clearly not the story that Chayefsky wanted on the screen, the directorial audacity of Ken Russell makes it one heck of a memorable trip.



Kevin Kline Film Reviews:

Fierce Creatures (1997)
Editorial Review
by Jeff Shannon at Amazon.com

In an attempt to catch lightning in a bottle, Monty Python veteran John Cleese wrote this slapstick farce for the purpose of reuniting the comedic cast of A Fish Called Wanda. Fierce Creatures is all about a media mogul (Kevin Kline) who owns a London zoo. He demands that the park raise more profit, so the new zoo director (Cleese) orders that only dangerous animals be displayed in order to maximize ticket sales. In a dual role, Kline also plays the mogul's son, who plans to run the zoo with the help of displaced employees (including Michael Palin) and zoo programmer Willa Weston (Jamie Lee Curtis). The situation lends itself to comedic confusion and split-second timing, and for a few good laughs the film is a pretty safe bet. It's not as hilarious as A Fish Called Wanda (that's a pretty tall order), but Cleese knows comedy, and his efforts are worth a look.



Laurel & Hardy Film Reviews:

Sons of the Desert (1933)
Editorial Review
by a reviewer at Amazon.com

"Sons of the Desert" and 1937's "Way Out West" are the two great Laurel & Hardy feature films. "Sons of the Desert" takes a simple premise – the boys want to attend a fraternal lodge convention in Chicago over the objections of Mrs. Hardy – and strikes gold with it. Every scene in the movie is loaded with visual and verbal humor. Fans of slapstick will certainly love this movie but there is much verbal humor as well. When it appears that the boys' lie about going to Honolulu for Hardy's health has been exposed, they improvise a lengthy and hilarious story of how they arrived home from Honolulu before their ship does. This is really a great comedy, well deserving of its classic reputation.



Bela Lugosi Film Reviews:

Dracula (1931)
Editorial Review
by Robert Horton at Amazon.com

When Universal Pictures picked up the movie rights to a Broadway adaptation of Dracula, they felt secure in handing the property over to the sinister team of actor Lon Chaney and director Tod Browning. But Chaney died of cancer, and Universal hired the Hungarian who had scored a success in the stage play: Béla Lugosi. The resulting film launched both Lugosi's baroque career and the horror-movie cycle of the 1930s. It gets off to an atmospheric start, as we meet Count Dracula in his shadowy castle in Transylvania, superbly captured by the great cinematographer Karl Freund. Eventually Dracula and his blood-sucking devotee (Dwight Frye, in one of the cinema's truly mad performances) meet their match in a vampire-hunter called Van Helsing (Edward Van Sloan). If the later sections of the film are undeniably stage bound and a tad creaky, Dracula nevertheless casts a spell, thanks to Lugosi's creepily lugubrious manner and the eerie silences of Browning's directing style. (After a mood-enhancing snippet of Swan Lake under the opening titles, there is no music in the film.) Frankenstein, which was released a few months later, confirmed the horror craze, and Universal has been making money (and countless spin-off projects) from its twin titans of terror ever since. Certainly the role left a lasting impression on the increasingly addled and drug-addicted Lugosi, who was never quite able to distance himself from the part that made him a star. He was buried, at his request, in his black vampire cape.



Steve Martin Film Reviews:

Dirty Rotten Scoundrels (1988)
Editorial Review
by Jerry Renshaw at Amazon.com

Freddy Benson (Steve Martin) is a crass, loud American. Laurence Jameson (Michael Caine) is a suave, urbane European. Their common ground is that they both are confidence men, and they meet in a train compartment as Benson is scamming his way across Europe, taking advantage of women's generosity. The two are forced into a rivalry, which culminates in a wager to see who can be the first to bilk $50,000 out of American heiress Janet Colgate (Glenne Headly). Their game of one-upmanship is, of course, brought to ridiculous heights as things progress. Written by Paul Henning (the mind behind such TV shows as Green Acres and The Beverly Hillbillies), Dirty Rotten Scoundrels is an uneven but funny mix of Martin's physical comedy and Caine's oily charms. Martin's first role as cohort is to assume the persona of Ruprecht, the "special" younger brother intended to scare off potential brides. As Ruprecht, he comes off as a cross between The Andy Griffith Show's Ernest T. Bass and Jerry Lewis; hilarious as it is, it doesn't quite fit with the rest of the film. Once the wager is on, though, Martin slips into his overly earnest mode as an American military man suffering from hysterical paralysis, with Caine as a psychologist who takes on his case. All in all, Dirty Rotten Scoundrels (a loose remake of the 1964 film Bedtime Story with David Niven and Marlon Brando) is a droll, intelligent comedy, short on knee slappers but long on comic situations and characterizations.

The Jerk (1979)
Editorial Review
by Tom Keogh at Amazon.com

Carl Reiner (Where's Poppa?) brought comic Steve Martin to the screen in this mostly funny 1979 movie about a relentlessly stupid but innocent man, whom we get to know from childhood (where it never occurred to him that he was white as he was raised by a family of black sharecroppers) to romance (where he doesn't quite know what to do with Bernadette Peters). Martin is game as the moron, and this is the kind of film with funny moments people still talk about.



Walter Matthau Film Reviews:

The Odd Couple (1968)
Editorial Review
by Tom Keogh at Amazon.com

Neil Simon's terribly funny play about roommates Oscar the slob and Felix the neurotic was first committed to film in this 1968 production, directed by Gene Saks (Barefoot in the Park). Perfectly timed, ingeniously rendered, not a hair out of place in the history-making performances of Walter Matthau and Jack Lemmon (or the great support cast), The Odd Couple is a movie that one just has to see every two or three years to stay happy. The poker-game sequence in which Oscar's cronies seem to be falling under the sway of fussy Felix's talent for making sandwiches is priceless.



Rik Mayall Film Reviews:

Drop Dead Fred (1991)
Editorial Review
by Rochelle O'Gorman at Amazon.com

This not-quite-black comedy was probably a laugh riot on paper. The translation almost works, but the execution is flawed. Phoebe Cates is a recently separated young woman who suddenly begins to see her supposedly imagined childhood friend (Drop Dead Fred) after moving back into her mother's home. Is he a manifestation of her secret desires to ditch the boorish spouse? Or was he real all along? Rik Mayall is a limber, carrot-topped Brit with the lamentable assignment of trying to make us laugh with vulgar, sophomoric trickery. He is supposedly the repository of Cates's fastidious repression but is more annoying than cathartic.



Hayley Mills Film Reviews:

Pollyanna (1960)
Editorial Review
by Tami Horiuchi at Amazon.com

Optimism shines in this classic 1960 Disney film starring Hayley Mills. When the newly orphaned Pollyanna comes to live with her wealthy aunt in Harrington Town, life looks promising. Despite her aunt's insistence on propriety and modesty, Pollyanna's cheerful, optimistic ways spread throughout the town--converting even a cantankerous recluse and a whining hypochondriac. Only Aunt Polly has trouble welcoming her young niece into her heart. In a clash between the townspeople and Aunt Polly over local politics, it's Pollyanna's influence that helps individual townspeople find the inner strength to stand up for their own beliefs. When Pollyanna is involved in a serious accident, Aunt Polly finally realizes how much she loves her niece. Can Aunt Polly and the entire town somehow restore Polly's optimism and ensure a full recovery? Pollyanna is wholesome entertainment that will leave the entire family eager to play the "glad game."



Pat Morita Film Reviews:

The Karate Kid (1984)
Editorial Review
by Tom Keogh at Amazon.com

John G. Avildsen not only directed Rocky, he tried remaking it over the years in a dozen different ways. One of them was this popular 1984 drama about a new kid (Ralph Macchio) in town targeted by karate-wielding bullies until he gets a new mentor: the handyman (Pat Morita) from his apartment building, who teaches him self-confidence and fighting skills. The screen partnership of Macchio's motor-mouth character and Morita's reserved father figure works well, and the script allows for the younger man to develop sympathy for the painful memories of his teacher. But the film's real engine, as with Rocky, is the fighting, and there's plenty of that. Elisabeth Shue is on board as the girl the klutzy Macchio dreams of winning.



Brittany Murphy Film Reviews:

Don't Say a Word (2001)
Editorial Review
by Jeff Shannon at Amazon.com

Adapted from Andrew Klavan's bestselling suspense novel, Don't Say a Word is a suitable companion to director Gary Fleder's earlier hit Kiss the Girls, with solid performances serving a plot that begins promisingly. The tension starts when the daughter of a top-notch New York psychiatrist (Michael Douglas) is kidnapped by a bitter ex-con (Sean Bean) with an old score to settle. Aided by an unwitting colleague (Oliver Platt), Douglas can save his daughter by extracting crucial information from a traumatized patient (Brittany Murphy), while his bedridden wife (Famke Janssen) and a tenacious detective (Jennifer Esposito) do their part to solve the mystery. Fleder pushes all the routine buttons with effectively somber style, so Don't Say a Word will satisfy anyone with a preference for high-anxiety thrillers, even as it grows increasingly conventional; it's entertaining without being particularly original. It's a by-the-book programmer, just right for rainy-day viewing.



Amanda Peet Film Reviews:

Saving Silverman (2001)
Editorial Review
by Bret Fetzer at Amazon.com

Darren (Jason Biggs of American Pie) is convinced that he'll never know love, since his one true love moved away during high school. To cheer him up, Darren's best friends Wayne (Steve Zahn, Out of Sight, That Thing You Do) and J.D. (Jack Black, High Fidelity) hook him up with Judith (Amanda Peet, The Whole Nine Yards)--little suspecting that Judith will tear their friendship apart. Judith wastes no time in taking over Darren's life, exiling his friends, and burning his beloved Neil Diamond records. If only Wayne and J.D. can bring Darren back together with his high school sweetheart (Amanda Detmer), who's about to become a nun. Saving Silverman is unquestionably of the There's Something About Mary school of comedy, throwing together absurd characters and over-the-top gags (for example, a scene of Darren getting butt implants, per Judith's orders). It doesn't quite balance everything, but Black and Zahn are engaging comic talents. Also featuring R. Lee Ermey as the boy's deranged high school football coach, whose advice continues to guide their lives, as well as a surprise appearance by Neil Diamond himself.



Brad Pitt Film Reviews:

Troy (2004)
Editorial Review
by Jeff Shannon at Amazon.com

No doubt about it, the 196-minute unrated director's cut of Troy represents a significant improvement over the film's original 162-minute theatrical release--and not just because it has more sex and violence. As director Wolfgang Petersen notes in his new "Troy Revisited" video introduction to this 2-disc special edition, he didn't have the time or directorial discretion (prior to Troy's release in 2004) to present a cut that more closely matched his vision for the film. Three years later, Petersen approached the film with a more relaxed perspective, and the result is a well-crafted expansion on a film that was previously underrated, with 30 minutes of previously unseen material. Character dynamics have been improved and intensified; the epic-scale narrative is now easier to follow, with greater emphasis on the inner turmoil of Achilles (well played by Brad Pitt) and his rivalry with Hector (Eric Bana); and viewers will feel a more satisfying escalation of tension and suspense from battle to battle. The film's enormous battle scenes (impressively enhanced with CGI) are bloodier and gorier, but they're also more effectively integrated into the political story, which goes beyond Homer's The Iliad and the death of Hector to incorporate elements of Virgil and a more revealing study of the differences between Trojan king Priam (Peter O'Toole) and his megalomanical Greek rival, king Agamemnon (Brian Cox), whose lust for revenge is now one of the film's most powerful ingredients. Some of Troy's original weaknesses remain (such as Orlando Bloom's wimpy performance as Paris), but overall, this director's cut easily justifies its existence, regardless of the film's overblown and historically inaccurate depiction of Troy as a gigantic city of massive columns and statuary. The good parts are better, and the not-so-good parts are more easily forgiven. And no matter how you cut it, Troy is a lavish feast for the eyes.



Anne Ramsey Film Reviews:

Throw Momma from the Train (1987)
Editorial Review
by a reviewer at Amazon.com

This is one of the movies I saw before I reached the age of 12 in a tiny cinema and I loved it. I then forgot about it until this year when I found I had a copy of it taped from Cable TV in video library, I made some popcorn sat down and watched a very, very funny movie starring Billy Crystal and Danny Devito. Throw Momma From The Train is a classic comedy in which an aspiring man Owen (Devito) wishes to kill his mother (the incomparable Anne Ramsey) who treats him badly. He channels his energy into his writing, for which he takes a class led by Billy Crystal. Eventually Devito informs Crystal of the plan to get rid of Momma. I can't say any more fearing I would spoil this great, great movie for you all. It simply is a must-see and definately a must-own if you're a fan of Crystal or Devito. A little dissapointing that the DVD doesn't have an Audio Commentary either by Crystal, Devito, or the Director, but nevertheless, at this price, with scene access, crystal (no pun intended) transfer, and something I'm looking forward to: Deleted Scenes, It is really a crime if you don't pick up this title. It really is funny and has a place in my heart. If you haven't seen it, rent it or buy it, kick back with some popcorn, and prepare to enjoy some of the best comedy the 1980's had to offer.



Ronald Reagan Film Reviews:

Kings Row (1942)
Editorial Review
by Alan Smithee at Amazon.com

This is a riveting soap opera with a cast that holds all the pieces together, and keeps the sometimes improbable plot fascinating at all times for the viewer. It was filmed on a soundstage, with very effective scenic design by William Cameron Menzies... I just love the skies! Brilliantly conceived and directed by Sam Wood, it's based on Harry Bellamann's best-selling novel. The excellent Erich Wolfgang Korngold score also adds to the drama and atmosphere. Set in a turn of the century small town, where the dark secrets and vile motives of some contrast with the goodness of others, the best scenes are between Ann Sheridan and Ronald Reagan. The chemistry between them is a delight, and their acting so real, one feels one is sharing the moment with them, even though this was filmed over 60 years ago. They shine as Randy and Drake, two strong, independent, and fun loving souls. With the exception of one or two scenes with rather stilted dialogue between Betty Field and Robert Cummings, the pacing never lags. There are great actors even in the supporting roles, like Dame Judith Anderson and Maria Ouspenskaya. Claude Rains is absolutely marvelous, and steals every scene he's in. This classic was nominated for several Oscars...B&W Cinematography (James Wong Howe), Director, and Best Picture, but lost to a "Mrs. Minever" sweep. It's perhaps Ronald Reagan's best performance, so this film is a piece of American history, as well as being highly entertaining.

Knute Rockne, All American (1940)
Editorial Review
by Glenn Lovell at Amazon.com

Long before Rocky Balboa went the distance, there was the original Rock – as in Knute Rockne. His story, a classic 1940 biopic, combines vintage gridiron action with heart-tugging sentiment. Yup, this is the film with the famous halftime pep talk and Ronald Reagan's "win just one for the Gipper" deathbed plea. Yeah, it's corny. But so what. Lloyd Bacon, one of Hollywood's ablest craftsmen (42nd Street), directed with just the right scrappy disregard for genre conventions. Reagan, in his third best vehicle (behind King's Row and The Killers), plays George Gipp, the Fighting Irish's first All-American, who died of pneumonia in 1920; the always-reliable Pat O'Brien plays Notre Dame coach Rockne as a living, breathing icon--part father confessor, part Patton, part idealized father figure. Before he spurs the lads to victory, he changes the face of the sport--by promulgating the use of the forward pass, no less.



Della Reese Film Reviews:

Harlem Nights (1989)
Editorial Review
by a reviewer at Amazon.com

Harlem Nights is a humorous period piece from the "roaring 20's". It has a cast of some of the greatest comic geniuses from every generation. Redd Foxx is classically funny in his usual manner paired with Della Reese; their exchange of witty banter throughout the entire movie leaves you cracking a smile. Eddie Murphy is as smooth as ever in one of his funniest films. Richard Pryor uses his subtle class to hold this one together. I know some of the language can be a bit much to some people who are not used to it being used as humor. A lot of critics did not think that this movie lived up to the cast involved in it. I am not sure what they were thinking that it should be. It couldn't have been any funnier. It has class, style, great costumes, good dialogue...great charisma between the actor/actresses. I think that if the critics didnt try to be so politically correct all of the time...they might have enjoyed this movie for what it is. Just good old fashioned fun.



Keanu Reeves Film Reviews:

Johnny Mnemonic (1995)
Editorial Review
by Jeff Shannon at Amazon.com

You might be tempted to call it "Johnny Moronic" after you've seen this illogical and derivative adaptation of William Gibson's cyberpunk short story (available in his book Burning Chrome), which is all the more depressing since Gibson himself wrote the screenplay. First you have to ask yourself why valuable top-secret electronic data would be stored in the "wet-wired" brain of a human courier (played by Keanu Reeves), who then transports the data from China to New Jersey as part of his last, most dangerous assignment. Surely there are better ways to transmit sensitive information, but since this is really just a conventional thriller with near-future design and spiffy special effects, Gibson and New York artist Robert Longo (making his directorial debut) are more interested in surface gloss and cyberpunk atmosphere. On that level the movie's fairly engaging, and Japanese film star Takeshi Kitano makes a pretty good villain, tracking Reeves down for the information in his data-packed brain. The movie also boasts an eclectic gallery of supporting players including rapper Ice-T, performance artist and rocker Henry Rollins, beefcake actor Dolph Lundgren, and transcontinental oddball Udo Kier. They can't stop this trip through virtual reality from being botched up, but sci-fi fans will certainly enjoy the echo of Gibson's fiction that remains on the screen.



Kevin Spacey Film Reviews:

Swimming With Sharks (1995)
Editorial Review
by Robert Lane at Amazon.com

A harsh, cutting, and wickedly funny look into the darker side of show business, Swimming with Sharks tells the story of a naive and eager assistant (Frank Whaley) and his slide into the cutthroat world of Hollywood power struggles. Whaley goes to work for a top movie executive (Kevin Spacey) who almost immediately begins to wear down his new assistant's exuberance with his whining, egomaniacal tantrums and relentless verbal abuse, even as he promises his young charge a chance to move up the ladder. Culminating in a violent and ultimately ironic confrontation between mentor and protégé, this brutal 1994 black comedy benefits from some razor-sharp writing and terrific comic turns from both Whaley (Hoffa) as one whose idealism is irrevocably shattered, and Spacey (Seven, L.A. Confidential), deliciously funny as a caustic, belligerent, and ultimately sad figure. A savage indictment of both the movie business and the price of ambition, Swimming with Sharks is one of the best black comedies in recent years.



Sharon Stone Film Reviews:

Basic Instinct (1992)
Editorial Review
by Jeff Shannon at Amazon.com

The take-no-prisoners sex thriller from 1992 now stands as a milestone in the career of screenwriter Joe Eszterhas, but in the hands of director Paul Verhoeven Basic Instinct is an undeniably stylish and provocative study of obsession. In the role that made her a star (and showed the audience a little more skin than she intended), Sharon Stone plays the cleverly manipulative novelist Catherine Tramell who snares San Francisco detective Nick Curran (Michael Douglas) with her insatiable sexual appetite during the investigation of her boyfriend's murder. Tramell is the prime suspect, but the plot twists and turns until Curran is trapped in a dangerous cycle of dead ends and unsolved murders, never sure if Tramell is committing the crimes or if it is some other, unknown suspect. With a plot that keeps viewers guessing, Basic Instinct is the work of a director who is clearly in his element.



Meryl Streep Film Reviews:

A Cry in the Dark (1988)
Editorial Review
by Marshall Fine at Amazon.com

Julia Louis-Dreyfus's Elaine on Seinfeld once offered a non sequitur at a party just to relieve her own boredom: "The dingo ate your baby," she blurted in a bad Australian accent. It was a reference to this harrowing film by director Fred Schepisi, based on a true story. Meryl Streep and Sam Neill play a married couple on a camping trip whose baby disappears. Streep maintains that the baby was carried off by a dingo--a wild dog--but she winds up as the victim of a hard-hearted prosecutor and the target of a nationwide hate campaign, in part because she was a religious fundamentalist who seemed unsympathetic and, thus, became an easy target for the tabloid press. Streep and Neill are both outstanding in this fierce, realistic drama about the ways faith can bolster even in the face of outrageous persecution.



Chris Tucker Film Reviews:

Rush Hour (1998)
Editorial Review
by Jeremy Storey at Amazon.com

The plotline may sound familiar: Two mismatched cops are assigned as reluctant partners to solve a crime. Culturally they are complete opposites, and they quickly realize they can't stand each other. One (Jackie Chan) believes in doing things by the book. He is a man with integrity and nerves of steel. The other (Chris Tucker) is an amiable rebel who can't stand authority figures. He's a man who has to do everything on his own, much to the displeasure of his superior officer, who in turn thinks this cop is a loose cannon but tolerates him because he gets the job done. Directed by Brett Ratner, Rush Hour doesn't break any new ground in terms of story, stunts, or direction. It rehashes just about every "buddy" movie ever made--in fact, it makes films such as Tango and Cash seem utterly original and clever by comparison. So, why did this uninspired movie make over $120 million at the box office? Was the whole world suffering from temporary insanity? Hardly. The explanation for the success of Rush Hour is quite simple: chemistry. The casting of veteran action maestro Jackie Chan with the charming and often hilarious Chris Tucker was a serendipitous stroke of genius. Fans of Jackie Chan may be slightly disappointed by the lack of action set pieces that emphasize his kung-fu craft. On the other hand, those who know the history of this seasoned Hong Kong actor will be able to appreciate that Rush Hour was the mainstream breakthrough that Chan had deserved for years. Coupled with the charismatic scene-stealer Tucker, Chan gets to flex his comic muscles to great effect. From their first scenes together to the trademark Chan outtakes during the end credits, their ability to play off of one another is a joy to behold, and this mischievous interaction is what saves the film from slipping into the depths of pitiful mediocrity.



Kathleen Turner Film Reviews:

The War of the Roses (1989)
Editorial Review
by Mark Englehart at Amazon.com

Michael Douglas, Kathleen Turner, and Danny DeVito reunited for a third time to fabulous effect in this dark, disturbing comedy of martial trauma and revenge, which couldn't be more different from their sunnier outings in Romancing the Stone and The Jewel of the Nile. Douglas and Turner, in career-best performances, are the materialistic, consumer-driven Roses of the title (Oliver and Barbara) whose seemingly perfect marriage has soured beyond repair; their only point of contact, aside from their two college-bound kids, is their meticulously maintained dream house, which Douglas bought and Turner decorated to perfection. When Turner gets a taste of financial independence, she asks Douglas for divorce--all she wants is the house and everything in it (aside from his clothes and shaving kit). He laughs at her and she punches him in the face. Things only get worse from there, as nasty divorce proceedings (with DeVito as Douglas's lawyer) give way to insults, threats, ruined dinner parties, and pet abuse. And through it all, the Roses begin destroying their beloved home and its contents, just to spite each other. DeVito, who also directed, takes Michael Leeson's blacker-than-black screenplay and gives it a hyperstylized spin, complete with skewed camera angles and wonderfully expressionistic cinematography (by Stephen Burum) as Douglas and Turner barricade themselves in their house, both refusing to give an inch. Shocking for a mainstream studio picture, with its unsympathetic protagonists, escalating bitterness, and disturbing finale, Roses is a poisonously funny valentine to both marriage and '80s materialism, tempered only by its framing device as a cautionary tale. Definitely not a date movie.

Who Framed Roger Rabbit (1988)
Editorial Review
by Jim Emerson at Amazon.com

This zany, eye-popping, knee-slapping landmark in combining animation with live-action ingeniously makes that uneasy combination itself (and the history of Hollywood) its subject. Who Framed Roger Rabbit is based on classic L.A. private-eye movies (and, specifically, Chinatown), with detective Eddie Valiant (Bob Hoskins) investigating a case involving adultery, blackmail, murder, and a fiendish plot to replace Los Angeles's once-famous Red Car public transportation system with the automobiles and freeways that would later make it the nation's smog capital. Of course, his sleuthing takes him back to the place he dreads: Toontown, the ghetto for cartoons that abuts Hollywood and that was the site of a tragic incident in Eddie's past. In addition to intermingling cartoon characters with live actors and locations, Roger Rabbit also brings together the greatest array of cartoon stars in the history of motion pictures, from a variety of studios (Disney, Warner Bros., MGM, Fleischer, Universal, and elsewhere): Betty Boop, Bugs Bunny, Mickey Mouse, Woody Woodpecker, Droopy Dog, and more! And, of course, there's Maroon Cartoon's greatest star, Roger Rabbit (voice by Charles Fleischer), who suspects his ultracurvaceous wife, Jessica Rabbit (voice by Kathleen Turner: "I'm not bad; I'm just drawn that way"), of infidelity. Directed by Robert Zemeckis (Back to the Future, Forrest Gump, Contact), not since the early Looney Tunes' "You Oughta Be in Pictures" has there been anything like Roger Rabbit.



Christopher Walken Film Reviews:

Biloxi Blues (1988)
Editorial Review
by Marshall Fine at Amazon.com

Part 2 of Neil Simon's semi-autobiographical theater trilogy about his growth from adolescence into adulthood, this film was a vast improvement over the film version of Brighton Beach Memoirs. Directed by Mike Nichols and starring Broadway star Matthew Broderick as Simon's stand-in, Eugene Jerome, the story follows him from the nest of Brooklyn to army basic training in Biloxi, Mississippi, where he gets his introduction to the world beyond Coney Island. He encounters, among other things, racism, a drill sergeant who seems to be a nutcase (a hilarious Christopher Walken), and his introduction to paying sex (Broderick is particularly funny in this scene with Park Overall). Extremely entertaining mainstream fare done in a high-quality fashion.

Catch Me If You Can (2002)
Editorial Review
by Bret Fetzer at Amazon.com

An enormously entertaining (if somewhat shallow) affair from blockbuster director Steven Spielberg. Leonardo DiCaprio stars as Frank Abagnale, Jr., a dazzling young con man who spent four years impersonating an airline pilot, a doctor, and a lawyer--all before he turned 21. All the while he's pursued by a dedicated FBI agent named Carl Hanratty (Tom Hanks), whose dogged determination stays one step behind Abagnale's spontaneous wits. Both DiCaprio and Hanks turn in enjoyable performances and the movie has a bouncy rhythm that keeps it zipping along. However, it never gets under the surface of Frank's drive to lose himself in other identities, other than a simplistic desire to please his father (Christopher Walken, excellent as always), nor does it explore the complex mechanics of fraud with any depth. By the movie's end, it feels like one of Frank's pilot uniforms--appearance without substance.



Peter Weller Film Reviews:

Robocop (1987)
Editorial Review
by Jeff Shannon at Amazon.com

When it arrived on the big screen in 1987, Paul Verhoeven's RoboCop was like a high-voltage jolt of electricity, blending satire, thrills, and abundant violence with such energized gusto that audiences couldn't help feeling stunned and amazed. The movie was a huge hit, and has since earned enduring cult status as one of the seminal science fiction films of the 1980s. Followed by two sequels, a TV series, and countless novels and comic books, this original RoboCop is still the best by far, largely due to the audacity and unbridled bloodlust of director Verhoeven. However, the reasons many enjoyed the film are also the reasons some will surely wish to avoid it. Critic Pauline Kael called the movie a dubious example of "gallows pulp," and there's no denying that its view of mankind is bleak, depraved, and graphically violent. In the Detroit of the near future, a policeman (Peter Weller) is brutally gunned down by drug-dealing thugs and left for dead, but he survives (half of him, at least) and is integrated with state-of-the-art technology to become a half-robotic cop of the future, designed to revolutionize law enforcement. As RoboCop holds tight to his last remaining shred of humanity, he relentlessly pursues the criminals who "killed" him. All the while, Verhoeven (from a script by Edward Neumeier and Michael Miner) injects this high-intensity tale with wickedly pointed humor and satire aimed at the men and media who cover a city out of control.



Mae West Film Reviews:

She Done Him Wrong (1933)
Editorial Review
by Laura Mirsky at Amazon.com

In her first starring film vehicle, She Done Him Wrong, Mae West is Lady Lou, a saloon singer and "slick article" who drives every man who sees her mad with desire. She positively oozes sex, but always with sly, self-mocking humor. Lady Lou remarking on the nude painting of her hanging over the bar: "I gotta admit that is a flash, but I do wish Gus hadn't hung it over the free lunch." West warbles several numbers in her Brooklyn-accented, sweetly nasal voice, accompanied by her famous suggestive roll of the eye and flip of the hip: "Frankie and Johnny," "Easy Rider," and "A Guy What Takes His Time." Based on West's Broadway play Diamond Lil, the film is set in the Gay '90s, "a lusty, brawling, florid decade, when there were handlebars on lip and wheel and legs were confidential." The corny plot involves the eternal male rivalry for Mae's favors, as well as a white slavery ring that is shipping unsuspecting girls to the Barbary Coast. But the movie's real treat is the cat-and-mouse game between West's Lady Lou and the Hawk, a detective disguised as a missionary, played by a devastatingly handsome young Cary Grant. West: "Why don't you come up some time, see me? I'm here every night." Grant: "Yeah, but I'm busy every night." West: "What're you tryin' to do, insult me?... You can be had." In She Done Him Wrong, Mae West is absolutely in her prime. Her one-of-a-kind intermarriage of eroticism and humor, worldly wisdom and scalding wit are presented with perfect panache.



Gene Wilder Film Reviews:

Silver Streak (1976)
Editorial Review
by Marshall Fine at Amazon.com

Despite the presence of hack director Arthur Hiller, this hybrid comedy-thriller works most of the time as pleasant faux Hitchcock. Gene Wilder is a book editor who is relaxing by taking a cross-country train ride. Then he gets caught up in a murder--and becomes a suspect. It's up to him to prove his own innocence. As noted, the script, by Colin Higgins, owes a big debt to Alfred Hitchcock; but the mystery isn't all that mysterious and the comedy isn't all that hilarious--at least not until Richard Pryor shows up, which is at least halfway through the film. Things definitely pick up from there. Jill Clayburgh, as the love interest, is merely along for the train ride. Wilder and Pryor eventually teamed up for several other films, but they were never as funny together as they are in this one.



Dwight Yoakam Film Reviews:

Panic Room (2002)
Editorial Review
by Jeff Shannon at Amazon.com

An effective exercise in "confined cinema," Panic Room is a finely crafted thriller that ultimately transcends the thinness of its premise. David Koepp's screenplay is basically Wait Until Dark on steroids, so director David Fincher (Seven, The Game) compensates with elaborate CGI-assisted camera moves, jazzing up his visuals while a relocated New York divorcée (Jodie Foster) and her daughter (Kristen Stewart) fight for their lives against a trio of tenacious burglars (Jared Leto, Forest Whitaker, Dwight Yoakam) in their new Manhattan townhouse. They're safe in a customized, impenetrable "panic room," but the burglars want what's in the room's safe, so mother and daughter (and Koepp and Fincher) must find clever ways to turn the tables and persevere. Suspense and intelligence are admirably maintained, with Foster (who replaced the then-injured Nicole Kidman) riffing on her Silence of the Lambs resourcefulness. It's not as viscerally satisfying as Fincher's previous thrillers, but Panic Room definitely holds your attention.