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Reviews
The Black Dahlia (2006)
"Black" Death ...
What had great potential as a film noir about a tasty piece of true crime instead has turned out to be a train wreck of a movie, nearly completely devoid of coherent plot or believable characters. Just about everyone in the flick is either miscast (Josh Hartnett) or just plain bad (Hilary Swank, she of the floating Scottish accent, proving that even two-time Oscar winners have at least one horrid performance inside of them). And Fiona Shaw may be the best part of the film, even though she acts as if she's in an entirely different movie - and I think I'd rather watch that one. "The Black Dahlia" makes me want to read Ellroy's book just to find out what the heck happened between the original source material and the final script. This will make plenty of ten-worst lists at the end of the year.
Ray (2004)
Mr. Charles, meet Mr. Foxx. Mr. Foxx, meet Mr. Oscar
"Ray," the long-awaited filmed biography of Ray Charles, is nothing short of a starmaking performance by Jamie Foxx, who joins the pantheon of Robert De Niro ("Raging Bull") and Charlize Theron ("Monster") with his total transformation into the late singer. Much is required of Foxx to play such an iconic real-life character, especially so soon after Charles' passing, but he pulls it off with aplomb. The rest of the film, directed with intricate detail by Taylor Hackford, also is top notch - in fact, Hackford's work is almost too good, leading to the movie's one major flaw - even at nearly three hours long, "Ray" still seems too short, and not because its main action ends in 1979. Its ending seems abrupt, as if the producers ran out of money or steam. Still, this is a highly recommended entertainment and a slam-dunk ticket for Foxx to attend the festivities on Oscar night.
Shall We Dance? (2004)
A more than pleasant diversion
OK, I went to see the preview of "Shall We Dance" tonight. First of all, the movie itself is pretty good, if not great. Briefly, what works about it is that the things that you expect to happen in a romantic comedy, especially as you are watching it, don't necessarily happen. I won't say anymore in case I blow the entire plot. And while it's not laugh-out-loud funny all the time, there are a lot of nice moments, and the film has a lot of heart. And everyone in it is good, even Jennifer Lopez, who actually isn't in the movie a lot. This is really Richard Gere's film, and he does a great job in the role of a happily married, successful man who is just missing that certain spark in his life and finds it in an unusual place.
This will be a great date movie, a nice way to spend an afternoon and evening. I don't know how it will do at the box office, but I can see it have a lot of success on DVD. Oh, yeah, the dance sequences, rock, particularly one Gere and Lopez have about two-thirds of the way through.
Austin Powers in Goldmember (2002)
Much of it old, but much of it funny
If this is the last "Austin Powers" installment (and it should be),
"Goldmember" goes out with a good effort overall. Sure, some of
the gags are getting a little tired, but for the most part Austin
Powers delivers with his spoofing of the swingin' '60s (and, briefly,
the disco '70s). The real revelation is Michael Caine as Austin's
father and mentor Nigel; he's used briefly but effectively. And the
celebrity cameos are classic, though couldn't the imDB have
waiting a few weeks before listing them all in their credits for the
film? That's not behaving, baby!
American Pie 2 (2001)
Lewd, crude and nearly as good as the original
"American Pie 2" proves that the brain trust behind this minifranchise the Weitz Brothers and Adam Herz should be put in charge of every teen sex comedy for the next five years, for they have found the mysterious elixir necessary to make these films not only raunchy and funny, but also sweet. Like the original, it's the heart within that pushes this film above the same old stuff. That's not to say that this is a perfect movie: It does run a little long, and a pivotal part of the original "Pie," the notion that the sexuality of teen girls was as important as that of the boys, is mostly missing here. (Indeed, with the notable exception of Alyson "Band Camp" Hannigan, most of the actresses from the first "Pie" are reduced to glorified cameos.) But the set pieces work for the most possible, notably scenes involving (but not at the same time) champagne, crazy glue and lesbians. And prepare to be moved to near-tears by a wonderful sequence between Jason Biggs as the always-awkward Jim and Eugene Levy as his understanding dad. Ever remember "Porky's 2" making you cry?
P.S. "AP2" also contains the best cover of a Michael Jackson on ever.
What's the Worst That Could Happen? (2001)
Surprisingly funny
I must say that going in to this movie, I did not have high hopes. I've never been a big fan of Martin Lawrence's films, and Danny DeVito can be hit or miss as a performer. But this film, though it goes too long (as many comedies do) and has a last scene that seems tacked on and makes little sense in the context of the story, had me laughing more often than not. Lawrence and DeVito are good, but what's really nice are the members fo the supporting cast, particularly John Leguizamo as Lawrence's fellow thief, Bernie Mac as their benefactor and fencer, Carmen Ejogo and Nora Dunn as Lawrence's and DeVito's respective ladies, and especially William Fichtner, who practically steals the show as a police detective unlike any you've ever seen on screen. Take it for what it is, and "What's the Worst That Can Happen" definitely isn't that.
Driven (2001)
This one should have stayed parked in the garage
"Driven" reminds me of "Days of Thunder," and I don't mean that as a compliment. Doing a film on the high-octane world of CART auto racing was a fine idea, as was getting proven action director Renny Harlin to helm the project. But a lot of stuff was lost in the execution. Even the flash here is lukewarm, and the many visual effects use to make the racing action all the more exciting come across as very fake. Meanwhile, much of the cast is sleepwalking through the movie, including Sylvester Stallone in the time-honored role of the old champion brought out of retirement to mentor the new young turk (Kip Pardue, who will be a star eventually). And the women in the cast, beautiful as they are, are only there for scenery. "Driven" seems more concerned with macho posturing than true romance. Only Gina Gershon, who plays Stallone's perpetually scorned former wife, elicits true sparks of acting passion here, and even she seems like she's stuck in a different (and better) movie. "Driven" isn't nearly the worst movie of the year, but it should have had an extensive tune-up before it was launched.
Unbreakable (2000)
Not "The Sixth Sense," but a fine, entertaining yarn.
"Unbreakable" will suffer from comparisons to M. Night Shamalayan's previous film, "The Sixth Sense," and those comparisons will be slightly unfair, because while the two movies look the same on the surface, they are different as well. This story of a normal guy (Bruce Willis) whose life is turned topsy-turvy when he survives a devastating train crash with nary a scratch on him is actually slightly lighter in tone that "The Sixth Sense," even in its darker moments. What "Unbreakable" is, in essence, is a solid yarn. When it gets to where it's going (what little has been given away in the excellent marketing of the movie happens in the first 10 minutes), you may roll your eyes a bit, but bear with it it all comes together, right down to the now-expected Shamalayan twist. The young director is the best thing to happen to Willis as a film actor he's done his best work in this film and last year's "Sixth Sense." And I think that Samuel L. Jackson, as the mysterious figure who opens Willis' eyes to his possibilities, does Oscar-caliber work here as well. You won't be able to fully put "Sixth Sense" out of your mind here, but try to appreciate "Unbreakable" on its own terms as a thriller that, if not a masterpiece, is very, very good.
Pay It Forward (2000)
Great acting, good premise, awful ending
Pay It Forward has some powerhouse acting from Kevin Spacey, Helen Hunt and especially Haley Joel Osment. (Not to mention some brave makeup work for both Spacey and Hunt.) And the premise is pretty good, even if the script implodes during the final quarter. But the last ten minutes of this film were so manipulative, even cruel, that it marked one of the few times I left the theater angry. I really think the movie could have accomplished its goals without doing what it did. I recommend the movie, but be prepared to be put off by the finale.
Space Cowboys (2000)
Formulaic but fun
"Space Cowboys" collects most of the cliches of a standard old-farts-do-good flick: The flashback, the reunion, the fights, even the one-of-them-is-sick routine. But Eastwood and company pull it off with much finesse and fun, and the results are hilarious and touching. The film loses some energy once the geriatric foursome finally blast off into space, and the end is a bit of an emotional downer, but the overall flight is worth it.
Spitfire (1995)
Definitely a very guilty pleasure
The acting in this action movie was minimal, the action perfunctory, but gymnast Kristie Phillips is very easy on the eyes and spends much of the film in a bikini or shorts. Plus she kicks a lot of butt. Combine that with the cheesy dialogue, and it's a harmless way of passing a Sunday afternoon.
The Talented Mr. Ripley (1999)
Well done, but
This is a well-crafted thriller with a marvelous performance by Matt Damon. But I've figured something out about Anthony Minghella's directing style. I didn't care for his "English Patient" because I thought the novel was an unfilmable book (which I loved) and that he hadn't pulled it off. But though I liked "Ripley" much more, it still didn't spark with me, and I think it's because I find Minghella's approach too detached, even cold, for my taste. The passion was missing her for me, even as I could appreciate the acting and the scenery. Most may not agree with me, but that's just how I feel.
Any Given Sunday (1999)
Imperfect, but works on an emotional level
Oliver Stone's "Any Given Sunday" pulls every cliche out of the sports-movie book, from the untested rookie to the thrilling comeback in the Big Game. It's also chaotic at times, with too many tangents for its own good. But the football action is fantastic, not going to extremes while taking advantage of Stone's patented eclectism when it comes to editing and camera techniques. And the acting is, overall, quite good, especially from Al Pacino as the grizzled coach and Jamie Foxx as the hotshot rookie quarterback. A pleasant surprise is Hall of Famer Lawrence Taylor as, what else, a flashy but dedicated linebacker.
The Bone Collector (1999)
Formula plot, but good performances
This is a standard-variety thriller, obviously inspired by the likes of Seven and Silence of the Lambs. Much of the plot doesn't truly surprise, and picking the killer is fairly easy, even without the clues. But Denzel Washington and Angelina Jolie do quite nicely as the paralyzed forensics expert and the young cop who serves as his roving investigator. And they have good chemistry together.
American Pie (1999)
Funny, and surprisingly poignant for a sex-dipped teen comedy!
Porky's this ain't, even though the subject matter is similar. But the four guys who want to lose their virginity before graduation in this film are likeable and real, unlike in the former flick. What's more, it isn't as crass as it could have been, maybe because the girls here are smarter and the boys aren't totally without feelings. Other than that, there's no true redeeming social value, which is all good and well because it's July. It's also funny much more often than not, and even sweet at the end. One more thing: Alyson Hannigan steals the show as the dork who's more than she seems to be, and the now-famous line involving the flute isn't even her best one.
Austin Powers: The Spy Who Shagged Me (1999)
Better than the original!
This film is bloody hilarious and is highly recommended. Be warned, though, that it is sicker than the first, and I don't just mean the sexual innuendo.
Never Been Kissed (1999)
Great, funny and sweet depiction of high school
Drew Barrymore hits the high-school experience right on the head with this funny and sweet romantic comedy about a misfit copy editor who goes back to high school to fulfill her first reporting assignment. What results is a series of misadventures which not only elicits laughs, but also memories, good and otherwise, of many people's lives in that hell known as high school. This makes for a great date movie and should be a huge hit on video.