Arthur-23 Reviews

Charlie's Angels (2019)

Very enjoyable movie!

[24 November 2019]

Ignore the ridiculous number of negative reviews. This version of Charlie's Angels is exciting, well written, funny, and enjoyable. Don't compare it to the TV show or the prior films and you'll have a good time. It stands on its own. All of the feminist propaganda brought up in negative reviews is not really relevant (whether people are for or against). It's simply good entertainment. Make sure to stay through the credits for some fun cameos.

Religulous (2008)

Thought-provoking but not faith-shattering...

[9 September 2009]

Although some would call Bill Maher's "Religulous" sacrilegious, it is not really a film that convincingly attacks religion, at least not the older monotheistic brands (it does a better job on the newer religious strands). Does it try and point out hypocritical positions? Yes. Does it use irreverent means to do so? Often. Does it succeed at times? Yes. But is it going to shatter religious views? No. It's just an entertaining film. While Maher does a reasonable job at pointing out inconsistencies and hypocritical positions of the Western religions (more successfully with religions that saw their founding in America), what harms the film is not so much what Bill says, but whom he chose to interview. Or rather whom he chose not to interview. Viewed properly, the film is largely an attack on extremist views of whatever persuasion as the majority of those interviewed are fringe characters who would likely embarrass mainstream members of their representative religions (with one or two notable exceptions, such as the Vatican's astronomer). If Bill chose to interview more mainstream representatives from among the non-extremist or non-fundamentalist members of the dominant Western religions (or simply avoid the fringe characters such as the anti-Zionist rabbi) -- which would arguably comprise the majority of adherents -- the film would have been more balanced and possibly more effective. A more balanced presentation with moderate monotheists who are at least as articulate and quick as Bill would have warranted this film at least one more point. As it is, the film, though well made and often absorbing, only rates a 7/10.

Mission: Impossible III (2006)

This film should have been called "Malias"...

[6 May 2006]

From the creators of the TV show "Alias," we now have "Malias"... or the male version of Jennifer Garner's famous spy role. For anyone not familiar with ABC's Alias, Mission Impossible III is a great movie. But for anyone who knows Alias' various tricks and plot twists might be less impressed. On the one hand, Tom Cruise does a fine job. He played his character well. The action sequences, especially the ones in Shanghai, were very effective, but, in making M:I-3, director and co-writer J.J. Abrams seems to have drawn heavily on two of his prior TV shows---Felicity and Alias---for inspiration, both in terms of style (the party scene near the beginning seemed inspired by Felicity) and plot twists and action scenes inspired by Alias. Of course, there are cast overlaps among all three with Felicity's Keri Russell and Felicity/Alias's Greg Grunberg playing all-too-brief roles in M:I-3. However, it's unfortunate that Keri could not have played a more developed character in the film. Nonetheless, these earlier influences were obvious from the very first scene, which used a typical Alias forward/backward plot device that's been used in virtually every season of Alias. The scene starts in the future then we spend three quarters of the movie backtracking to discover how we got to that first scene. Then we see the manipulation. And bang, bang the spy saves the world again. Just like Alias this is true of M:I-3. Considering the action scenes alone, however, they really were impressive, particularly those of Tom Cruise running through the streets of Shanghai and leaping off of buildings. Camera angles were perfect. But viewing Mission Impossible III makes one believe that Alias could make an effective transition from television to the silver screen. "Alias, The Movie" could make for an even better film since its plots are more complex than M:I-3. But with Tom Cruise as the male version of the central spy, his performance as "Malias" delivers the goods. For that this movie deserves 7/10 with an extra point for anyone unfamiliar with the classic TV show on which this movie seems to be based.... not "Mission Impossible" but "Alias."

Shall We Dance? (2004)

Sometimes a person's just gotta dance!

[15 October 2004]

What does a man who has achieved the proverbial American dream do when he realizes he is bored with his life? A middle-aged man who feels too embarrassed by his riches to admit his feelings of apathy to anyone. Not his coworkers, not his friends, and certainly not his wife. A man whose conscience tells him that revealing his innermost thoughts would be tantamount to admitting personal failure and give rise to a sense of unworthiness for the good life he has achieved despite the happiness he hasn't found or retained.

Richard Gere is faced by this dilemma in Shall We Dance, a remake of the popular 1996 Japanese film of the same name. Gere plays Chicago lawyer John Clark who seems to have it all---good health, white-collar occupation, house in the suburbs, attractive wife (played by Susan Sarandon) and well-adjusted children---but realizes that all he has is a life marked by a routine broken only by the daily train commute to and from work. His stable, secure and contented home life, which would be the envy of most, simply lacks spirit, excitement and, for Mr. Clark, joy. In any other film looking for easy solutions, Gere would have to become an embezzler or have an affair. But not in this entertaining and warm-hearted film.

Gere's character transcends his humdrum existence through ballroom dancing. Sounds simple, but it's not. He's got to learn, which means taking lessons. Jennifer Lopez is his inspiration, but he also meets other interesting people, emerging with a renewed lease on life as a result of his musical quest. There are a few bumps along the way, but the movie's tone is nothing less than nice and pleasant. It entertains without insulting its audience.

Jennifer Lopez is also very good in a minor role, and proves she still has her moves as the assistant dance instructor who helps Gere get his rhythm. Stanley Tucci is hilarious as the straight-laced lawyer with a secret alter ego he unleashes on the dance floor every night. Much of this is in the original Japanese film, including tap dancing under the desk and dancing while waiting for a train. But this American remake is definitely worth seeing to experience the elation that Gere experiences on screen.

While the original Japanese film had more drama, pathos, and suspense, this version achieves its cinematic vision by a comfortable comedic touch that is sure to please. This is a nice film with nothing to offend. It's bright and charming entertainment that also gives viewers pause for thought. Shall We Dance deserves an 8/10.

S.W.A.T. (2003)

Better plot and character development needed

[9 August 2003]

Was SWAT a good or bad film? Hmm. It was not bad... but it wasn't great either. So I would say it was good. I had a problem with the plot twist in the final 40 minutes of the movie which takes the film in a completely new direction. To me it seemed a little bit like a combination of "Stakeout" (with Emilio Estevez and Richard Dreyfus) and "Nighthawks" (with Sylvester Stallone, etc.). Only both Stakeout and Nighthawks were better movies because SWAT just lacks a good plot. The SWAT plot is just too simple, and unbelievable towards the end.

But at least SWAT was much better than "Training Day" (with Denzel Washington and Ethan Hawke). If you've never seen Training Day don't bother... it's not pleasant to watch and some of its plot twists are even more implausible than the ones in SWAT...

As for actor Samuel L. Jackson, see him in The Negotiator, Switching Lanes, Die Hard III, or even Amos & Andrew. He puts in much better performances in each of these compared to SWAT.

If I didn't make any comparisons, however, then I guess SWAT makes for a decent action movie. I haven't seen so many bullets flying since "Black Hawk Down"... but fair warning... I would never, ever, ever recommend Black Hawk Down to anyone... It was beyond horribly violent... it had no plot at all!

One last observation about SWAT... the plane should have been allowed to take off, then monitored for where it lands so the occupants could be apprehended. It was too small a plane to fly all the to France from California, so a mid-Atlantic pick-up by the navy might have been sufficient. In any case, this would have been a much easier and less violent tactic than SWAT chose to follow in this film.

To summarize: I give SWAT a score of 7 out of 10. Now I'm just going to read a book and try and unwind after experiencing this rapid fire movie... it was two hours and 20,000 bullets too long!

The Emperor's Club (2002)

A dignified film

[29 March 2003]

While not not an "Oscar film," The Emperor's Club offers a great film experience. Kevin Kline gives a fine performance as a serious teacher of the Classics---the history, philosophy, moral codes, and profound influence of Ancient Greece and Rome on Western civilization. As a teacher, Kline reveals the important social role a teacher plays in helping mould society's youth. In this situation, Kline teaches at an exclusive school for "future leaders" of American industry, law, politics, and other influential professions. Politics, however, makes its way into the classroom, and while Kline wrestles with an ill-conceived decision which haunts him for 25 years, in the scope of things it remains a minor yet profound act that shows even a dignified, serious, dedicated teacher can sway from values he espouses in the classroom and in his personal life. His ethical dilemma is clear, the implications uncertain, and its resolution ultimately fitting. This is not just a movie about values, human nature, demanding fathers, misplaced sympathy, and ethical dilemmas, its also a film about togas, a contest, and a gentleman's revenge. It is not violent, there are no car chases, or significant profanity. It's just a decent film with subtle moralistic overtones that provide a most satisfying cinematic experience. While there have been many comparisons to Dead Poet's Society in other reviews, they are misplaced. This film can stand on its own, and actually make the viewer feel much better after having seen this movie than Dead Poet's Society of more than a decade ago. On its own merits, The Emperor's Club earns a respectable and dignified, 8/10.

The Majestic (2001)

A dignified Hollywood achievement

[21 December 2002]

While understanding American social, political, and cultural history of the 1950s (particularly the McCarthy witch hunts and their effect on Hollywood) is useful background for understanding this film, suspension of disbelief is particularly important to enjoy The Majestic.

This movie is not really about politics. Politics is just the backdrop. The Majestic is more about Jim Carey's character's fear of confronting a major stumbling block in his career. Being blacklisted for something he claims not to have been a part of is enough to send him into a tailspin which ultimately sees him suffering from amnesia in a small California town where he ultimately finds family, love, acceptance and meaning in his life.

Is it believable that some collective psychosis exists in that town which leads everyone to believe that Jim Carey is someone he isn't? No it is not. But does this hamper the film's underlying meaning or prevent viewers from enjoying this film? Not at all. Therefore, suspension of disbelief is mandatory for viewers to have a satisfying cinematic experience. If viewers can overlook the unbelievable premise of mistaken identity and the inability of most to recognize it, or at least to publicly admit it, they will like what they see.

Jim Carey gives perhaps the best performance of his career as Peter Appleton, Hollywood screenwriter. Martin Landau, owner of The Majestic movie theater and "father" of Carey's apparent look-a-like, also gives a terrific portrayal of a man who lost then regains a son and the ability to realize a dream to rebuild the theater he once proudly owned and operated. The supporting cast is terrific, from the theater usher to Laurie Holden, who plays Adele Stanton, the town doctor's daughter who was once engaged to the person Carey is supposed to be. She becomes a lawyer, a Constitutional defender, and Carey's inspiration to confront Congress and realize his own dream for personal happiness away from Hollywood but very much within its world.

See The Majestic for a dignified Capra-inspired view of Hollywood filled with plenty of excellent performances. 8/10.

The Godfather (1972)

A great, but flawed, morality tale

[6 July 2002]

Since its release in 1972, The Godfather has become firmly embedded in popular culture due in no small part to Marlon Brando's mannerisms, exaggerated jaw line, and the film's rhythmic dialogue. It has therefore rightly earned its position as a classic in American cinematic history. However, its fame may have had an unfortunate and unintended side effect of glorifying organized (as opposed to disorganized, indiscriminate) crime by raising it to an almost "noble profession" for some. Despite the sociological impact, the film's music, cinematography, and authentic period cars and clothes were very effective. While the film has a clear and unmistakable pace at which dialogue is delivered and scenes are developed, which succeeds in holding the viewer's attention, the pace is undeniably slow and the film is long. Yet the characters are interesting and the film will hold your interest.

At its core, this film is about an Italian-American family trying to modify its business practices to survive in an uncertain and rapidly evolving world but in the process continues its tradition of "violence as honor," while aligning itself to religious principles it does not share for in the "Godfather's world" another religion in practiced, a religion which revolves around money, power, and honor of family and turf. Make no mistake, this is a good film and Francis Ford Coppola deserves credit for his direction and screenwriting, but in my view it does not earn the 10/10 that thousands of IMDb voters have given it for the following reason: When the plot is boiled down to its essential elements, it's just a story about one highly dysfunctional family confronted by a changing society, the demise of an old world, and relentless problems with neighbors and neighborhoods. This is a common theme used in many different ways in innumerable films before and after The Godfather's release, so this aspect does not differentiate The Godfather from many other films in Mafioso and other dramatic genres.

For me, a fundamental problem existed with the subplots of honor and family. While there is a strong "honor code" which everyone in "the family" is compelled to hold to great esteem, i.e. respect for the family, its traditions, its business interests, and the expectation and necessity of showing the utmost respect for the head of the family (which is certainly not uncommon among Aboriginal, Semitic and East and Southeast Asian traditions), when it comes right down to it this is just a thin veneer to cover all of the nasty deeds the family is involved in, e.g. corruption, racketeering, gambling, intimidation, and retaliatory murders to even the score. Except for drugs and prostitution, most crimes are well within the inventory of the family business, despite early protestations to the contrary by Michael Corleone (played by a young, almost unrecognizable Al Pacino) whose personality is transformed over the course of the film's trials and tribulations only to have him emerge as a sadistic aspiring re-builder of the Corleone empire.

Without giving away the plot, an aspect of the film appeared obvious in its intent. One of the key reasons for Don Vito Corleone's 45-film-minutes of slumber (the result of being comatose after an attempt on his life) was to serve as a device at mid-point to summarize early plot developments courtesy of 'Consigliore' Robert Duvall for both Brando's and the audience's benefit. This seemed intentional to underscore the significant impact of events in the first half of the family's saga to those of the rest of the film.

The Godfather is an interesting and deservedly controversial morality tale about one immigrant family's traditions and its continuous power struggles, but because of plot and thematic elements mentioned above, I give it an 8/10, which isn't bad at all.

Undercover Brother (2002)

Solid! entertainment...

[4 June 2002]

From the opening scenes through the closing credits, you know you're in the Twilight Zone. "Undercover Brother" is a hilarious movie that requires a big audience but is better, and much more clever than other spoofs of recent years. For anyone familiar with the 'blacksploitation' movies of the '70s, from Shaft to worse things like Cleopatra Jones, you'll howl at this, with its references to virtually every film ever made in the 1970s and '80s, with allusions to a whole Chevy full of diverse film icons, from the likes of Danny Glover (of Lethal Weapon fame) to Jim Kelly's (only good performance in) Enter the Dragon. Afros, 1970s big body Cadillacs, car chases, James Bond, James Brown (!), General Colin Powell (courtesy of Billy Dee Williams), and fried chicken are all equal targets in this side-splitting spoof directed by Spike Lee's younger cousin, Malcolm D. Lee (no joke!). In this film, everyone is 'kung fu fighting' on the streets of Toronto(?!?). This is a fun movie that rates a 9/10! SO-LID!!

The Negotiator (1998)

An intelligent, taut thriller

[11 May 2002]

Just when you think he's cornered, he thinks of a new strategy. Samuel L. Jackson portrays Lieutenant Danny Roman, police hostage negotiator. When he's framed for a crime he didn't commit, against his fellow police officers no less, he knows that the only way out is to bring in an equally tough negotiator, Lieutenant Chris Sabian played by Kevin Spacey, who's from another precinct and who therefore could not have been contaminated by the bad elements within his own force, which buys him the necessary time to bluff and blindside while he finds the clues he needs to prove he's innocent. Chicago is taken hostage along with the few people he retains as bargaining chips, and we are taken along for the ride. This was a masterful job of film-making from beginning to end. The characters and story were flawlessly developed. We don't precisely know who's guilty or who's innocent. Roman conducts his interrogation and trial while he negotiates with the police outside, some of whom are working overtime to eliminate Roman before he figures it all out. This all occurs right under the noses of the FBI who are in way over their heads and don't have a clue who's guilty or innocent, just like the rest of us watching. Along the way, we get to witness Roman lecture his underlings about the finer points of negotiations while he himself has just become a hostage taker. "Never say no!" he barks with effective zeal. And he tests his bewildered pupils continuously, who fail continuously. Only Sabian is smart enough to understand what's going on in Roman's mind. The strategy is shared by two men who think alike, who are under stress, and have an innate instinct for lie detection. The screenplay was terrific. The cinematography was effective. The acting of Jackson and Spacey exceptional. And the supporting cast, particularly bad-guy-turned-good-guy Paul Giamatti who provides great comic relief, was outstanding. If you're in the mood for an intelligent, taut thriller, The Negotiator delivers... 9/10.

Bowfinger (1999)

One word... hilarious!

[5 January 2002]

This is among the best spoofs of Hollywood to come along in years. Not only do Steve Martin and Eddie Murphy (in a dual role) demonstrate exceptional acting skills (the facial expressions alone are priceless... Eddie Murphy's 'face of fear' is both believable and hysterical), but Steve Martin also shows his considerable comedic writing talents as the film's screenwriter. The premise is funny yet simple. Let's make a really bad movie that we think is great with a star who doesn't know he's in it! On top of that, let's forget about a budget, plot, permission, or a conscience. Oh, and the fact that the film-within-a-film is about aliens which happens to be the star's greatest phobia -- again, the star of a film he doesn't have a clue he's in -- is pure genius. Martin expertly interweaves a crazy fictitious plot within a crazy fictitious plot! The product is a great comedic achievement far better than most Woody Allen comedic satires. The humorous elements were subtle and unpredictable yet incredibly funny in their execution. When Martin's character says he'll have to find the best crew he can afford, then the next shot is Martin and his cohorts at the US-Mexican border in a van with back doors open waiting to grant safe harbor for illegal border crossers fleeing gunfire was hysterical. He got his crew, who turn out to be film aficionados themselves! Another funny touch... This crew is suddenly fluent in English by the end of the film. Amazing what myths Hollywood can perpetuate. Besides being exceptionally funny, what's great is that no one escapes Steve Martin's pointed pen. Ambitious starlets, greedy Hollywood moguls, deranged film icons, the superficiality of materialism and dubious status symbols, insincere Hollywood accolades for film premiers not worth the price of admission, even Scientology masquerading in the form of "MindHeads." All are well-deserved targets of Martin's obvious inside knowledge of contemporary Hollywood. The ending shouldn't be missed! Martin's character, the down-on-his-luck movie producer and director becomes a star in his own right, making (not "B" but "Z") movies in Taiwan together with the less-than-stellar talents of the brother of his earlier film's major star. While extremely funny to watch, it's ironic in its truth. There are hundreds of filmmakers who feel successful making similar schlock. These aren't even worthy of being direct-to-video releases, but have their premiers in third-world nations via bootleg tapes likely financed by investors who want the losses for tax purposes. Bowfinger, however, is not such a film. It's well made, funny, and insightful. The acting, particularly by Martin and Murphy, takes the movie to a higher level. In his two roles -- one a maniacal Hollywood star who wants an Oscar for making movies not "films," and the other a naive, friendly neophyte who's sole objective is to "do errands" -- Eddie Murphy is completely credible. He shows his range while this film will show you a great time. Watch it! You'll be glad you did. 9/10.

The Royal Tenenbaums (2001)

What a royal waste of time !

[29 December 2001]

What a monumental disappointment! It's unfortunate that The Royal Tenenbaums is such a waste of time and talent. The story was pointless, trivial, and odd. What was the deal with the matching Addidas outfits anyway? In fact, the funniest thing in the film was to learn at the end that the narrator was Alec Baldwin. Now that was truly hysterical! However, the film was not. Just looking at the talent in this film makes me almost angry that I spent two hours watching these fine actors waste my time and theirs in a cinematic yawner such as this. All could have been solved if just one person had called for a psychiatrist. This entire group needs therapy. Where are some good neighbors when you need them? Couldn't anyone intervene and suggest the obvious? Therapy. Medication. Anything to get these oddballs back on their feet. Gene Hackman, Anjelica Huston, Ben Stiller, Gwyneth Paltrow, Luke Wilson, Owen Wilson (Luke's brother and co-writer of this time-waster), Danny Glover, and Bill Murray. Each has made films ten times better than this. Who can forget Bill Murray in such truly great films as Groundhog Day, What About Bob?, Quick Change, Tootsie, Stripes, or even the Man Who Knew Too Little? Or Danny Glover in the Lethal Weapon series or the (better) Silverado. Gene Hackman was terrific in the French Connection, The Heist, The Package, The Firm, Bat 21, Hoosiers, and even Narrow Margin and Behind Enemy Lines, which also starred Owen Wilson, who was great in Shanghai Noon, Zoolander, Meet the Parents and Behind Enemy Lines. Owen's brother, Luke Wilson did a great job in Legally Blonde. Okay, so he needs better roles, but I'm sure they'll come in time. Now Ben Stiller was outstanding in Keeping the Faith, Zoolander, Meet the Parents, as well as Reality Bites. And Angelica Huston and Gwyneth Paltrow ... two terrific actresses whom I'm sure have done great work. I just can't recall seeing any films they were in that I liked. Nonetheless, this only proves my point. There are better films out there. My advice... see virtually anything else these fine actors and actresses have done, resist the hype of this film, ignore the critics, and save your money for better cinematic experiences. This film earns a mediocre 5/10.

Spy Game (2001)

Slick spy thriller!

[25 December 2001]

"Spy Games" is a slick, if improbable, thriller. The story is told in real time, with flashbacks to fill in the details of Robert Redford's and Brad Pitt's connection in the game of espionage. The flashbacks prove insightful and absorbing. However, it would have been interesting to see a few more of their international cloak and dagger escapades, but that isn't possible since Redford is working behind the scenes on his very last day as a CIA case officer. As he relates these tales to his colleagues, he's actually working against them since they're working against his old comrade in arms. This is ironic since Redford's character said to Pitt in an early flashback to never help another; only look out for yourself. Given that these flashbacks are the product of Redford's intentional bias, it's likely that he never truly believed this as he was, in fact, doing his best to help Pitt in his own way. How Redford goes about helping Pitt's character is one of the most intriguing aspects of the film. While improbable, it's still fascinating. Redford shows he can still act a great part since we know from his facial expressions that he's thinking four different ways simultaneously. This is what makes the film so absorbing. It would have been interesting to know more about what Pitt's character had done since parting ways with Redford's so many years ago. We have an idea of what brought him to China, but we don't know exactly what role, or to what extent, Redford's character played in his being there or the contacts he obtained once he got there. But no matter. What ensues is an absorbing spy thriller, certainly on par with Redford's "Three Days of the Condor" which is the antithesis of "Spy Game." In the former Redford played an innocent who had to learn the spy game quickly -- under the unexpected tutelage of a more experienced spy/assassin played by Max Von Sydow who was actually out to eliminate Redford's character. However, in "Spy Game" Redford's character exhibits all of the knowledge a seasoned CIA operative requires and exercises his knowledge expertly without any need for a tutor. The dichotomy of the two films makes "Spy Game" just as interesting to watch... View it if you like a good espionage thriller. 9/10.

Saving Silverman (2001)

Save yourself the trouble!

[16 December 2001]

"Coming to America" is one of Neil Diamond's most well-known tunes. However, this poor excuse of a movie came to Canada, my hometown to be exact, where it was filmed, unfortunately, for the world to see. Don't let "Saving Silverman" spoil Vancouver and Canada's fine reputation as pleasant, peace-loving regions of North America well worth visiting, nor let our city and country's reputation be besmirched by bad movies made here, of which this is one of the latest in that category. Although Neil Diamond was vastly underrated in "The Jazz Singer," why he chose to return to the screen after a twenty-year absence for this is beyond me. It was an embarrassment. He must have bad advisors. "Saving Silverman" contained many possibilities but nothing remotely funny came out of this poor excuse for a comedy. Yes, Amanda Peet's character was unpleasant, but the kidnapping was illegal, not funny. Now, the kidnapping of Dabney Coleman in "9 to 5" was funny. This movie could have learned a thing or two from that film. As far as comical nunneries are concerned, this film could have learned lots from "Nuns on the Run." Even Jason Bigg's "Loser" was better than this incomprehensible mess. Having just viewed this, I'm still stunned so I'll give it a 5/10. When I recover, I may downgrade it to a 4, even though there are far worse movies out there, but this one earns demerit points since it so obviously squandered its potential to really be a hilarious film. The writers should have their keyboards stolen. Save yourself the trouble! Skip "Saving Silverman"... there's nothing worth saving here!

The Score (2001)

Not bad but...

[15 December 2001]

Well, let's see... The Score is not a bad film but isn't great either. It does take a while to get started and much of the first half hour is a waste of time, but as it plods along it has some interesting elements, particularly once the heist begins. Edward Norton's role was well played. And Robert De Nero did a creditable job. Marlon Brando was okay too, but didn't have a great deal to do in this film. Elderly Canadian character actor Paul Soles did a fine job with his janitorial role. While the acting wasn't a problem, the script was. The "problem" is that the caper wasn't quite believable. Norton is smart enough to plan the heist, but not smart enough to see the outcome which, although part of his plan, appeared to backfire in a surprising conclusion. He should have known... We're left to wonder was De Nero just lucky or really cunning as a thief? The Score is worth viewing, but better films in this genre include "Ocean's Eleven" and "The Thomas Crown Affair" (only the recent remakes, not the originals). Likewise, a better De Nero vehicle, though darker, was "Ronin." Just as "The Score" takes place in French Canada (Montreal), "Ronin" uses Paris, Arles, and Nice as its French backdrops. Ed Norton was also much more sympathetic in the funny and touching "Keeping the Faith." If you see "The Score" that's fine... but see these other films as well for better entertainment value. Overall, a 7.5/10.

Fargo (1996)

Well-acted but totally overrated

[2 December 2001]

Let me see if I understand this. Fargo won the Academy Award for best screenplay written directly for the screen? Astounding. Another nominee that year, Jerry Maguire, was more deserving (not to mention a better film overall). Yes, Frances McDormand and William H. Macy acted well. But the story was empty and transparent, the motivation questionable, and the outcome not entirely resolved. Why did William Macy's character need cash in the first place and what was so important that he would consider extorting his father-in-law's money at his wife's expense? What about Macy's character's son? What happened to him? And what about the money buried in the snow? Didn't anyone check his father-in-law's bank accounts to see that a million dollars was missing not merely 80 grand? What about his lawyer? Did I miss something here?? And what was up with that old high school chum of Frances McDormand's character, Mike Yanagita, and his contrived story? What was the point of this? And why would her artist husband (who only seems to eat rather than work or paint) not be a bit concerned that his seven-month-pregnant wife went to investigate cold-blooded murders? I definitely must have missed a lot of things here... At least her point that money isn't worth the violence perpetrated was on the mark... and this was better than "A Simple Plan" (1998), but otherwise there's not much left to say about this film. Well, if you're easily amused by overly-exaggerated Scandinavian / Minnesotan / North Dakotan accents, then see this film. If you enjoy dark humor with sudden bursts of homicidal violence then see this film... Otherwise, don't be misled by the Academy's misguided choice in 1996. Overall, a darned-tootin' 7/10.

The Game (1997)

Is it really just a game?

[24 November 2001]

When watching this film, one is mesmerized by the potential improbabilities of the plot. The timing, the events, the vast conspiracy... or is it a conspiracy? We just don't know. There are hints along the way that take viewers from one side of the spectrum to the other. Just when you think you've figured it out, another plot twist is thrown at you. "The Game" is an intriguing cinematic experience and Michael Douglas plays his role very well. Sean Penn was also convincing. At it's essence, "The Game" is a modern, urban, corporate America version of "It's a Wonderful Life," but the difference is that there are no kind angels guiding Michael Douglas' character around... at least not in an obvious way. He's ostensibly isolated and possibly on his own, taking us along down a confusing and difficult journey. If you see this movie, and you should, don't do so unless you stick with it through the final 10 minutes, because therein lies the explanation for it all. Without those final minutes, you haven't seen this film. This is not "Sixth Sense" but much, much better. An intriguing 9/10.

A Simple Plan (1998)

A morality tale

[16 November 2001]

A Simple Plan is not the most pleasant film to watch. Naturally, there are far worse films out there and this is not at the bottom of the barrel by any means. The performances are first rate, particularly Billy Bob's. However, while viewing the film, you may find yourself saying, "No, don't do that. You're going to be sorry later." Although it evolves, the "plan" is botched from the start, should never have been developed, and the events that transpire along the way as a result of this "plan" only make you wonder when these people will know when to stop and cut their losses. The point is they don't know, and can't seem to know. Greed turns into futility. A downward trip to the depths of despair. They're in over their heads, and at least to them there appears to be no way out until the inevitable conclusion. Of course, there was a way out... the real FBI would be one source that could have been consulted, but this is cinema after all, not a bastion of common sense. As a morality play, A Simple Plan delivers the goods... (1) greed is not worth the consequences, (2) a conscience can be as lethal to the psyche as an 18-wheeler is to a roadside squirrel, and (3) when you've killed once, it seems that a domino effect is inevitable. The most important message any viewer can take away from seeing this film is to avoid thinking that money will solve all problems. It won't; it can't; and this movie proves it. Also, if you find large sums of money, please be aware that there will be people on both sides of the law looking for it. So don't be stupid enough to think you won a lottery. As a "Simple Plan" confirms, it just isn't worth it. Overall, 7/10.

Angel Eyes (2001)

A hidden gem!

[28 October 2001]

When I first saw movie theater previews for Angel Eyes I wasn't interested in seeing this film. It seemed like just another creepy thriller or an imitation of "Ghost." Having just watched this film on video I now realize how wrong I was and how misleading those movie previews were. This is not a supernatural thriller, but an absorbing mystery/drama with excellent performances from Jennifer Lopez, who proves herself to be an incredibly talented actress, and James Caviezel, who we just don't entirely understand (despite some hints along the way) until two-thirds into the film when he begins to play a trumpet in a Chicago Blues club. Only then do the pieces start coming together. This film is about mutual sadness, optimism, and fate. Both Jennifer and James' characters are sad people with unexplained pasts. Partial resolution wins out in the end, and a satisfying cinematic experience is the ultimate result. The only complaint that comes to mind is the closing scene... Why didn't these characters strap on their seat belts when James' character decided to drive? When you see the film, you'll understand what I mean. Aside from this, if you're interested in a genuine touching drama with optimistic elements and fine performances, then see Angel Eyes. It's a hidden gem! 8/10.

Serendipity (2001)

Serendipity indeed !

[13 October 2001]

"Serendipity" is defined as making a fortunate discovery of something you weren't looking for. This film is the cinematic definition! Call it an urban fairy tale, or an optimist's dream, or just a great "feel good" film. Walking in I had low expectations... but walking out I was still pleasantly surprised. The two leads, John Cusack and Kate Beckinsale, were terrific and perfect for their roles. The supporting cast was hilarious. You won't soon forget the comedic talents of fast-talking, Pulitzer-prize-aspiring NY Times obit writer played by Jeremy Piven, or the uptight, unhelpful yet hilarious clothing salesman played by Eugene Levy, or the French painter "Mignon" ("like the steak" he tells Cusack who still calls him "minyan"). And who can forget the New Age "Yanni wannabe" Lars. His music video is a classic, if only John Tesh could take a hint! The film is a joy to watch. The mood will sweep you through to the predictable conclusion. You may know the ending before the film begins, but the process of getting there is the real enjoyment. Serendipity... 10/10!

Town & Country (2001)

Which town, what country?

[28 April 2001]

I have only one question...With such a famous cast how could this film be so bad? What starts off promising ends up, after a meandering set of incoherent and unlikely plot lines, in a confusing muddle that isn't funny or even remotely interesting... I don't know who deserves more blame: the writers, director, or editors. Town & Country simply wasted the talents of everyone involved. Goldie Hawn, who was sensational in Housesitter, Foul Play, and Seems Like Old Times, has little to do in this poorly conceived film. Unfortunately, this also happened to Hawn in the equally ill-conceived remake of the Out-of-Towners. Jenna Elfman and Andie MacDowell, who can be hilarious and light up a screen, had virtually nothing to do or say but wonder why they listened to their agents and signed up to star in this mess of a film. Likewise, Garry Shandling, who can be a funny comedic actor when given the right material (What Planet Are You From?), meandered through Town & Country without a humorous moment (with one exception... falling off the bed in Utah). While Warren Beatty's acting was not an issue, the story was incoherent and the comedic aspects completely lacking. Much more work should have been done on the script, and a more competent editing job to justify the presence of such a talented cast. Writer/Actor Buck Henry is capable of so much more than this. Oh yes, and whoever thought that the gun-wielding, 'high-society' nut portrayed by Charleton Heston was funny, should have done a few more test screenings... What should have come across as a funny piece of irony, given Heston's position as president of a major gun lobby, was ludicrous in this film. Although the film may have been passable if it starred lesser known names, it just isn't acceptable in a big-budget film full of talented, well-known names. With such experienced actors and actresses, Town & Country was nothing less a cinematic travesty. 5 stars out of 10...

As Good as It Gets (1997)

It could get a lot better than this!

[28 April 2001]

I cannot figure out what all of the fuss was about. How this mediocre film won so many Oscars is one of the many Hollywood mysteries of the '90s. The script was poorly written, the characters not well developed, and the overall tone just hard to tolerate. Nicholson's obvious psychiatric problems should have been the focus of treatment. Why a seemingly smart woman such as the character portrayed by Helen Hunt wouldn't more vigorously suggest this is beyond me. Treatment would at least have shortened this unfunny "comedic" film. Don't see this film unless you want to be bored... If this is as good as it gets, no more movies should be made. It could have gotten A LOT better than this if only the script were better.

Mad About Mambo (2000)

Great surprise!

[5 March 2001]

I don't know why this film didn't get wide release in 2000 when it first made the rounds in theaters, but now that it's available on video you shouldn't miss the opportunity to rent it. This was a nice, pleasant, entertaining film. Nothing "great" or Oscar worthy, but who cares? The story flowed, the sound track was great, and the comedic elements hit their marks. Although Keri Russell's Irish accent may not have achieved the subtle nuances of an Irish native, she did a fine job! And William Ash (the soccer 'Mambo king') and Brian Cox (as Keri's father) were fine as well! What more can you ask for? Over all, this was a nice, fresh romantic comedy that was more entertaining than another film set in Ireland a fews years prior, The MatchMaker (with Janeane Garofalo).

Frequency (2000)

Suspense, mystery, and drama... great combination!

[5 November 2000]

What a great film! I rented it with modest expectations but was held in suspense from beginning to end. Forget about "why" or "how" the communications are taking place, and concentrate on the plot and character developments. There are lots of interesting plot twists that made this movie a touching and at times terrifying experience. Far better then Sliding Doors, Ghost, or the Sixth Sense. Don't overlook Frequency for a great combination of mystery, drama, thriller and suspense!

The Thomas Crown Affair (1999)

Enjoyable movie!

[9 July 2000]

Style, acting, pacing, plot twists... this film has it all. I was surprised at how much I enjoyed this film! The sound track, cinematography, and script were all terrific. Rene Russo was very effective, and Pierce Brosnan is much more believable as the billionaire thief Thomas Crown than in his current James Bond persona... The Thomas Crown Affair is probably Brosnan's best cinematic role to date. Another sequel would be terrific if the overall style could be duplicated.