A man is the sole survivor of a trainwreck...and don't I wish he wasn't. It might have saved me over two hours of wasted time. This film really dragged, with barely developed storylines of people we would all rather not meet. Its dull, unintegrated dialogue was offset by its dull interesting premise and its dull uninteresting exploration of territory that's been gone over before. To be fair the film had its genuinely original moments( exclusively around the Samuel Jackson character), but it spent too much time trying to echo its predecessor, The Sixth Sense, and to prove to the audience that it was an "honest, thoughtful" film. Each minute of this film was agonizing, passing at roughly the same speed of time spent in a doctor's waiting room. By the time the final scene rolled around with its disappointing denoument, I felt that I, too, had an unrecognized superhuman ability--the one needed to endure over two hours of boring, barely edited junk without demanding my money back. Don't bother.
Reviews
18 Reviews
The Yards
(2000)
You've seen it before, every predictable minute!
16 November 2000
Intrigued by the poster, I went to see this Sundance Official Selection. Boy do I wish I hadn't. The story of a ex-convict trying to "do the right thing" and support his dying mother is almost too schmaltzy to bear. Every twist, every plot development, every piece of dialogue was predictable. Leo's bid for legal job fails, Leo falls in with the wrong crowd again, Leo gets in big trouble (surprise!). . .NOT! Leo's in love with his best friend's girlfriend and whammo there's a boring predictably "complicated" love triangle.
I have read reviews mentioning The Godfather in the same breath as this poorly done waste of footage, and it offends me. The Godfather was a cinematic masterpiece,a work of genius. This is the work of a hack who's watched The Godfather and every Scorsese movie ever made too many times and still doesn't get it.
A good film surprises us even though we know the ending, a good film involves us and makes us think, it does NOT give us worn out stereotypes spouting regurgitated dialogue, struggling with moral dilemmas that not only are painfully easy to resolve but that no one can identify with. (Jeez should I risk violating my probation since I've assaulted this cop or should I kill him and raise the charge to 1st degree murder? DUH!) A good film teaches us something about ourselves and our world that we didn't know. This is not that film.
Don't even recommend this for rental unless you love gangster films even the awful ones.
I have read reviews mentioning The Godfather in the same breath as this poorly done waste of footage, and it offends me. The Godfather was a cinematic masterpiece,a work of genius. This is the work of a hack who's watched The Godfather and every Scorsese movie ever made too many times and still doesn't get it.
A good film surprises us even though we know the ending, a good film involves us and makes us think, it does NOT give us worn out stereotypes spouting regurgitated dialogue, struggling with moral dilemmas that not only are painfully easy to resolve but that no one can identify with. (Jeez should I risk violating my probation since I've assaulted this cop or should I kill him and raise the charge to 1st degree murder? DUH!) A good film teaches us something about ourselves and our world that we didn't know. This is not that film.
Don't even recommend this for rental unless you love gangster films even the awful ones.
Bamboozled
(2000)
Finally, the Truth has been revealed... in White and Blackface!
21 October 2000
I approached this film with trepidation due to the mixed reviews(in particular, the flat-out negative review of Ebert at the Movies). Knowing Lee's penchant for controversy, but knowing also his unflinching honesty and passion about his position, I decided to give this film a chance.
I consider myself an educated, articulate, middle-class black-american. And I was wary of Lee's supposed satire which centers on the creation of Minstrel show for the new millenium. By the time I credits rolled, I was applauding.
In this film, Lee takes no prisoners, he neither excuses the white establishment for its entrenched and hard-to-expose racism nor does he excuse the blacks and other non-whites who become the literal agents of this process.
This story of two young black men's rise to financial and commercial glory through demeaning themselves, their talent and by example the group of people from which they hail, is an allegory. Rather than getting stuck in a discussion of this film's form, viewers should consider what it means about the world around them.
The disturbing and unnerving finale, is a suitable response to our rising awareness of inner-city violence, hip-hop culture, the prison industrial complex, and the police state in which many blacks, poor or not, find themselves a part. Instead of offering us solutions this film offers us, as in many other of Lee's films, a wake up call.
As in the body of Lee's work, the camera work gives a gritty cinema verite feel to the scenes, and the performances of Glover, Davidson, Pinkett, Wayans, and Rappaport are dead-on. The cast has a good chemistry and the dialogue will have have you howling with disbelief and laughter.
An incredibly important film, for any consumer, and by definition, any creator of popular culture who may be responsible for the perpetuation and dissemination of DAMAGING and DEGRADING stereotypes. Thank you, Mr. Lee.
I consider myself an educated, articulate, middle-class black-american. And I was wary of Lee's supposed satire which centers on the creation of Minstrel show for the new millenium. By the time I credits rolled, I was applauding.
In this film, Lee takes no prisoners, he neither excuses the white establishment for its entrenched and hard-to-expose racism nor does he excuse the blacks and other non-whites who become the literal agents of this process.
This story of two young black men's rise to financial and commercial glory through demeaning themselves, their talent and by example the group of people from which they hail, is an allegory. Rather than getting stuck in a discussion of this film's form, viewers should consider what it means about the world around them.
The disturbing and unnerving finale, is a suitable response to our rising awareness of inner-city violence, hip-hop culture, the prison industrial complex, and the police state in which many blacks, poor or not, find themselves a part. Instead of offering us solutions this film offers us, as in many other of Lee's films, a wake up call.
As in the body of Lee's work, the camera work gives a gritty cinema verite feel to the scenes, and the performances of Glover, Davidson, Pinkett, Wayans, and Rappaport are dead-on. The cast has a good chemistry and the dialogue will have have you howling with disbelief and laughter.
An incredibly important film, for any consumer, and by definition, any creator of popular culture who may be responsible for the perpetuation and dissemination of DAMAGING and DEGRADING stereotypes. Thank you, Mr. Lee.
Gattaca
(1997)
Far Out!
6 August 2000
What begins as a brilliant exploration of genetic determinism as demonstrated by our current obsession with genetic engineering and the genome mapping, ends as cliched retelling of the "Outsider who makes good."
Vincent is a "god-child" conceived without the aid of geneticists, in the backseat of a car. Soon he is placed in the prodigious shadow of his brother, "normally" and artificially-enhanced Anton. Vincent's dream is to become an astronaut but his predisposition to heartfailure and early morbidity prevent anyone from giving this ambitious young man a chance.
He embarks on a desperate scheme to gain a new "genetically-acceptable" identity. All is well until someone is murdered at his office.
The film is slow in places, the ending predictable, and the moral clear--you don't know the measure of a man until you know the man. The film was inspiring in places but flawed in others(I find it heavily ironic that the director uses preternaturally-attractive specimens like Thurman and Hawke to convince us that genetics don't matter.) I wish that the writer had avoided what was an unnecessary love story and stuck with what was really surprising about this movie--the recognition that outsiders do not want to gain entrance into the world that rejects them but a real escape from that world.
All in all, highly recommended, worth the price of rental.
Vincent is a "god-child" conceived without the aid of geneticists, in the backseat of a car. Soon he is placed in the prodigious shadow of his brother, "normally" and artificially-enhanced Anton. Vincent's dream is to become an astronaut but his predisposition to heartfailure and early morbidity prevent anyone from giving this ambitious young man a chance.
He embarks on a desperate scheme to gain a new "genetically-acceptable" identity. All is well until someone is murdered at his office.
The film is slow in places, the ending predictable, and the moral clear--you don't know the measure of a man until you know the man. The film was inspiring in places but flawed in others(I find it heavily ironic that the director uses preternaturally-attractive specimens like Thurman and Hawke to convince us that genetics don't matter.) I wish that the writer had avoided what was an unnecessary love story and stuck with what was really surprising about this movie--the recognition that outsiders do not want to gain entrance into the world that rejects them but a real escape from that world.
All in all, highly recommended, worth the price of rental.
Bound
(1996)
Fabulous Film
23 July 2000
Definitely a sign of better things to come. This outrageously fabulous film convinced me of the magnitude and intensity of the Wachowski Brothers' talent. The success of their followup film, The Matrix, was no surprise.
The script was wonderful, with tightly written and delivered dialogue. The cinematography was beautiful and the set design was rich and simple. I was shocked at the low low price tag on this beauty of a film.
This is definitely Jennifer Tilly's best role to date. She and the smouldering Gina Gershon practically set the screen on fire. Talk about chemistry! Both women delivered strong performances and managed to look ravishingly beautiful while being perfectly naughty. Joe Pantalino's is delightful as the dense thuggish accountant and the rest of the cast provided strong and convincing support. This was one film I was sorry to see end. I hope, in the future, the Wachowski Brother's return to the human driven drama that they handle so well. Well worth the price of rental. Must see.
The script was wonderful, with tightly written and delivered dialogue. The cinematography was beautiful and the set design was rich and simple. I was shocked at the low low price tag on this beauty of a film.
This is definitely Jennifer Tilly's best role to date. She and the smouldering Gina Gershon practically set the screen on fire. Talk about chemistry! Both women delivered strong performances and managed to look ravishingly beautiful while being perfectly naughty. Joe Pantalino's is delightful as the dense thuggish accountant and the rest of the cast provided strong and convincing support. This was one film I was sorry to see end. I hope, in the future, the Wachowski Brother's return to the human driven drama that they handle so well. Well worth the price of rental. Must see.
Affliction
(1997)
Weak, Bleak Film
21 July 2000
I was surprised at the unadulterated praise this film received. While it was an accurate and sometimes gripping portrayal of man destroyed by a fearsome upbringing, aspects of the film like the blank, detached voiceover and very bookish dialogue destroyed the effect and impact of the story. It was very dark but unlike other films in the confessional/tell-all drama this film failed to illicit sympathy for the protagonist caught in the grip of his demons. Nick Nolte's character was unpleasant and pathetic from start to finish. In fact most of the characters were, lacking even the charm and vitality of real life much less what viewers expect of the big screen.
The mysterious appearance and later disappearance of the younger brother was distracting as well. When the film ended I was relieved albeit horrified. A good idea, a less than perfect execution.
The mysterious appearance and later disappearance of the younger brother was distracting as well. When the film ended I was relieved albeit horrified. A good idea, a less than perfect execution.
X-Men
(2000)
X-men Rocks!
15 July 2000
I admit from the trailer I was convinced this would be another below-belt, low I-Q comic book to big screen adaptation in the vein of the regrettable Batman and Robin, but I was pleasantly surprised. Ian McKellan and Patrick Stewart were riveting. The rest of the cast was convincing and utterly attractive. Singer's direction was neither heavy handed nor needlessly fluffy. The violence was not extreme and the storyline left me wanting more. Definitely one of the best films I've seen in 2000. Worth the admission price.
Mission: Impossible II
(2000)
A solid action film.
15 July 2000
I enjoyed this sequel. It was not terribly inventive and certainly strayed from the idea of TEAM-work in the Mission Impossible TV series but it was a nice way to spend a few hours.
All of the stars were attractive which is a bonus in any film. THe action sequences were lively and engaging. And for the most part the story held together well. This is not Gladiator, you will not leave this film pondering the meaning of life, but you will be relieved at the absence of explicit violence and overwhelming melodrama.
Enjoy.
All of the stars were attractive which is a bonus in any film. THe action sequences were lively and engaging. And for the most part the story held together well. This is not Gladiator, you will not leave this film pondering the meaning of life, but you will be relieved at the absence of explicit violence and overwhelming melodrama.
Enjoy.
Girl 6
(1996)
Fascinating
1 July 2000
Girl Six is a fascinating portrait of a woman on the verge. Absolutely refusing to be predictable, this film is more than anything about the degradation of desire.
The main character, Girl 6, is a prudish, penniless actress in NYC. Dumped by her agent and acting teacher, she turns to a lucrative position as a phone sex operator not only to pay her bills but also to confront her own fear. She has to prove to herself that she has what it takes to be an actress. What follows is a bizarre circuitous journey that seems to go one way but then darts in the opposite direction. We follow Girl 6 from the bubbly slimy fantasy of her phone conversations to the stark neon landscape that is her real life, eventually the boundary between them blurs and our character has to make a stand to sort it out.
Although the film ends on a light and disappointingly frothy note, the complexities of sexuality, sex-work, and being a black woman are dealt with in a startling and oftentimes revelatory fashion. Anyone convinced of Lee's thickwitted sexism, would be wise to view this film, it will definitely change her mind. Absolutely one of Lee's greatest films, extraordinarily daring and although a bit uneven, an outstanding work well ahead of its time.
The main character, Girl 6, is a prudish, penniless actress in NYC. Dumped by her agent and acting teacher, she turns to a lucrative position as a phone sex operator not only to pay her bills but also to confront her own fear. She has to prove to herself that she has what it takes to be an actress. What follows is a bizarre circuitous journey that seems to go one way but then darts in the opposite direction. We follow Girl 6 from the bubbly slimy fantasy of her phone conversations to the stark neon landscape that is her real life, eventually the boundary between them blurs and our character has to make a stand to sort it out.
Although the film ends on a light and disappointingly frothy note, the complexities of sexuality, sex-work, and being a black woman are dealt with in a startling and oftentimes revelatory fashion. Anyone convinced of Lee's thickwitted sexism, would be wise to view this film, it will definitely change her mind. Absolutely one of Lee's greatest films, extraordinarily daring and although a bit uneven, an outstanding work well ahead of its time.
The Muse
(1999)
Lighthearted Romp
1 May 2000
I thoroughly enjoyed this fluffy fantasy. Stone was adorable as the muse of inspiration and Brooks was appropriately buffoonish as the blocked-writer who requires her assistance.
This film does have several cameos, most of which are cheerful and somewhat amusing. The story is engaging and easy to identify with because everyone has felt disconnected from his or her passion at some point. The focus of this film is about regaining your passion for life and reconnecting with your creative flow. Unfortunately, The Muse wasn't a huge commercial success because Brooks' humor is far too sophisticated and subtle for the audience that craves Ace Venture and American Pie.
He also uses refreshingly older actors who bring to their roles a complexity that people like Sarah Michelle Gellar and Jim Caviezel can only dream of.
While I watched this on video and not at the theater, I regretted that I had not supported it during its theater run. It was a light engaging comedy that is the cinematic equivalent of champagne--elegant, bubbly, and going straight to your head.
This film does have several cameos, most of which are cheerful and somewhat amusing. The story is engaging and easy to identify with because everyone has felt disconnected from his or her passion at some point. The focus of this film is about regaining your passion for life and reconnecting with your creative flow. Unfortunately, The Muse wasn't a huge commercial success because Brooks' humor is far too sophisticated and subtle for the audience that craves Ace Venture and American Pie.
He also uses refreshingly older actors who bring to their roles a complexity that people like Sarah Michelle Gellar and Jim Caviezel can only dream of.
While I watched this on video and not at the theater, I regretted that I had not supported it during its theater run. It was a light engaging comedy that is the cinematic equivalent of champagne--elegant, bubbly, and going straight to your head.
The Best Man
(1999)
Must See Film
26 April 2000
What a relief after the deluge of gravity-defying and morally reckless athletes that careen through commercials and the evening news. What a release from the exploitative and predictable portrayals of African-Americans in films such as Black & White, Any Given Sunday, I Got the Hookup, and Next Friday.
Finally, An intelligent thoughtful film about articulate, intelligent, upwardly mobile black people. A romance with enough sparkling humor to have me laughing aloud though I watched the film alone. In the vein of Waiting To Exhale but vastly superior to that film, we have young African-Americans struggling with love and friendship. Lee is able in elegant fashion to fulfill the greatest promise of film, which is to present a captivating fantasy that teaches us something about ourselves.
There were believable performances in every major role with Howard and Lathan leaving the pack. Beautifully directed and moving until the end, I can't recommend this film highly enough.
Finally, An intelligent thoughtful film about articulate, intelligent, upwardly mobile black people. A romance with enough sparkling humor to have me laughing aloud though I watched the film alone. In the vein of Waiting To Exhale but vastly superior to that film, we have young African-Americans struggling with love and friendship. Lee is able in elegant fashion to fulfill the greatest promise of film, which is to present a captivating fantasy that teaches us something about ourselves.
There were believable performances in every major role with Howard and Lathan leaving the pack. Beautifully directed and moving until the end, I can't recommend this film highly enough.
Black & White
(I) (1999)
Black & Blue
22 April 2000
Black & Blue is how I felt after watching this trite, racist garbage. I felt as if I'd been kicked in the head.
Ha, ha, imagine decent critical reviews of this film in The New Yorker and Boston Globe. Imagine my horror when once again, I'd paid eight dollars to see degrading and exploitative images of African Americans and an idiotic examination of hip-hop culture by a white "outsider." While I agree that this film has interesting moments, most of that is overshadowed by the conundrum of its goal being a fresh, searing look at the relations between urban Blacks and the whites who are fascinated by them, and its actual effect of being a standard racist, classist, elitist romp in the "jungle" of black urban life. The film doesn't stop at being an incredibly racist picture, it also has to throw in some real heavy nods to sexism. Female characters are mostly cold-hearted tramps who've "got to have it" from a brotha from the hood.
I left the film embarrassed, horrified, and angry. Not since I was forced to read Heart of Darkness have I been so offended by the portrayal of blacks--at once depraved, niave, helpless, violent, and inarticulate. Do yourself a favor, if you're an African American avoid this drivel. If you're not African American avoid this drivel. The world would be a better place without it.
Ha, ha, imagine decent critical reviews of this film in The New Yorker and Boston Globe. Imagine my horror when once again, I'd paid eight dollars to see degrading and exploitative images of African Americans and an idiotic examination of hip-hop culture by a white "outsider." While I agree that this film has interesting moments, most of that is overshadowed by the conundrum of its goal being a fresh, searing look at the relations between urban Blacks and the whites who are fascinated by them, and its actual effect of being a standard racist, classist, elitist romp in the "jungle" of black urban life. The film doesn't stop at being an incredibly racist picture, it also has to throw in some real heavy nods to sexism. Female characters are mostly cold-hearted tramps who've "got to have it" from a brotha from the hood.
I left the film embarrassed, horrified, and angry. Not since I was forced to read Heart of Darkness have I been so offended by the portrayal of blacks--at once depraved, niave, helpless, violent, and inarticulate. Do yourself a favor, if you're an African American avoid this drivel. If you're not African American avoid this drivel. The world would be a better place without it.
Pitch Black
(2000)
Vin Diesel not enough to save this turkey!
8 March 2000
One of the truly bad first films of 2000. Weak, hackneyed plot, stock characters, stiff dialogue, illogical premise(even for a sci-fi film set on another planet) and an ending that's disappointing and non-sensical. From the opening sequences of this low-budget rip and run nod to Alien, I found myself hoping against hope that rag-tag band of refugees might actually bite the dust sooner rather than later. The only thing that made this film remotely enjoyable was the charismatic, sexy presence of Vin Diesel. Even he labored under the ridiculous storyline and inane dialogue. Take my advice, save your eight dollars.
Boiler Room
(2000)
An adrenaline-fest in the world of high-finance!
26 February 2000
I loved this film. The best thing I've seen since the year 2000 began. So far this has been a rather dismal movie season, but Boiler Room changes that. For me, it wholeheartedly supports the tradition of film as entertainment. I learned, I believed, I laughed, and I gasped. All without the benefit of murders, guns, bare breasts, and huge explosions. It was a tightly directed film with an excellent cast. I was on the edge of my seat though it was over two hours long. No, it's not Glenngary Glen Ross, but there's room for more than one way to tell the story of the hard sell.
I thought Ribisi was convincing as a street smart kid learning to play with the big boys. I enjoyed the performance of Long and Affleck. But hands down, the best performance belongs to that rising star...Vin Diesel. Can't wait to see more of him. That voice, that body, that face, I buy it. If you want an intelligent thrill-ride that gives you insight into the world of day-trading this is the film for you, if you want another film filled with middle-aged testosterone junkies cursing each other out and breaking down because all of their sales are phoney, this is not the film for you.
I thought Ribisi was convincing as a street smart kid learning to play with the big boys. I enjoyed the performance of Long and Affleck. But hands down, the best performance belongs to that rising star...Vin Diesel. Can't wait to see more of him. That voice, that body, that face, I buy it. If you want an intelligent thrill-ride that gives you insight into the world of day-trading this is the film for you, if you want another film filled with middle-aged testosterone junkies cursing each other out and breaking down because all of their sales are phoney, this is not the film for you.
All About My Mother
(1999)
A film for anyone who loves women in all their permutations
6 February 2000
Brilliant! Almodovar who has always kept me on the edge of my seat either with laughter, horror, sexual excitement, or wonder has done it all again. While Almodovar has always created one hell of a female character, in this film he goes even further by creating a cast-full!
All about my mother is a definite change for him and not quite the romp many of his previous films are. All of Almodovar's films deal with the complexity of desire and the myriad complications of life. This film is no exception, however, where his previous films have often satisfied themselves with pat endings and resolved ambiguities, All about my Mother does neither.
By the end of the film, I was truly moved and heartbroken. Almodovar once master of comic and the shocking is now master of the subtle as well.
All about my mother is a definite change for him and not quite the romp many of his previous films are. All of Almodovar's films deal with the complexity of desire and the myriad complications of life. This film is no exception, however, where his previous films have often satisfied themselves with pat endings and resolved ambiguities, All about my Mother does neither.
By the end of the film, I was truly moved and heartbroken. Almodovar once master of comic and the shocking is now master of the subtle as well.
The Matrix
(1999)
Perhaps the greatest Sci-Fi film since Star Wars!
6 February 2000
Not much to say. Except unbelievably brilliant. Great costumes, great acting, and cute boys. Many layers of meaning from mythological symbolism to corrollation with the story of the Buddha's enlightenment. Even the character's names mean something. The next great science fiction film trilogy is underway, and it's not directed by George Lucas. Do yourself a favor, even if you don't get it, pretend you do. This one is destined to be a classic.
The Matrix
(1999)
Best Sci-Fi film since BladeRunner(Excepting Star Wars Trilogy)
15 January 2000
Possibly the best film since Blade Runner. Astounding visual effects and excellent storyline. Corresponds beautifully to the "Hero Cycle" described by scholar, Joseph Campbell.
Abandon your preconceived notions about the intention and outcome of "popular" films. Allow the wonderfully written and acted Matrix to teach you something new about the reality you're living in.
I've seen it 12 times already (own three copies) and it just gets better with every viewing. I always discover something new. Must See This Film. Free your mind.
Abandon your preconceived notions about the intention and outcome of "popular" films. Allow the wonderfully written and acted Matrix to teach you something new about the reality you're living in.
I've seen it 12 times already (own three copies) and it just gets better with every viewing. I always discover something new. Must See This Film. Free your mind.
Magnolia
(1999)
Film was over-rated and painful to watch
14 January 2000
I respect Anderson's work. I do not, however, think it is genius. In fact, it seems more acutely to me...angst. In some cases it is well-developed angst in others it is tedious, drawn-out, unsubstantiated and unbelievable angst. I believe Anderson's strong suit is depicting suffering, but the characters are so bizarre and off the wall, I found it difficult to sympathize with them at all. I enjoyed Cruise's performance and Ramsey's performance. The film was too long and the ending left much to be desired. I imagine the frogs were Anderson's nod to Magical Realism. I wish he hadn't.
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