Primtime Reviews

He Got Game (1998)

Lee's best since Malcolm X

[8/10 · 3 September 1999]

He Got Game is without a doubt one of the best films of 1998. Spike Lee's story and direction are very near flawless and the use of a symphonic score to go with a few songs by Public Enemy make the visuals all the more appealing.

If Spike Lee has the vision to make this film what it is, then Denzel Washington must be credited for making it believable. His performance is flawless as a imperfect man who has a chance to redeem himself by convincing his alienated son to play for a certain college basketball team. The story of redemption between the father and son is at times lacking, but still holds true. The scope of emotion isn't always shown by Ray Allen who plays Jesus Shuttlesworth, an amazing basketball prodigy who will one day by the next Jordan of the NBA. He shows more emotion when arguing with his girlfriend rather than in the scenes when it is really needed, like when his father returns. Allen though isn't an actor, he is a real NBA basketball player and must be credited for his performance. Rosario Dawson must also be credited for a great performance as Lala, Jesus' girlfriend. She steals all of her scenes, even those with Washington, as the girlfriend who realizes that once Jesus leaves, she will be left with nothing.

Aaron Copland's score (chosen by Lee?) also plays a huge role. The beginning basketball montage is amazing, showing the diversity of those who play and love the game. Rather than using an all-rap soundtrack like most other basketball films, the symphonic sounds make the film a lot less aggressive and a lot more heartwarming. Not to take anything away from Public Enemy's He Got Game which is used well at the end of the film.

Some have said that the sexual content in this film is too much and unnecessary. I have to disagree, since it is used to show the realism of college basketball. Those who think it is all books and study and a weekly game are right off the mark. It is a lot more drugs, sex and cars than most would realize. If anything is overplayed, it is the fact that the main characters name is Jesus. So much of the film is unnecessarily spent on determining why his name his Jesus, the pain he feels because of how he was always being bugged about his name and the whole deal about his new basketball stardom being called "the second coming of Jesus". This was too much to take and was distracting from what Lee was really trying to say.

A full recommendation for this film, even worth a DVD purchase.

8/10 stars.

An American in Paris (1951)

Another Great MGM Musical

[8/10 · 2 September 1999]

An American in Paris is a showcase of Gene Kelly. Watch as Gene sings, acts and dances his way through Paris in any number of situations. Some purely majestic, others pure corn. One can imagine just what Kelly was made of as he made this film only a year before "Singin' In The Rain". He is definately one of the all time greats. It is interesting to look at the parallels between the two films, especially in Kelly's characters, the only main difference being that one is based in Paris, the other in L.A.

Some have said that Leslie Caron's acting was less than pure. Perhaps Cyd Charisse, who was originally intended for the role could have done better, however Caron is quite believable in the role and has chemistry with Kelly. Oscar Levant's short role in this film gave it just what it needed, someone who doesn't look like Gene Kelly. Filling the role as the everyman isn't an easy task, yet Levant did it with as much class as any other lead.

The song and dance routines are all perfection. Even the overlong ballet at the end of the film makes it a better film with it than without. Seeing that there really wasn't much screen time to make such a loving relationship believable, Minnelli used this sequence to make it seem as if you'd spent four hours with them. Ingenious!

I would have to rate this film up with Singin' since it is very similar in story and song. Singin' would barely get the nod because of Debbie Reynolds uplifting performance.

Full recommendation.

8/10 stars.

Pi (1998)

Interesting idea; not enough substance

[1 September 1999]

Aronofsky's debut shows the kind of potential he has as a director. Seeing what he did on a shoestring budget is a reminder of what Spielberg did with his debut in "Duel". Pi seems to have a very interesting plot as the film starts, however, sets off in the wrong direction thereafter.

The story surrounds the discovery of a man named Max, a genius mathematician who spends what seems like all of his time on his computer looking for a pattern in numbers that none of his predecessors could find. Eventually Max comes upon these numbers in what seems to be a fluke situation and from here on in, he begins his downfall. Max is the victim of violent headaches as a result of staring at the son when he was six-years-old. The fact that this was thrown into the plot seems unnecessary and really has no effect on the film. I believe that Aronofsky should have just left these violent headaches to his unending desire to figure out the patterns.

Up to this point, the film goes well until unnecessary third parties are thrown into the equation. The choice of stock brokers and ultra-orthodox jews aren't most people's idea of the bad guys in film (try substituting these groups for villains found in any action film and you'll see what I mean). One scene involving Max being dragged into the car by the Moses-like beards that comprised the religious group is funnier that most Saturday Night Live skits even though it isn't meant to be.

Aronovsky chooses to use these new catalysts to drive Max crazy quicker. Sticking to his obsession with numbers would have been more effective and probably a lot more interesting since these groups are not at all menacing.

The use of grainy black-and-white film was a nice touch here. It really helps to show that there is no cohesiveness in Max's life and how unimportant he would be if someone else got there hands on the number. The ending is also very satisfactory, tying up the film the best way possible. Sean Gullette's performance as Max is also very believable and quite gripping. Without Gullette, this film would be nothing as his emotions are what really keep it going.

Can't wait to see what Aronofsky has in store.

7/10 stars.

Pecker (1998)

John Waters' craziest joke

[5/10 · 1 September 1999]

Call me a conspiracy theorest, but I believe that John Waters made this bad film as a sort of in joke just to see which critics would give it good reviews. Pecker is a disgrace of a film, with bad acting, a terrible script and parts that try so hard to be funny that they actually turn the viewer against the film.

The film is its smartest at the start when we are first introduced to Pecker and his neurotic family and friends. Once we really start to know them, they all seem either fake (little Chrissy), uninteresting (the two homeless people; Why?), or just plain annoying in a bad way (Pecker's mom and sister). Furlong never seems to understand his character and is never convincing (he doesn't even seem to know how to hold a camera). Ricci is also less than convincing unlike many other critics would like to believe. Compare her work here to The Opposite of Sex and you'll see what I mean.

There is no continuous story to this film and the story used isn't interesting. A lot of sub-themes are introduced and never explained why. For instance, Pecker's dad's bar that makes no money. What is the purpose of this? None.

I must applaud John Waters on his in-joke and choose to give him an average rating for doing so, otherwise the film itself gets a 2/10.

5/10 stars.

Psycho (1998)

Maybe half as good as the original

[29 August 1999]

Rather than asking what so many others have in saying - what was Gus Van Sant thinking? One should know that he just wanted to try and emulate the man who probably influenced him to become a director in the first place. Could anyone have made a better Psycho than Hitch? Perhaps, but this effort doesn't come close and will hopefully deter anyone else from trying in the future without some kind of interesting twist.

Van Sant's Psycho is very close to being a shot for shot remake of the original. I spent most part of the film trying to see what Van Sant did differently and came up with only a few recognizable differences. The inclusion of the masturbation scene was a twist on the original, but still unecessary since one can tell by looking at Bates (Vince Vaughn) that there is an obvious attraction. I did like the way the opening title sequence was done ever so similarly to the original. It adds nothing to the film, but a piece of nostalgia that is so important.

The acting and casting in this film are somewhat suspect, making it seem that the whole production was rushed (which it really was since Van Sant stuck to Hitch's original six-week shoot). Anne Heche was completely miscast as Marion Crane and only started to add emotion to the role in her last real scene. Watching Heche while she is driving the car will seem to even the most naive moviegoer as quite lame. The opening scene between her and Viggo Mortensen had no chemistry at all, and staying away from the obvious answer as to why, seemed more Mortensen's fault - another miscast. Vaughn gives a good effort as Bates, but still is no Anthony Perkins. He almost tries to be too disturbed, something that Perkins did at a much more subtle level. Watching his hands shake while talking to Heche takes more away from the scene than it adds. I guess most actors would be nervous if they had to play such a complicated role as well.

The only person who I felt really got their role was Julianne Moore. As Lila Crane, she really succeeds at breathing new life into the role and taking none of the Vera Miles original portrayal away. She overpowers Mortensen in all of there scenes together and does the same to William H. Macy in guess what, another miscast playing the supposedly strong-willed Arbogast. After watching Fargo, I don't think Macy will ever be able to pull off a powerful role, or at least in my mind. He will always be known as the loser to whom nothing seems to go right.

If there are any positives to this film (and there are few), I thought Van Sant did a credible job at recreating the shower scene and many of Hitch's other great shots. The camera pan over the city of Phoenix was almost exactly the same as the one shot nearly thirty years earlier. Most other things that are done well are pure credit to those involved in the original, like Bernard Herrmann's score and Joseph Stefano's script from Robert Bloch's book.

I may have given this film a higher grade than it deserves mainly due to the fact that it was neat to see this film made in the nineties with a heavy sixties undertone. Worth a rental if you watch the original first.

5/10 stars.

Disturbing Behavior (1998)

A waste of celluloid

[29 August 1999]

Here comes yet another ill-conceived film from Hollywood that surely tries to cash in on the latest teen-film craze. This film lacks so much that it is a waste of time just trying to list all of the problems, so I will list three that really missed the mark.

1. A credible story - Does a film like this really need a credible story? Well lets just say that a retarded character was thrown into the plot just so he could eventually save the day. It is quite lame. The whole film revolves around a doctor/teacher and his ploy to implant computer chips into teens (with full parental agreement, of course), however, why he wants to do this isn't at all clear. These chips supposedly make the teens better all-around students, yet they beat up on those who aren't like them and have steroid-like fits when they are sexually aroused? Yeah, I didn't get it either. Don't look for hidden meanings here because you won't find any.

2. The acting - If this film was designed as a Katie Holmes vehicle, it doesn't do anything to make her seem like a real actress. 90% of the time she is brooding around for no particular reason and almost seems to have an instant change at the end of the film. The male leads do well with what unchallenging roles they have and yet it all still seems too fake.

3. The ending - Without trying to give too much away, let's just say that all is tied up too quickly and conveniently. There is no sense of fear or loss which means there can be no redemption with the finale. Whoever wrote this film deserves to be slapped for their complete disregard for an ending.

Two other quick points I must discuss are the all-of-a-sudden love interest between the Holmes character and Steve. I haven't seen such fakery since Six Days, Seven Nights. I also found the stereotypes presented here to be as fake as the kiss at the end. Nerds are shown full out with glasses and computers. Skaters with long hair and baggy pants and jocks of course in full preppy attire. For once could a teen flick not showcase such an obvious disregard to reality. Who thinks these groups up, Dan Quayle?

Don't waste your time with this film like I did.

4/10 stars.

Psycho (1960)

Hitch's best

[9/10 · 29 August 1999]

Psycho is more than just one of the best films of all-time. It is the inspiration behind a great number of films since and will forever be THE ultimate in both plot twists and suspense. Who would have ever imagined killing off both the main character and what seemed like an interesting story only a third into the film? Well, Hitch did and even told the moviegoers at the time to show up for the beginning of the film or else miss the wonderful Janet Leigh.

Psycho has it all. A great story, well two as a matter of fact. One of the greatest scores by Bernard Herrmann (how many people don't know the skreetching violin and deep tuba sounds that really make the shower scene a classic?). The acting is superb with the chilling, almost-too-real portrayal of Norman Bates by Anthony Perkins and the running scared, almost-too-clued-out portrayal of Marion Crane by Janet Leigh. The supporting cast complete the film like few other casts do. Vera Miles makes the role of Crane's sister, honestly real and more than just a plot device.

This film succeeds in all aspects, including the ending which is often said to be overlong and unecessary. Without hearing the inner thoughts of Bates, however, would leave a gaping hole in the production. The double image of Bates face with his mother's scull remains chilling, even in today's glorified, Natural Born Killers-like ultraviolence. Hitch's direction and shot techniques are as innovative as those seen in some of his earlier films like Vertigo and North-by-Northwest. Next time you watch Psycho, slow down the shower scene just to see how many separate shots Hitch put together to make it so great. Quite calculated.

It's a shame that a film like Psycho had to have been marred by a few sequels and a terribly awful shot-by-shot remake. Unlike a continuing storyline like that of "The Godfather", this story should have ended here.

Full recommendation.

9/10 stars.

Dirty Work (1998)

Not Norm's best

[4/10 · 26 August 1999]

Dirty Work is a film that doesn't work. The whole storyline seems created out of convenience, never strong enough to make the audience care. Only a few laughs come out of this boring story and script and are mostly due to MacDonald's dry humour.

The cameos of Chevy Chase, Chris Farley and Adam Sandler are all wasted, not using each to the best of their abilities. I wonder if Chevy ever saw the finished product of this film. Because if he did, he would have surely asked for his part to be cut. Chase has no funny lines in the entire film even though they are all meant to be funny. Same goes for Farley, other than his final scene,, his role isn't at all funny.

The ending of this film is pathetic, causing one to question if Mr. Saget ran out of film, MGM lost patience or MacDonald just got sick of being boring.

Dirty Work is good for a few crude laughs, but still a waste of an hour and a half.

4/10 stars.

Jackie Brown (1997)

Another Tarantino masterpiece

[8/10 · 26 August 1999]

Jackie Brown is one of those films that leaves you satisfied after a showing. Tarantino did very well, rather than what a lot of others have to say. Those who complain about the film's length should stick to a lesser story, something that isn't as layered as this Elmore Leonard adaptation.

The acting in this film is superb. Whoever casted the film deserves a mention as well as Tarantino. From Samuel L. Jackson to Robert DeNiro to Chris Tucker in a more subdued role, all are in perfect character throughout. However, if there is anyone who steals the show it is Pam Grier. Grier delivers a powerhouse performance and just like Travolta in Pulp Fiction, I hope this manages to resurrect her film career. The camerawork on Grier at the beginning of the film as she walks through the airport and later while she is walking through the mall is a perfect example of how one can have an effect on a film without dialogue.

This film ranks up there with Pulp Fiction and Reservoir Dogs and still manages to do so without the use of gratuitous violence. The story is also presented in flashback sequences like Pulp Fiction, but again in a lesser form. Tarantino is a master with using differemt film techniques and angles and even threw in a split screen to sharpen the 70's effect. Another shot of Grier that speaks volumes in right after she has made the money switch. Frantic looking, she makes her way through the mall and seems lost and confused. As she turns around looking for someone, Tarantino circles her with the camera creating a state of confusion, then instantly stops this as she calls out a name. Moments like this are what make Tarantino one of the best directors of all time.

Tarantino is using another Leonard story as the basis of his next film and if it follows suit in the "Jackie Brown" genre, it will surely be another success.

A full recommendation for this film.

8/10 stars.

Red Corner (1997)

Communism comments by Richard Gere

[7/10 · 22 August 1999]

Red Corner is quite obviously a comment on the current situation in Red China. Being a good friend of the Dalai Lama and Tibet in general, the "the Chinese government and army are all bad people" argument is what keeps this film going. It could almost be considered a crash course on what is still going on in China today. Don't get me wrong, the film is actually quite well done and has a good story to go with it which makes it more than a two hour CBS special.

The whole plot centers around the Gere character being framed for a murder of a Chinese girl. The girl just happens to be the daughter of an important general which makes Gere's chances of survival all the less. Sure, all of the cliches are built into this film, especially the wrongfully imprisoned man (haven't the 90's been a real haven to these kinds of films ever since "The Fugitive?"). But the plot is still interesting the film throughout and other than a few twists that seemed unnecessary, keeps focus until the end. I never will understand why Gere didn't just stay at the embassy, he must have been somewhat crazy.

The bond between the two main characters starts off very cold and warms until the end with an airport scene that was very fitting. After watching the film you'll know what I mean. The chase scene through the city is very exciting although at times farfetched, but still makes for some good action in between a few dramatic scenes. Even without on screen violence ala American History X or Saving Private Ryan, this film still manages to invoke fear simply knowing that the Chinese will do whatever they please, regardless of human life.

This film only helps to show China as an unhumanitary state with archaic laws and traditions. When one is forced to plead guilty in order to have leaniency directed towards them, something is really wrong. Hopefully this film will open some eyes to the situation and be a catalyst to future change.

7/10 stars.

Deconstructing Harry (1997)

Allen at his best

[8/10 · 22 August 1999]

Regardless of what Woody Allen may do in real life, he surely shines through his films. Just like the main character in this film who can't seem to get personal matters resolved, Allen faces the same predicament each day. He lets his films do the talking and stays away from the limelight. Deconstructing Harry does him justice in a few sequences as to what he feels and how the media treats him.

This film showcases some of Allen's better quirks when it comes to storywriting and directing. The much used "jump cut" effect helps to create a world that is disjointed from all else. When things are going fine, there are no jump cuts. However when things are less than opportune jump cuts add confusion to the scene and are used more often as the tension increases. The "out of focus" effect is the first of its kind and is very funny. The Robin Williams cameo didn't have much meaning, but his scene was one of the funniest due to him losing his touch. The same effect is used on Allen himself later in the film in another hillarious scene.

The storyline has many layers and isn't at all confusing (as others may have you believe) to the viewer. The use of actors portraying actors in this film is pure Allen genius and is another way that this film differs itself from the crowd. It is not so much that one follows along to see what happens to Harry, but rather to see what is going to happen next. When Allen needs an entourage to go to his alma mater honouring, he ends up taking a very unlikely group. The humour is at times crude and pokes fun at his usual groups (ie - ultraorthodox jews, hookers, WASP's and just about everyone else).

Allen uses his interesting techniques and smart plot to make this such a good film. One can only wonder how he always gets the foxes. At least he got Billy Crystal to play the devil. How fitting.

8/10 stars.

Hush (1998)

In Need Of A Plot Adjustment

[4/10 · 19 August 1999]

Hush is a film that lacks credibility because the plot is more or less unbelieveable. The mother character (Played by Jessica Lange) has a dream that she believes must be fulfilled at any costs. On route to this happening, the story is wasted by using unnecessary characters, loathsome acting and what seems to be the same scenes shot over and over.

Jessica Lange is the highlight of this film. Her performances always seem to steal the show and it is no different here. Now if her choice of films to make were a little wiser, she probably wouldn't have signed on here. Palthrow does well with what she has. Those expecting a "Shakespeare" like performance won't get one because the credibility of the plot takes away from all of the performances. Gwyneth has few opportunities to really act and for some reason is always having her face touched. Why?

The cinematography is average mainly because of the natural beauty of Virginia in the (early?) winter. The film progresses at a torrid pace during the first half-hour without any character build-up that would have formed a bond with the audience. As a scene ends it always seems to tell what is going to happen in the next and this is rather annoying as well. The director only wanted to rush to get to the climax of the film not saving time for any real development.

I don't see how one could really like this film, since it lacks so much. Watching the scene with Lange and the grandmother at the retirement home is about as bad as it gets. There is really no point to that scene of the entire film itself.

4/10 stars.

American History X (1998)

One of the best of 1998

[8/10 · 18 August 1999]

American History X is a startling film that never lacks focus in its portrayal of a white racist; both in his learning and departure of the extremest beliefs. Kaye's debut is something he should be proud of, rather than trying to distance himself from the project. Each and every shot is well taken and the story, although constantly changing from past to present, flows like few other films do. Dealing with such a subject matter with force and staying neutral is an accomplishment in itself.

Edward Norton's performance definitely merited the Oscar nod. Scenes in which he shows rage and anger towards Blacks, Jews or even members of his own family are what make this film what it is. Very few actors could have pulled this role off (think of Ben Affleck in this role instead and you will follow). Norton also shows the other side of his acting ability frequently in the film and is especially potent towards the end. This role moves Norton into the upper echelon of actors that can carry a film on their own. Without Norton, there is no American History X.

The supporting cast all play their role to par. Edward Furlong does well in the role of the younger brother, although he is no Norton. Stacy Keach plays the leader of the skinheads very well and should have had a greater presence in the film. Beverly D'Angelo, John Avery and Elliot Gould round up the cast, all giving their usual smart performances.

The only problem I has with this film was the manner in which Norton's character is such an extreme racist and is changed so quickly. Without giving away the reason, and a good one it may be, I felt that the sudden change took away credibility from the story. Perhaps this was one of the points that Norton and Kaye disagreed on.

Regardless of any squabbles that may have occured between Kaye and Norton, this film is still one of the best of 1998. I would surely like to find out what the disagreement was about and whether it was personal or film-based.

This full gets a full recommendation.

8/10 stars.

Taxi Driver (1976)

Isolation on film

[18 August 1999]

WARNING!!! POINTS OF PLOT ARE GIVEN AWAY!!!!!

If there was a more poignant moment in film history than the panning of the dead bodies and the guns that have just caused their deaths, I don't believe I've seen it yet. The scene speaks enough for a film itself and is the perfect way to end the film. Simply amazing.

Taxi Driver is a great film that shows the kind of reaction one might develop to increased isolation from society. A lot of time in this film is spent on showing Travis (DeNiro) in his apartment quite literally losing his mind. After what must have been many terrifying incidents for the Vietnam vet, the return home has brought no relief, rather more new problems instead. The problem now are all of the drug dealers, pimps, hookers, polititians and just about anyone else that he doesn't know. He looks at the streets of the city and only sees evil and decay. Travis sees degeneration all of the time, and decides that he must take action ( a line in the film goes something to the effect of "I know what I am supposed to do, this is my calling" ). From here on everything changes and the audience is enveloped in the whirlwind of events to come.

The film itself is one of the best shot, not as much for the murky underkeys of the New York streets, but rather for the effective use of new camera techniques. Near the beginning of the film, the camera pans over different parts of the taxi, never showing it as a whole. This could be a metaphor of the trouble going on inside of Travis (rendering him an incomplete person) or simply to show the troubles of society as a whole. The hall shot while Travis is on the phone with Beth (Shepherd) is reminiscent of Kubrick, while the overhead shot after the graphic ending sums up the film quite nicely. Scorsese even puts a decent performance as an irate husband who seeks vengeance for his wife's misdeeds (another good example of the filth of society).

I don't understand why Scorsese added the end scene, giving nothing while not taking away anything either. The meetings with the fellow cabbies could have also been taken out of the film completely. It would have added an even further sense of isolation to Travis. More screen time should have been given to the Jodie Foster and Harvey Keitel characters who were both much more interesting than the cabbies or Cybill Shepherd.

This film runs a good length and has few dry moments. I prefer Raging Bull to Taxi Driver because of Joe Pesci and Cathy Moriarty who each give the main character more reason to rage out, rather than the indirect effects of society. I would also like to note that many people have felt that the violence in this film is Scorsese's darkest. I would have to disagree saying that both Goodfellas and Casino are far worse.

Full recommendation.

8/10 stars.

Smoke Signals (1998)

A Sundance best?

[5/10 · 14 August 1999]

I found Smoke Signals to be rather uninspiring. Just like another so-called "Sundance Gem", the Blair Witch project, there is a lot of hype, and not a lot of substance. Smoke Signals was noted for its realistic portrayals of Native Americans since the film was written, directed and co-produced by Native Americans. However, the main characters spent a quarter of the films making Indian jokes, trying too hard to play into the audience's hand. Now if Native Americans truly do spend a quarter of their time making fun of themselves, this film is really a true portrayal.

The performances in this film were less than I expected. The Victor character seemed uncomfortable in his role and a few times makes a good example of bad acting. I found Sherman Alexie's story to be also lackluster, trying to prove a point which is quite unclear. Is this a tale about a father-son relationship or a comedy/drama of two opposites becoming friends or some kind of search looking for completion. Too many themes are attempted to be covered, leaving the viewer confused and uninterested. I still don't understand why the whole car crash sub-plot was put in the film and the abrupt waste of an interesting character (Song). Oh, and by the way, the music reminded me of an episode of Walker, Texas Ranger.

If anything good came out of this film, it would have to be the flawless intertwining of the two stories. The director did a good job at this making the shifts subtle but still quite effective.

Smoke Signals tries to hard to become your friend when all it really needs is to be what it is, very much like the Victor character - lost in its own identity.

5/10 stars.

The Apartment (1960)

Another Wilder classic

[8/10 · 14 August 1999]

Jack Lemmon is the man.

The Apartment really surprised me. The Best Picture winner starts off right in the middle of the action, but yet the first hour seems long and overrun. Too much time seems spent in trying to develop the characters (and oh so many of them) and not enough time is spent on just seeing what will happen. Just when I was about to lose faith, the film picks it up like I have never seen before. The whole sub-plot of the four guys wanting to use Lemmon's apartment for their evening tyrsts is dropped and Wilder smartly concentrates on Lemmon, MacLaine and MacMurray and the film creates true magic.

The Apartment is more of a drama than a comedy and balances the two elements perfectly. Just after one of the more dramatic moments of the film, we see Lemmon straining his pasta with a tennis racquet. The use of the doctor and his wife in supporting roles are completely there for comedy and yet add so much to the film. The ending also rates up there with the best of all time using an old device that doesn't seem at all cliched in this film. Some say that "Some like it hot" was Wilder's best, but now I have to disagree. The Apartment is better and surely would have made my top ten had the first hour not been so predictable.

How Jack Lemmon didn't win Best Actor is beyond me. His is a great performance, getting to act on more than one scale. MacMurray, another Wilder favourite is perfectly cast in the role of a family-wrecker. I wish they would have put a scene in which his wife confronts him with "The News". MacLaine glows on the screen even when she is sick and in bed.

I fully recommend this film to all, it being Wilder's best makes it a must see.

8/10 stars.

The Blair Witch Project (1999)

Highly Overrated

[5/10 · 12 August 1999]

With The Blair Witch Project, I have read and heard many an overrated reviews. This film simply isn't all that amazing. Rather than what others say about being shocked at the last ten minutes of the film or being scared throughout, it just doesn't ring true. What really got me was the fact so many people still sat in their chairs after the film was over. Someone was even crying. I haven't seen that kind of reaction to a film since "Saving Private Ryan." Even Eyes Wide Shut, which is a much better film had no one staying afterwards.

One can talk of the raw emotion that this film conveys to the viewer. I have a problem with this though. Not enough of the film is seen on camera. During the late night scenes in which someone or something is moving around the tent, we never get to see the looks on the faces of the actors. A lot of emotion is heard, especially during the last quarter of the film, but since I couldn't see it happening, it all seemed rather phony to me.

The fact that this film will in time become the most profitable of all time just goes to how much impact hype really has. There hasn't been a person who I talked to about this film that doesn't want to see it. The truth of it all is that I have seen much better films this summer including EWS and American Pie and would recommend these over BWP any time. This film is definitely a rental.

5/10 stars.

The Sound of Music (1965)

A Great Film

[8/10 · 12 August 1999]

Before watching this film for the first time ( I have seen the play ) I expected it to be quite corny as most musicals of this time period are. Yes, there is a lot of kitsch intertwined in this film, however, taking very little out of the final product. This film is quite brilliant and the THX edition looks and sounds as if it were made during this decade.

I loved the performances of Christopher Plummer and Julie Andrews. Both give performances as they were meant to be and give the film the perfect flow. Plummer is one of my favourite actors and watching this film will give you a good idea of how talented he is.

The best aspect of this film is the beautiful way it was shot. Robert Wise did a brilliant job giving this film even more character, making it more than just another musical. The opening sequence of the camera coming through the clouds into the wonderous mountains is just a taste of what is to come later in the film. The way the subtle whites and blues are used to give the film a special glow is something that has rarely ever been emulated.

I give a full recommendation of this film and put it in the must-see category.

8/10 stars.

Blade (1998)

The usual action film

[5/10 · 11 August 1999]

Blade introduces few new ideas as far as an action film goes. This film produces a lot of blood and violence, the usual predictable ending and a very thin plot. Some have compared this film to Spawn which is much worse and could even make this film look good.

Wesley Snipes plays this role with little emotion, a cold killer with the advantages of being half-vampire, half-human and none of the disadvantages that go with either. I never really cared for Blade or his mentour and couldn't really get behind any of the vampires either. Without anyone to endorse, this film is nothing more than a 120 minute special-effects-filled trailer.

I must note that a sequel is being made to tie up the loose ends left by this film. However, after watching this film, I can't see why anyone would even care about a sequal. Even fans of the comic book must be disappointed by this effort.

I would recommend this film as a rental for an evening when there is really nothing to do. Don't make a point of renting this film if you are looking for a story, because there simply isn't one here.

5/10 stars.

Gattaca (1997)

A real surprise

[8/10 · 1 August 1999]

I didn't expect much before watching Gattaca, but was pleasantly surprised. This film was very well done, and looking back should have earned a few Oscars. Everything about this film shines and comes together to make one of the top ten of 1997.

Both Ethan Hawke and Jude Law have great performances in this film. Without these huge performances, this film would be nothing more than beautiful sets and an interesting plot. Andrew Niccol's debut in the director's chair is very impressive and all the more astounding since he also wrote the screenplay. Perhaps most important about a film of this genre is to not be overlong. Gattaca flows very smoothly and never lost my attention.

I would fully recommend this film to all. Well worth the rental.

8/10 stars.

The Big Hit (1998)

Talk about plot twists...

[5/10 · 28 July 1999]

The Big Hit is one of those films that start off well, but then take a turn for the worse. Its as if two different people wrote the beginning and ending to this film. There is simply no cohesion.

The acting in this film is non-existant. Mark Wahlberg gives a forgettable performance as Marvin Smiley, a character who seems overwhelmed by his contract killer lifestyle and all that go with it. The only problem is that I really didn't care if he had problems or not. Sympathy might be aimed for, but is not achieved. I spent half of the film laughing at Lou Diamond Philips' try at being a gangsta'. I don't know if comedy was the directors intention, but I doubt it.

The only thing that remotely saves this film is the action scenes. They are really done quite well. However, even some of the scenes themselves seem somewhat unrealistic. This is as much a Hong Kong film as I have ever seen, all action and a pathetic story. The stereotypes are also very well present (Japanese, Jewish and teenagers).

The plot twist that sends the film into a Pulp Fiction-like frenzy is not very well thought and does nothing to save this film. The whole Christina Applegate character and her parents are completely unecessary. The story would have been more interesting had they concentrated on the Lela Rochon character and her relationship with Smiley.

All around a sad attempt.

5/10 stars.

The Full Monty (1997)

Funny; although not quite up to expectations

[7/10 · 19 July 1999]

The Full Monty was a very funny film, although I believe that "Waking Ned Devine" was slightly better. Robert Carlyle gives by far the best performance in this film and shows why he is in such great demand today.

I had read and heard a lot about the problems people had understanding the accents of the actors. This claim is quite groundless. Unless you have been totally isolated and never heard a dialect other than a North American, you won't have any problems with it. The soccer references are great fodder for those English Football fans. My personal favorite - Oh, Ah Cantona... was a surprise.

The story is original and plays well throughout the film. The only slight problem I had was the father-son relationship that posed an initial problem and wasn't properly closed. Ending the film during the performance did nothing to tie up any loose ends. Did Gerald get his wife back? Would Gaza get to see his kid?

I would recommend this film to any comedy fans, although it is a mostly cute type humour. Watching "Waking Ned Devine" first would also enhance a film viewing.

7/10 stars.

Rushmore (1998)

Very well done!!

[7/10 · 14 July 1999]

Why aren't more films like Rushmore made? You know, the type of film that doesn't follow a pattern set by other films before it. Every now and then when a film with an original story and script come out, the critics drool all over them, word-of-mouth causes people to see them and yet the studios insist on making films like The Avengers, Instinct and She's All That.

Jason Schwartzman plays the role of Max Fischer amazingly well. It almost seems like this role was created for him. Being a genius requires that person to move down to the levels of others, which is probably why Max is involved with so many different out-of-school activities and not working hard enough at school itself. Watching Max in Serpico (one of his plays), plotting revenge against Herman Blume (Bill Murray), in a drunken rage or bantering with a Scotsman are all pure delight and are really the main substance of this film. Others balk at his stalking of the teacher twice his age, but don't realize this is the only way a naive Max knows how to reach out (it is explained that his mother died while he was young).

Bill Murray's performance was pretty good, although not Oscar-worthy as so many others have said. This is only because his performance is so one-dimensional and never really stands on his own in scenes without Max. Olivia Williams has a quiet but decent performance as Max's love interest. She doesn't really have a lot of room to vary her performance which explains her one-dimensional character.

I would fully recommend this film to all.

7/10 stars.

Lolita (1997)

Not faithful to Nabokov

[6/10 · 14 July 1999]

Adrian Lyne's portrayal of the famed Nabokov novel has all of the beautiful cinematography, enrapturing score and great acting that one would expect. However, this film still falls short of actually presenting what the novel is all about. It isn't a tearjerker about the innocent Humbert Humbert being unfairly taken advantage of by the bold, yet still childlike Lolita, it is in fact the exact opposite.

After watching this film, I couldn't help but feel sorry for Humbert and his endless longing for Lolita. After all, Lyne makes it seem that Lolita used him, then took off with another man who could give her the satisfaction that she needed. Nabokov never intended for this to happen in the novel, so why is Lyne so unfaithful himself to the actual story?

The strong point of this film is the large performance of Jeremy Irons as Humbert, a man who truly loves Lolita very much and never could fight off any feelings for her. One can see the pain build up within Irons as the film progresses until the final scenes in which he finishes off Quilty (a very unnecessary scene). My favourite scene of the film happens to be near the end when Humbert is being followed by the police, drives into a farmer's field and proceeds to get out of his car and just stand there. This scene alone speaks more than the majority of the film itself.

Melanie Griffith seems miscast as Charlotte Haze (who in Nabokov's novel is fat and unattractive), I don't know of many men who would want to subdue her with sleeping pills every night in order to pass on their "husbandly duties." Dominique Swain puzzles me in the role of Lolita. She captures the whole nymphette quality, but should have been a little more subdued at times. She seems slightly more childish in her performance than Nabokov intended.

I would give a slight recommendation to the over 16 crowd who have an appreciation for the more artsy-type films like Lolita. However, it may seem quite subdued when compared to all of the hype.

6/10 stars.

The Avengers (1998)

No wonder there were no advance press screenings

[3/10 · 14 July 1999]

The Avengers is without a doubt one of the worst movies I have ever seen. I do not think I have ever been so bored with a film only an hour-and-a-half long. Neither Fiennes or Thurman capture their characters like MacNee and Rigg did in the original series. They rather spend the whole film throwing mindless banter at each other in order to see whom is the colder of the two.

Sean Connery could do no right in this film. I wish he had been smarter and stayed away from this project the moment he read the script. The scene with the teddy bears will forever register in my mind right up there with the fight with Robert Shaw in "From Russia With Love" or the laser scene with Gert Frobe in "Goldfinger." Why Mr. Connery? Why?

One can fully understand why Warner Bros. went through such length to keep this film from being seen by critics before it was fully released. The script is awful, the characters uninteresting and the finale laughable. After all, no one in their right mind gave a damn as to whether Sir de Winter actually did control the world's weather. I'm sure all the armies in world wouldn't stand a chance against a very sensitive machine. Yeah, right.

This movie stands no chance of getting any kind of recommendation.

3/10 stars.