Verbal-17 Reviews

Strangers in the Night (2002)

Hilarious horror spoof!

[10/10 · 5 August 2004]

This is a very funny short film that spoofs zombie movies (and horror films in general). The plot basically involves a security guard who must fight for his life after zombies invade the office building he works in. In addition to the zombies, he also encounters a gun-toting babe and the scientist who started it all.

What makes this ridiculous film work is the clever way it lampoons cliches from just about every horror movie ever made; title cards actually check off the cliches as they are played out (The Love Interest, The Twist Ending, etc.) and the actors are clearly having fun with the material.

Highly recommended: head on over to atomfilms.com and check it out!

Arimpara (2003)

Whoa! And I thought I had problems...

[8/10 · 1 June 2004]

I saw this bizarre, unsettling horror film from India at the Seattle International Film Festival. The woman who introduced it described it as "one of the most mystifying films I have ever seen." I don't know if I'd agree with that assessment, but I can certainly understand it.

The story takes place somewhere in the Indian countryside, and involves a landowner who seems to have it all- a productive farm, a loving wife and child- until one morning he wakes up to find a mole on his chin. At first the mole is merely a puzzlement, but soon it gradually begins to grow into a large, oozing wart that both he and his family worry about night and day. Soon he can think of nothing else, and when his wife pleads with him to go to the doctor to get it removed, he stubbornly insists on only using traditional methods (such as herbal remedies) to heal it, and they are ineffective. Eventually the wart bizarrely begins to take on a mind of its own, and threatens to envelop and destroy him.

From there, the movie dives headfirst into horror territory, and the gentle earlier scenes between the man and his family give way to something resembling a grotesque nightmare. Having seen it, I am not quite sure what to make of it. Is it intended as a straightforward horror film, a fable, or a dark satire of the Indian caste system, in which rich landowners are seen as people who stubbornly hang on to useless traditionalism, and who unnecessarily obsess over things that don't really matter, until those things envelop them?

An argument could certainly made that the film is intended as such a satire- it echoes the British film How To Get Ahead In Advertising, in which a man's sins are personified by an evil boil on his shoulder. But this argument is belied by the gentleness with which the main character is portrayed: the rich man is not selfish or vain, and genuinely cares about his family and the servants who work on his farm, which makes him an unworthy target for ridicule. Indeed, we can see very little that he has done to deserve what befalls him, and what happens to the man in the second half of the film resembles a biblical curse rather than an earned punishment.

Interestingly, the audience I watched the film with had a variety of reactions to it. In the early scenes, some audience members laughed at how the man and his family talk ceaselessly about the mole, while others did not. Later, as the film got creepier and nastier, some were clearly disgusted, and others sat silently mesmerized at the bizarre spectacle on screen (and, no doubt, with feelings of sympathy at how this gentle but flawed man is thoroughly victimized by his affliction).

In conclusion, I found this to be an intriguing but ultimately unsatisfying film because its makers are never clear on exactly what they are trying to say with it, if anything. Are they trying to tell us something about Indian society, or simply to creep us out? (If their goal was the latter, it definitely worked- I walked out of the theater wanting to go straight to the doctor and get every mole removed from my body). If you see the film, perhaps you will be able to accept its ambiguity of meaning better than I could. It is certainly an unsettling, challenging film, and in that it has its rewards, but it is definitely not for everyone.

Traps (1994)

Excellent show that never got a chance

[4 May 2004]

Traps was an excellent cop drama that, like so many other intelligent, well-written shows, was cancelled by its timid network before it ever got a chance to make an impression with viewers. And that's a shame, because after seeing the first few episodes, I for one was hooked by the compelling acting and impressive writing displayed on screen.

The plot: after a highly-decorated detective is killed in the line of duty, his twentysomething son Chris (Dan Cortese, currently seen in Rock Me Baby), also a cop, must carry on with his life while dealing with the professional pressures of inevitably having to measure up to his great father. He is aided in this by his father's former partner (Bill Nunn) and his grandfather Joe (the late great George C. Scott), who is a retired cop that is nevertheless doggedly investigating some of the cases that he never solved during his career (there is a touching scene where he calls the mother of a murder victim to let her know that he still hasn't given up; this scene makes it very clear how much police work means to Joe).

What really made this show stand out was that it fully developed its characters and took the time to explore the greater meaning of what being a cop was (unlike most cop shows, which simply give you your daily fix of mystery and thrills, and nothing more). In the pilot episode, for example, Chris must deal with a corrupt cop in his own department, while most other cops simply want to look the other way. This is a standard plot line for a show like this, but the episode ends not with a cliche shoot-out scene, but instead with a moving speech by Scott's character about how the then-recent scandals (Darryl Gates, Rodney King etc.) had soiled the reputation of policemen throughout this country.

If this show had been allowed to build an audience, it might have been another NYPD Blue. As is, it exists merely as a reminder to those few who had a chance to see it of what it could have been.

The Factor (1996–2017)

Seeking the truth in a world of spin

[10/10 · 16 April 2004]

I know that a lot of people don't like this show, and its host has been labeled as arrogant, mean, and self-centered, among other things (it has been hilariously spoofed on Mad TV and The Daily Show, among others). However, as a loyal viewer for the last few years, I'd venture a guess that a lot of the people who are bashing it have never seen it, or have just briefly glanced at it in passing. If they took the time to sit down and actually watch it, they'd realize why it consistently gets better ratings than any other cable news show out there- it's an intelligent, witty analysis (not report) of the daily news, and host Bill O'Reilly no-nonsense approach is refreshing and honest.

I think there are a lot of misconceptions about this show that are simply not true. One misconception is that O'Reilly himself is a harsh, arrogant host who rudely interrupts his guests and acts like he's always right. The reality is, Bill is not mean, he just has no patience for BS, or "spin" as he calls it. When a guest tries to dodge one of Bill's questions by changing the subject, distorting the facts, or just plain lying, Bill refuses to let that continue. Yes, interrupting is rude, but so is lying, and if Bill allowed guests to BS all day (as most talk-show hosts do), he would be cheapening his show's integrity and doing a disservice to his viewers. As long as his guests are straight with him, he treats them with respect and courtesy.

Example: shortly after 9/11, he had poet Amiri Baraka on the show; Baraka, an outspoken anti-semite, blamed Jews for the attacks in a ridiculous diatribe. Bill (rightfully) told Baraka that his opinion was wrong-headed and unsubstantiated, but he never interrupted him, raised his voice, or told him to shut up (in my three years of watching the show, I can only recall hearing Bill say "shut up" a couple of times, and the people he told it to definitely had it coming).

As for the charge that he is "always right," at least once a week I see a guest change Bill's mind on something, usually by offering a point of view that makes him admit that "I hadn't thought of that."

Just to be clear, I'm not trying to convert anybody into a fan here. I'm simply trying to point out that many of the labels this show has received are unfair and simply untrue. I've never read Bill's books and I certainly don't agree with all of the things he says (who could?), but what keeps me watching is his straightforward demeanor and no-nonsense attitude. Like him or not, this man seeks the truth and has no room for spin and in the modern-day American media that makes him truly unparalleled.

Session 9 (2001)

Here's a concept: a genuinely creepy, effective horror film

[10/10 · 22 January 2003]

Made on a low budget, this brilliant horror film succeeds because it doesn't fall back on any cheap gimmicks, like special effects or "shock" moments, but instead provides an eerie, forbidding atmosphere and genuine, three-dimensional characters. Writer-director Brad Anderson allows each of the characters to be an individual, to develop and play off each other, so we become genuinely interested in who these guys are, and then he allows the horror to grow out of their personalities and the world that they inhabit. This is a genuinely effective approach that recalls some of the more brilliant horror films of the past (The Shining, The Exorcist) before they were replaced by cheesy slasher movies and self-mocking teen horror flicks.

The plot in a nutshell: five men are hired to remove the asbestos from a condemned mental hospital (the movie was filmed on location at Danvers State Hospital, a place so disturbing that many of the actors reported hearing and seeing strange things during filming). As the week continues, they each begin to be affected by the place, and it's clear there's a presence of some kind there...

Each of the five main actors has a distinct style; Mullan is sullen and unsettled, Caruso is dark and intense, Sexton is hyperactive and talkative, Lucas is loud and cocky, and co-writer Gevedon is quiet and introspective. Their distinct styles allow these men to emerge as having very different personalities, and they play off each other wonderfully, with friendly banter at the beginning and as they argue and conflict with each other as the plot wears on and fear gradually sets in for each of them.

As far as the film's ending goes, let this much be said- Anderson deserves credit for willingness to follow his dark vision to the intense and unsettling end. It was probably necessary for this to be an independent film, because any major studio would have forced the filmmakers to abandon their brilliant style and add a contrived, Hollywood-style ending. Like the great horror films of yesteryear, Session 9 powerful, frightening, and most of all uncompromising.

The Count of Monte Cristo (2002)

Terrific filmmaking- a comeback for Kevin Reynolds

[10/10 · 24 February 2002]

Kevin Reynolds started off great, making well crafted, high-energy adventures like "Robin Hood: Prince of Thieves." Then his career went into a major sag with movies like "187" and "Waterworld" that were incoherent, incompetent, boring, and worst of all, mean-spirited. He has finally found his comeback and redemption with this wonderful film. He moves the adventure along at a brisk pace, gives us great and involving characters that we can cheer and jeer enthusiastically, and (in the third act) creates beautiful set pieces that are nothing short of feasts for the eyes. Watching the colorful and energetic party in Rome that Mondego's son attends and the lavish parties that the "Count" hosts to reel in his enemies, I wanted to stay forever in the world that this movie creates. (Sidenote: if you appreciated the gorgeous set pieces this movie creates, you absolutely must see the 1996 Robert Downey Jr. movie "Restoration"). And the final 30 minutes of this film are spellbinding: as Edmund's revenge plan is carried out like clockwork, the viewer must take a certain amount of guilty delight in how thoroughly and perfectly he exacts his vengeance. With all the crap in theaters right now (Crossroads, Slackers, etc.), seeing this movie made me feel like... well, like Dantes does sitting on a sunlit beach after escaping 15 years in that dark, torturous prison.

Crossroads (I) (2002)

A root canal is more fun than this movie.

[1/10 · 16 February 2002]

I would say that this movie is the biggest piece of crap I've ever seen, but that would be an insult to pieces of crap. Yes, I, a guy, sat through it- looking back, I don't know how I did it. Possibly a combination of strong sedatives and handcuffs. Why did I go see it? Simply put, my girlfriend dragged me to it, kicking and screaming. That's the only logical reason for any guy to see it (or any human being, for that matter). This was evidenced by the fact that the theater I was sitting in was comprised of 90% giggling girls between the ages of 12 and 17, and the last 10% was guys who had been dragged there and had the same deer-in-the-headlights look on their face that I no doubt had on mine.

This movie is god-awful in so many different ways, but let us begin with Titney, I mean Britney Spears. Her acting ability is about on the same level as her singing: boring, unoriginal, completely devoid of talent. Her idea of a Southern accent is to throw in a "y'all" here and there (does anybody on this planet actually use that word?). She flashes her bare midriff, her cleavage, and her plastic smile every five seconds. Yes, she is good-looking and all that, but that doesn't stop her from being annoying and talentless in this movie. What else does the movie do wrong? Other than Dan Ackroyd, there isn't one member of the cast that doesn't look like a model (even the school "nerd" has perfect abs); every character is a broad caricature (the Handsome But Mysterious Guy, The Spunky Black Girl, The Perfect But Insecure Class Valedictorian, etc.). I could go on and on. Put simply, there isn't one moment in this movie worth watching, so PLEASE, don't waste your hard-earned money on it like I did.

Rodrigo D: No futuro (1990)

Stunning, visually striking, devastating

[13 November 2001]

This is a brilliant movie about Rodrigo and his friends, a group of punks who wander the streets of Medellin, getting high, stealing cars, listening to Punk and Heavy Metal music. They're stuck in lives of poverty, with no opportunities and no motivation to try to improve their lives. Their routine is interrupted only when the cops catch up with one of them (which is really an inevitability for all of them, sooner or later), or they get into a fight. Rodrigo dreams of starting a rock band, something that might give his life some meaning (he has no education beyond the 1st grade, has no job, and basically sits around the house all day listening to his family complain about how lazy he is). The movie depicts the world of Rodrigo and his friends with harsh realism, accompanied by striking cinematography, pulsing rock music, and a script with an ear for how these people communicate. While this movie is clearly influenced by "Los Olvidados," it also bears a resemblance to Alex Cox's great "Sid and Nancy" - we are invited to see the world in which these young rebels live, and to understand the ways in which it can destroy them.

Técnicas de duelo: Una cuestión de honor (1988)

sharp and funny satire of machismo

[10/10 · 10 November 2001]

The action takes place in a small town in the Andes, as news spreads across town that the mild-mannered local schoolteacher and the local butcher are going to have a duel this afternoon. The filmmakers use this event as a weapon with which to skewer Latin machismo and the strict, old-fashioned code of honor by which these people live. It is never made clear why they are duelling or who challenged who, and neither man wants to fight the duel, but they both feel obligated because it's "a question of honor." As the morning progresses, both men go about trying to put their affairs in order in case they die, sometimes hilariously (the schoolteacher gets stuck at City Hall all morning, trying to pay debts on his own future death, thanks to red tape). There are some other nice potshots at the hipocrisy of the Catholic Church (the local priest offers the butcher more salvation the more money he is given, and roots for the schoolteacher to be killed because he is an atheist) and the local political system (the mayor, rather than stopping the duel, takes bets on it). All in all, this is a very funny and meaningful film, that anyone would enjoy. Try not to have a smile on your face as the duel plays itself out.

Oscar (1991)

Should be mandatory viewing for those who rip on Sly

[10/10 · 7 June 2001]

This got some of the best reviews of any recent Stallone film, and after seeing it, I understand why. It's an absolutely hilarious, wonderful movie that shows one of Sly's best performances, and a great supporting cast. It was a long time before I got around to seeing it, but man, am I glad I did. I haven't laughed this much in a long time. And to those of you who jump on the negative hype bandwagon and make fun of Stallone like a bunch of lemmings, check this one out.

Lifestories: Families in Crisis: Dead Drunk: The Kevin Tunell Story (1993) Season 1, Episode 7

compelling, with a terrific performance by Rockwell

[10/10 · 5 June 2001]

Part of HBO's fascinating series, "Lifestories: Families in Crisis". Sam Rockwell shines as Kevin Tunnell, a young man who one night makes a terrible mistake, drunkenly plowing his car head-on into another car being driven by a teenage girl, and killing her. Haunted by his mistake, racked by guilt, he tries to continue living his life but soon discovers that his pain will never truly go away. I like this series because it tells brutal, honest stories about real life problems (addiction, abuse, gangs) that young people face without being preachy or condescending, and without any soapy feel-good endings. Dead Drunk and other episodes in the series tell their stories and let the viewer take what he/she will from the viewing experience.

And this one is worth watching, especially to see Sam Rockwell- who has recently found fame in movies like Galaxy Quest, The Green Mile and Charlie's Angels- give one of his earliest, and best to date performances.

A Texas Funeral (1999)

Not like it was advertised- even better!

[10/10 · 1 June 2001]

The ads suggest that this movie is a drama, or even a thriller- serious in tone, about serious stuff. I rented it because I liked the cast and was very pleasantly surprised to find that it was in fact a very funny and touching comedy-drama, about a bizarre but very likable family, that gathers in Texas to mourn the passing of its patriarch (Martin Sheen). The characters could have been made into caricatures to be laughed at, but instead are drawn with a gentle, touching hand that makes them feel like real people, likable in their own way. Give this one a look. It's extremely watchable and very funny, and filled with warm, wonderful performances.

The House of Mirth (2000)

Worth seeing for Anderson's knockout performance

[10/10 · 31 May 2001]

I'm generally not a big fan of period dramas- during a time like the turn of the century when so many people were suffering in the streets and being ignored every day by society, it's hard to feel sympathy for the people who were at the very top of society simply because they had their own emotional problems. However, I'm a big fan of Gillian Anderson and had heard great things about her performance. My main fear was that I wouldn't be able to see her as more than her X-Files persona, which is how I've always seen her, despite her playing very different characters in Chicago Cab and The Mighty. I must say, I was very surprised by this movie- not only was it a cut above the usual Jane Austen-type fare, but Anderson's performance in the lead is simply mesmerizing. Never for a moment did I see anything in her but Lily Bart, this character that she disappeared into completely. It is a travesty that she wasn't given more attention when Oscar time came around. She is supported by such familiar faces as Eric Stoltz, Dan Aykroyd, Laura Linney, and Anthony LaPaglia, all of whom give excellent performances. Anyone who likes this type of movie would enjoy this one, but take it from someone who DOESN'T like this type of movie- it's worth checking out, if for nothing else then for a virtuoso performance by one of the best actresses of her generation.

Pearl Harbor (2001)

A masterpiece

[7/10 · 26 May 2001]

Some people like Michael Bay, some don't. As far as I'm concerned, he does with Pearl Harbor what he has done with his two previous projects, "The Rock" and "Armageddon" to make them blockbusters - he gives us spectacular action sequences, interesting characters, and polishes each shot, each scene, to a fine finish. Yes, the movie has characters that are somewhat two dimensional and yes, the movie uses a tragic historical event as the backdrop for a cliche-ridden romance, but why is it that no one complained when James Cameron did that with the much inferior "Titanic?" Take a look at some of the classic war films - "Bridge Over the River Kwai," "From Here to Eternity" - you will find highly glossed Hollywood romances and big explosions, but if they were dissected with the unblinking cynicism that modern-day critics use, they would be attacked with as much fervor that "Pearl Harbor" has been. See this movie for what it is - a big, glossy, Hollywood epic that has been unjustly panned, and enjoy it for what it is, not what others say it should be.

Mercy Streets (2000)

Surprisingly funny and very entertaining

[10/10 · 19 May 2001]

This one really surprised me. Most of Roberts' recent movies haven't been, shall we say, up to par, but occasionally he makes a really good one, like La Cucaracha, It's My Party, or Strange Frequency. This is definitely one of his better movies. Here he isn't actually the star, but he steals the show as the hero's boss, and the movie is really funny, and the characters are so interesting and well-drawn that it holds your interest throughout. You really care about these people, and you want to see what happens to them. It's a story about redemption, about how unexpected events cause two estranged brothers, one a criminal and one a priest, to live in each other's lives and learn to forgive each other. Stacy Keach also shows up, in a cameo that lasts only a few minutes (but what a hilarious few minutes they are). Give this one a look- you won't be disappointed.

Zero Woman (1995)

stylish and sexy, but inexplicably bleak

[9/10 · 3 May 2001]

In all honesty, there's not much to dislike about this movie. The heroine is very beautiful and she takes every opportunity to remove her clothes (for the most part, they're so skimpy that it's a wonder they stay on at all). The John Woo-style action is clearly sabotaged by low production values, but for the most part is pretty good- the action scenes are slick, visually striking and well-paced. The only times the movie really falters is at the very end, when it suddenly becomes very, very bleak, and when the pacing bogs down in the middle section. As usual, the writers figured out how to come up with dynamite scenes at the beginning and at the climax, but the material they bookend is slow and clearly not given much thought. However, if you're a genre fan, the good stuff just might outweigh the not-so-good stuff. Make up your own mind.

Tammy and the T-Rex (1994)

I thought I'd seen it all...

[3 May 2001]

I've seen alot of cheesy, bizarre, inexplicable movie scenes, but I've never seen anything that tops the ending of this movie: Denise Richards doing a striptease for a disembodied brain in a salad bowl. The rest of the movie is inexplicably bad, but that one scene alone is worth the price of a rental. I'd suggest fast-forwarding through the rest of it. And by the way, I plan to hold my breath until Terry Kiser makes a comeback.

Dr. T & the Women (2000)

Gere's sweetest performance to date; one of his best

[10/10 · 3 March 2001]

There are certain assumptions that people have about characters played by Richard Gere, and in order to appreciate his role at Dr. T, you need to toss them right out the window. Here he plays a role that will surprise most viewers, a successful doctor and a member of the Dallas upper class that is surrounded by women and is constantly devoting his time and energies to their happiness and well-being. I don't think I've ever seen a movie do such a good job at showing the amazing ability that women have to drive men insane. The best part of the movie is an extended scene in which Dr. T tries to get through a day at work in which just about everything that could possibly go wrong in his life does. This is some of the best acting Gere has ever done. Must has been said about the scene where his wife has a form of nervous breakdown and becomes institutionalized, and this is attributed to her having everything she could ever want and being completely loved by everyone around her. To those of you who take offense to this, ask yourself why so many rich and famous people end up meeting tragic, horrible ends. Like them, Dr. T's wife feels that she doesn't deserve what she has, and that there's no point in continuing to make a contribution to her own life anymore. This is meant not as a commentary on women, but on society's upper class and its effect on human nature. If you can keep an open mind, this one is not to be missed.

3000 Miles to Graceland (2001)

The most fun I've had at the movies in a long time!

[10/10 · 23 February 2001]

This movie is one awesome ride! Wicked, funny, visually stunning, and full of action and originality. Kevin Costner and Kurt Russell are both terrific as leaders of a gang that robs a Las Vegas casino during an Elvis convention. The first act involves some incredible action scenes, and the film's climax owes more than a little to John Woo. It's alot of fun, as long as you don't take it too seriously. And the opening sequence, involving a couple of scorpions, is one of the coolest movie openings I've ever seen.

Black Dog (1998)

Wonderfully cheesy popcorn flick

[10/10 · 21 January 2001]

When this movie came out, the usual pooh-poohers whined and complained about how it had a dumb script, a paper-thin plot, and cardboard characters. I wanted to smack them all upside the head for stating the obvious. Duh! That's the whole point! Patrick Swayze has made some very good dramas (Ghost, City of Joy), and some very cheesy ones (To Wong Foo) and he knows the difference. Anyone who tries to take this movie seriously is missing the point. This one is a terrific guilty pleasure, with over-the-top performances by Swayze and his musician co-stars (Meat Loaf, Randy Travis), and some spectacular chase scenes complete with some truly cheesy touches (every automobile that crashes explodes, regardless of whether the gas tank is actually damaged or not). Trust me, this one's worth checking out, as long as you check your brain at the door.

Beyond the Law (1993)

One of the most thoughtful action movies I've seen

[10/10 · 9 October 2000]

This was overlooked by most people, who dismissed it as just another action movie. However, I found it to be alot more. It's the story of a cop who infiltrates a biker gang and finds himself being seduced by the lifestyle and unsure of where his loyalties lay, while haunted by a childhood trauma and finding his life mirroring an old Indian tale. Sheen does a good job with his character- we really see in him a gentle man who finds himself going over the edge, but Sheen never goes over the top and is always convincing, and I found myself really caring about what happened to him. The biker gang is full of colorful characters (Michael Madsen and Leon Rippy are both especially good), and Linda Fiorentino is sexy, though underused as the woman Sheen falls in love with. But the most surprising thing about this movie is that though it has a number of violent confrontations, its plot ultimately is resolved not through a recycled action scene, but through genuine human drama.

Zeiram (1991)

Surprisingly entertaining low-budget flick

[10/10 · 7 August 2000]

This one definitely fits in the category of guilty pleasures.

Basically, it's about a beautiful female bounty hunter from another planet named Ilya who comes to Earth to stop an evil alien monster named Zeram that has also come here to avoid capture. She and her computer (creatively named Bob) create an alternate dimension that she sends Zeram into in order to fight it without hurting anybody (if an innocent person gets killed, you see, she and Bob lose their bounty hunting licenses). However, a couple of dorky guys from Earth manage to travel to the dimension with her, and so she must not only defeat the monster but protect them. And that's pretty much it- this has one of the simplest plots I've ever seen, but it's an entertaining movie nonetheless- the action is cheesy but fun, and there's plenty of it, with the typical low-budget sci-fi f/x. Ilya is played by a very good looking actress, and her character is something of a cross between Boba Fett and Xena Warrior Princess. And thankfully, the two "comic relief" characters don't get too annoying, as is often the case in action movies that come out of Asia. It's nothing special, but this movie does deliver, so check it out if you get a chance.

What Lies Beneath (2000)

Possibly the scariest movie I've ever seen

[10/10 · 25 July 2000]

In terms of simple shock value, "What Lies Beneath" ranks right up there with the best of them. Seeing the previews for the movie, I wondered why such great and famous Hollywood stars as Harrison Ford, Michelle Pfeiffer, and director Robert Zemekis would get involved with a horror movie. After the movie was over, I knew why. It isn't so much a movie as an experience in fright. Zemekis throws everything but the kitchen sink at us, including every horror cliche in the book: the dead body that may not be actually dead, the reflection of seeing someone else behind you, the noise that turns out to be a family pet, etc (believe me, these aren't any real spoilers- this all takes place within the first 45 minutes or so, and the movie's over 2 hours long). The plot basically consists of Pfeiffer walking around the house alone, then something jumps out at her (and us), and the same gag is repeated again and again. It's at first scary, then frustrating (because we know it's coming but can't do anything about it), and finally in the last act achieves a kind of over the top grandeur that few scary movies have approached (The Shining, Psycho, Halloween, and Wait Until Dark come to mind). I'm definitely going to see it again (now that I know where the scares are, I can watch everybody else in the theater squirm in their seats). I suggest you see it too- just make sure you have something to grab on to.

Farewell, My Love (2000)

Formulaic and predictable action movie

[7/10 · 24 July 2000]

Let me start by saying that there is not a moment of originality in this movie- you've seen it all before. Every bit of it is taken from other movies. You've got the revenge plot (The Crow), the inexperienced hitwoman (La Femme Nikita), a guy playing both sides of a mob war (Last Man Standing), etc. The plot basically concerns a woman in town to take revenge on the mobsters who wiped out her family. This is used as an excuse for various scenes of violence and some sex. If that's all you care about seeing, then this may be your movie. But if you're looking for a little more, then skip this one- the production values are low, and like I said, you've seen it all before in better movies. The film does have one saving grace, however- it's one of the last movies that the late great Brion James appeared in.

The Kid (2000)

Funny, sweet, and touching- for kids and adults

[10/10 · 10 July 2000]

Many "family" movies fail to be enjoyed universally because either they're so cute that adults can't stand them, or they try so hard to appeal to grownups and kids alike that they become too complicated for the kids to enjoy. But every once in a while a movie comes along that manages to achieve a balance between the two, and winds up being fun for anybody who watches it. "My Dog Skip" was like that, and so is this. It's funny, charming, and sweet in about equal doses, and doesn't pile on the false cuteness too much. Bruce Willis gives a fun performance as a kind of modern-day scrooge, who gets a visit from a ghost of sorts, in the form of his 8-year-old self. Talk about getting in touch with your inner child! As his relationship with his younger self goes on, he begins to remember how much he enjoyed his life when he was younger, and reflects on his own life through the kid's point of view. The film's climax, which involves him trying to get the kid back to his own time and put something right that went wrong long ago, manages to be entertaining without going over the top.

Reflecting on the movie, I thought about all the ways that it could have gone wrong, but I was shocked by how good it was. I am a 21 year-old guy, and I went to see it with a buddy of mine who is 26, and we both had a great time. So trust me when I say that this isn't just a dumb movie for kids- it's a whole lot more, so give it a chance.