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Reviews
The Muse (1999)
Again, there's this money thing
My comments must seem like one-track lines and I could easily go off on my general dislike for Albert Brooks comedy. But, the cast listing of this show drew me in. What cracks me up in Hollywood movies lately is the complete suspension of the realism of the cost of living. Here we have a writer with a stay-at-home spouse, but he is down on his luck, having only written one piece of work worthy of one Academy Award nomination. Yet, this poor bum lives in an enviable home and winces, yet pays up for an extended hotel stay for the Muse, costing $1700/day!!!???!!! Then, he is willing to run to a name restaurant for a Waldorf salad at midnight, only to have the Muse change her mind? Sorry, bud, I'm fully employed and earn a comfortable salary in a technical field but still cringe at the $950 repair bill to my '97 Venture. I would have burst the door down and force-fed Ms. Stone after getting up and getting that salad! But, movies are supposed to be fantasies--did anyone out there in the real world feel sympathy for the Brooks character's writers block? Sorry, not with that car, and with that showcase wife and with that house with a guest house and with those clothes and with the constant use of the term "money is not the point" lines. So, by not sympathizing with the main character, I let it go and just enjoyed the gratuitous nude shot of Sharon and the great smile of Andie MacDowell (identical character to hers in Groundhog Day). The movie could have used a little of Bowfinger's desperation and reality of the cost of things. Glad it only cost me $2.50 at the video store.
Double Jeopardy (1999)
An editor would have helped.
Boy do I have a list of laughable plot leaps too. But first, let me say how disappointed I was that the writer/editors failed to exploit the intriguing concept, however technically correct it was, of having someone able to kill her husband because she had already done the time. I expected to find a film where the husband was always looking over his shoulder, not unlike the Julia Roberts character in "Sleeping with the Enemy." Instead, having used this concept as a hook to draw me in, they virtually ignore the idea, to the point where the husband seems more annoyed at having ex-debtees find out he is still alive than worried that is wife can kill him. Bummer. I never felt that the husband felt threatened by Ashley Judd's character at all.
Now then, being a Washington Ferry Boat rider, I simply have to take offense that the car drove facing forward off the back of the boat. Not often do they have you back onto the ferry--maybe it was a "Southworth" run on the Vashon ferry. Not very likely. Also, one heck of a lot of people simply sit in their cars, reading the paper or snoozing. If some idiot were driving back and forth smashing the cars ahead and behind, then pushing one off, there would be attention paid immediately to the situation. AND, that chain across the back (front?) is pretty firmly anchored in the deck with posts. Oh well.
I am also amazed to believe that Driver's License photos from people believed deceased are available six years after the death. My, the Washington Dept. of Trans. is really an efficient organization. NOT!!
And, finally, how in the world does a semi-parolee find the money and driver's license to buy flight tickets to Colorado, then New Orleans from Seattle? Oh yeah, this is another case (like the recent Willis?Pfeiffer video) where money is apparently no object.
In short, this could have been a really suspenseful thing had the annoying anomalies been edited and the main idea used to its fullest extent.
The Story of Us (1999)
STOP THE SHOUTING!
Yeah, I know this movie is about a couple whose marriage is on the rocks due to an inability to communicate or tolerate. They experiment with separation while their children attend a seemingly endless summer camp away from home. Yet, not unlike "Moonstruck", a fairly clever movie is annoyingly presented with the volume of the arguments turned up high. I fell asleep a couple of times watching the video and woke up to ask "why the heck are they in Venice?" and other stuff. HOWEVER, let me just state that Michelle Pfeiffer's 3 minute monologue at the end of this show touched me to tears so much I rewound it to see if I was just being stupid. Nope, it got me again. Worth the whole dang movie just to understand the context of that outburst and appreciate it. Changed my whole opinion of the show. If we could just stop the shouting...........
Runaway Bride (1999)
Murphy's Romance with Julia as Murphy
As far as gentle on the mind movies go, does anyone remember Murphy's Romance with James Garner as Murphy? Sally Field's character comes moping into town and James appears to be the toast of the town, fixing everyone's problems and finding Sally along the way. I saw Runaway Bride's main theme not the cancellation of so many marriages but rather the universally likeability of this local gal. Even her ex-fiances still like her, as do her close friends and the wedding arrangers. She sort of owns the town in that way, fixing faucets, swivel chairs and such and attending ball games and appearing around town relaxed in several unglamorous getups. Funny, I know people like this in my small town and strangely enough, they have a hard time settling down with one person. Not that they are promiscuous, but they seem to have an imperative to be "everyone's sweetheart." So, I found Julia's character to fit right in. I loved the rapport she had with her two best friends and the older relatives were a hoot. This movie was upbeat and fun---and, despite what the sourpusses below write, the plot had a major surprise to me. A formula plot would have ended about 10 minutes earlier, if you know what I mean. I liked it for that. However, this movie would be murder to watch without a girlfriend or wife nearby.
Bobbie Jo and the Outlaw (1976)
Reference Video for Sure
I watched this movie back in the days of disks (not DVDs) where we rented the player and the movie together most times. This was supposed to be a more contemporary run at "Bonnie and Clyde" but failed to have the plot or personnel essential to carry it off. Two big, big reasons to see this film and file it for history--and Lynda's got both of them. Yeow!!
Mystery Men (1999)
Stupid accents do not make a movie good
I, too, was drawn to this ensemble of great actors, expecting something more than an Adam West Batman clone. Clank!! Biff!! Pow!! I kept wondering why Ben Affleck was in this dog--oh wait, it's just Ben Stiller thinking he's Ben Affleck in this dog. And what exactly did his character ever do that worked? Was that the point? That was dumb, too. As for the Bowler, what kind of lame talent was that--a dead father who spoke to her and her alone through a bowling ball? And, of course, only the unexplainable bowling ball could save the world despite all their instructions, training, weaponry and camaraderie. Kinda like Scooby Doo being the only creature smart enough to figure the ghost was just a guy with a sheet. OK, OK is was supposed to be a comic book, I guess. But even Stan Lee would have walked out of this show, I'll bet. I found Pee Wee's accent too contrived and hard to understand. How about the stupid logic of invisible man's one accomplishment? If the atomizer or whatever was a machine, do we think it relied on a visible target? Oh,excuse me--I was trying to act like the plot made sense.
Bowfinger (1999)
Doesn't everybody know a "bowfinger"?
I'm not sophisticated enough to evaluate all the techniques of making a good film. However, I am sophisticated enough to think a film is good if it transports me to a different time and place from the theater or living room I'm watching it from. In the case of Bowfinger, it had me from the moment the title character was introduced. I know people who scramble and scrape to carry off an image, and Steve Martin's writing nailed that guy I know to a "tee". I was totally fascinated to see how he came up with fast cars, good clothes and convenient coincidence in order to compete with the big budget producers. Of course, I was pulling for him to be successful and the movie kept that realization just beyond my (and Bowfinger's) reach for an hour and a half. Jiff's dash across the freeway had me totally collapsed. The recruitment, then development of the filming crew was clever as was Daisy's climb up the ladder (chain?)of success. No smarmy sex, no filthy talk, no unwarranted violence. I can see why nervous guys could diss this movie, but for those of us that just want to step away from Kennewick, WA for a couple hours, it was good stuff.
The Specialist (1994)
Should be on a Grecian Urn
Okay, when movies have things blowing up, it's worth at least $1.49 at the video store. But when you have Stallone and Stone in a shower scene it's like watching two perfectly chiseled statues. That scene alone is worth the price of admission. Holy cow, people--Michaelangelo would have used these folks for his paintings.
If I had a body like that, I wouldn't mind having this one show as a memoir.
Go (1999)
At last, someone who knows how to write!
I too saw this thing on the shelves for weeks and avoided having to watch anything with Ms. Holmes for fear it was another "She's All That" or another mindless teen flick where the geek beats the jocks or whatever. Then all you folks started comparing it to "Pulp Fiction" which, to me was as overrated as Mike Ditka. Other than portraying an occasionally dark side of life, "GO" was nowhere as stupid as Pulp Fiction. As a matter of fact, the screenplay was so well written that virtually all the loose ends were resolved by the end, and it had no quirky things like glowing briefcases that made everybody wonder "what was that all about?" in Pulp Fiction. I thought the smarmy policeman and wife scene with the two actors was hilariously original--not what I expected at all!! The only thing I wondered was just exactly how long it takes to drive between LA and Vegas? Otherwise, I recommend this to audiences who are not offended by big busted lap dancers or wacked out drug users.
Phantoms (1998)
BOO!! Did that scare you?
Someone should tell the director of this movie that the difference between startling the audience and scaring them is the difference between grade school horror and good horror. Maybe they should watch "Sixth Sense" to see how to build a suspenseful mood. Of course then I think Dean Koontz is way way overrated as a suspense author. This plot was a one-trick pony. I can just see Mr. Koontz sitting around the house saying, "what if my evil force had this life form? How would I defeat it? Oh yeah, here's how. Now can I milk two hours out of this simple premise?" We are supposed to believe that two white women who see so much horror in one night they can hardly breathe then volunteer to not "get the hell out of Dodge" as soon as they can? The BET Comedy Hour can get a lot of mileage out of that. I'll bet Ben Affleck doesn't put this dog on any of his resumes.
Mickey Blue Eyes (1999)
Writers or editors blew it
I know little about Hugh Grant and certainly avoid his lovey dovey movies if at all possible. However, he does fill a niche that Cary Grant or Rock Hudson used to fill. We have enough tough guys like Willis or Eastwood or even Tom Cruise. So, when we look for someone to be sophisticated enough to be out of the water in a tough environment, we seem to run to Grant. OK enough. As for Tripplehorn? The critics below seem to rip her; unjustifiably so for this movie.
I liked the feel of the movie (I liked being in The La Tratorria)or in Hugh's apartment or at the receptions or wherever--the sets were very comfy. I liked the interplay of the characters and the way the cat and mouse of personality and profession were going. UP UNTIL THE MAJOR FLAW--the point where something so drastic occurs that it becomes unbelievable. All of a sudden this movie wants to become "Pulp Fiction". Tripplehorn's reaction to the act--out of character for the nice schoolteacher she is. Caan's reaction to the act--too mild. Burt Young's reaction to the act--c'mon now, isn't this family instead of a rival gang? You'd think there would be some talking.
So, from that point on, I still liked the characters but hated the point. Why couldn't they have something else and have the rivalry between different families? Oh well. I still think the British accent on "Get outta he" is a crack up. Glad I saw it on video, though.
10 Things I Hate About You (1999)
Where's Liz Taylor when you need her?
This movie is a refreshing new (ironic, isn't it?) look at American high school life. I am not a Shakespeare expert--I thought "Taming of the Shrew" with Liz was the story. She was certainly bitchier than this movie's character, which made it more entertaining. And, Petruchio was a lot more calloused than this film's Pat was. This new version's Pat was tough for what? About 10 minutes of the film? Then he became soft and sensitive, albeit money-driven. Petruchio treated Kate like dirt, dragging her to his home and slopping around for quite a while until somehow the love and respect popped through from the spoiled wench. Maybe I should rewrite "10 things" to incorporate the change as more vivid, rather than the fairly easily "Oh, I'm sorry I was bad" theme of this movie. The vulgarity of the current movie was unnecessary, but I guess screenwriters think it has to be there (see, "Good Will Hunting", for another vulgar example). However, all things considered, I will still give the show a 7.5.
Splitting Heirs (1993)
Hey, it's British humor for heaven's sake
I am not sure why John Cleese cracks me up--I wonder if he acts the same way at home as he does on film. His voice mannerisms have now stereotyped the English prim middleclassman for us Yanks. Similarly, the old Monty Python humor still relies on stereotypical slapstick humor and, for the life of me, I can't stop laughing at it. The sight gag of having a car turn upside down and then continue on the wheels of the bicycles strapped to the top is ridiculous and beneath American humor, but I had to chuckle. Zeta-Jones is a lot chunkier before she went to a trainer or surgeon and looks the way she does now. Moranis? I hated the guy in this role--but wasn't that the point? I give this thing a "6".