thundrmi Reviews

Revolutionary Road (2008)

Sometimes hard to watch but hypnotic, rewarding drama

[10/10 · 18 May 2010]

I'll try hard not to reveal too much about the plot, but I know I'll slip, so see the film first if endings are of utmost importance to you..

I must admit that the first time I watched Revolutionary Road(RR), I commented to others that I did not find the experience a pleasant one. Thank heavens I did not allow my initial response to a less than typical 'Hollywood ending' to prevent me from giving the film a second screening. Upon reexamination, I have concluded that this is truly one of the most intense, gripping and thought-provoking dramas of the last decade (or beyond).

A second viewing afforded the opportunity to watch, with great interest, the absolutely masterful performances of Winslet and DiCaprio, supported ably by a wonderful cast. With RR, the acting is the key. Of course Sam Mendes' directorial effort showcases these performances and brings Yates' epic novel critiquing 50's suburban life into sharp focus.

The era of the mid 1950's is very well presented in this film, with a great soundtrack, spot-on architecture, sets and costumes. It helps set-up a love/hate relationship with that 'innocent' decade while allowing the story to play out in contrast. Tunes from the film,including another Oscar caliber theme by Thomas Newman and fifties hits like Crying in The Chapel and Count Every Star haunted me for weeks, finally leading to a purchase of the soundtrack. DiCaprio, now a mature actor far from the boyish Jack, is paired again with his accomplished co-star from Titanic, Kate Winslet, in the role of Frank Wheeler. Wheeler and wife April (Winslet) met in the post WWII years, shared dreams of great futures and shared a disdain for typical suburban life before settling, themselves, in suburban Connecticut. What follows is an examination of how differently these two handle leading what they once regarded as dull and generally inferior lives. April is emotional and passionate about her early ideals while Frank seems to have learned to accept 'success' in the white collar world. At times, April seems to hate her spouse for abandoning early shared dreams, while Frank desperately wants to retain April's love and respect. Some emotionally supercharged scenes ensue.

I must mention one co-star in particular. Kathryn Hahn is amazing as Milly Campbell, the Wheelers' next door neighbor and spouse to Shep(David Harbour), Frank's best friend. Both do a tremendous job portraying the typical, happy suburban couple with insecurities and passions restrained in a way unthinkable to April. Hahn is worth watching closely in key scenes where the Wheelers share some unconventional plans to regain their lost goals. Her facial expressions are priceless.

If you appreciate fine acting,intense adult drama played out in harsh reality,RR is for you. Even if you saw it once and reacted negatively to a rather shocking conclusion, watch it again and simply enjoy the professionals who act a true masterpiece. Leo and Kate have never done better.

Autumn Leaves (1956)

Solid Treat for Crawford, Melodrama, 1950's Film Fans

[8/10 · 23 March 2009]

Today's demand for 'realistic' dialog and 'sensible' plot lines would reduce "Autumn Leaves" to a campy B-film in the eyes of younger viewers. And that's as sad as any aspect of the heartbreak experienced by Millicent, the love-starved heroine so ably played by a mature Joan Crawford. There's much to be enjoyed in this often overlooked milestone of her career.

Throughout her lengthy screen experience, Joan Crawford could deliver one character better than almost any other; the patient, suffering, noble woman desiring true and everlasting love- but seemingly forever denied it. I can think of younger actresses who might have played the role (Polly Bergen comes to mind), but I can't imagine any actress better suited to the demands of the role.

Physically, this is the Crawford of Mommie Dearest. Her mature face now showing her age, and those trademark oversize eyebrows emphasizing every emotion. It's interesting to note that this may have been a deliberate choice, as Joan looks significantly more youthful in 1963's 'The Caretakers'. I have to think that the director wanted to emphasize Millie's 'spinster' characterization, and this was one way it was accomplished.

Other IMDb reviewers have discounted the likelihood that Burt, the emotionally-troubled man who brings a chance for love to Millie, would be so attracted to her. I think that's a bit unfair. Burt was looking for certain rewards of a romantic relationship that a younger woman could not possibly provide. Also, With little previous romantic experience, Millie was enjoying love for the first time, much as a young girl would, thus she responded in ways that were satisfying to both of them.

Today's liberated, self-confident female would not likely make the choices Millie does. Yet, there are countless modern, self-respecting, educated women who would. All for the sake of keeping a romance, or marriage, alive.

Millie is no fool. I think it's clear that she recognizes the likely pitfalls of a union with Burt. She isn't blind to early clues of instability. Rather, she chooses consciously to ignore them; partly to enjoy the fruits of love so long denied her, and partly because she sees in Burt a partner who can be 'fixed,'; made whole. They say love is blind, but Millie is not. She barges headlong, against her better judgment, into unknown dangers, all for the hope of love (and let's remember this is a handsome, virile young man) and lust.

When, early on, just as expected by the audience, her fragile world of marital bliss begins to unravel, Millie is not surprised. Likewise, the viewer is not justifiably angry with her character for being blind. She knew, really, what she was getting into. She just didn't know the specific details. She learns them quickly.

Millie is the proverbial 'stand by your man' type of gal. Long after she is made aware of Burt's mountain of lies and deception, her strongest instinct is not to flee, but to uncover the reasons that he lives in a fantasy world and change them. She is particularly noble in this regard when, at a certain point, she's done all she can to get Burt help, and doesn't expect to receive the lifetime of love and romance to which she once believed he held the key. It is enough that Burt may be 'whole' and happy.

But will Burt escape his torment and delusions and result in a man ready and willing to be a husband to Millie? Did he ever really love her? That is a question that seems to be answered in the final, emotionally satisfying scene.

The House Bunny (2008)

Delivers what it promises; escapist entertainment

[7/10 · 21 December 2008]

I have a feeling we'll be seeing a lot more of Anna Faris in the next few years. Also, we'll be seeing a lot more films like 'The House Bunny.' Why? sheer escapism- a cinematic attribute seen so commonly in Depression era Hollywood. Looks like we're headed for similar gloomy years in America, and audiences want to forget -if even for just 90 minutes- their all-too-real lives and finances. Also expect a lot of films about mansions, rich people, fast lane lifestyles and (pardon the seeming sexism)bubble-headed blonds with hearts of gold. 'The House Bunny' delivers delicious escape from plunging stocks and rising unemployment with a story that could have suited Carole Lombard to a Tee. The cast is adorable, the plot simplistic, and the screenplay is breezy and fast-paced. Central to 'Bunny's' success is Anna Faris who renews the dumb blonde character study with real warmth and underlying smarts. Cast otherwise, the aging bunny, Shelley, could have been annoying. A light touch in nearly every aspect resulted in an entertaining experience that won't disappoint anyone who actually reads the DVD case or other plot synopsis. A final word of career advice to a cast member: Rumer Willis should reconsider accepting roles that cast her as geeky, clumsy and less than attractive, like Joanne in 'The House Bunny.'

Holiday Affair (1949)

Grade A Warmth from a Grade B Holiday Film

[8/10 · 20 December 2008]

What a treat. At middle age, I have actually discovered a 'new' holiday movie favorite, and it's all because I stayed up a bit late the week before Christmas to watch TCM. The film, says TCM, was a major disappointment at the box office in 1949, but maybe that's because, unlike 2008, the warmth and spirit it exudes was commonplace in its time. Anyone who finds charm in films like 'Miracle on 34th St.' will love this seldom-seen and under-appreciated film as much as I did.

Key to the film's success is casting. In his second 'billed' performance, young Gordon Gebert is so adorable and convincingly sincere that the viewer bonds instantly in opening sequences. Janet Leigh is well-cast as the boy's beautiful, but emotionally muted single mother; a war widow struggling to make a living in New York. In what would seem opposite his 'type,' Robert Mitchum is brilliantly cast as third in a romantic triangle that involves the Mom's long-presumed fiancée (played ably by Wendell Corey).

Like 'It's A Wonderful Life,' this film looks like a simple Christmas story at face value, but it serves up a few life lessons, including a couple taught by the mature-before-his-time son. Unlike 'Wonderful Life,' however, these messages aren't quite as weighty and don't seem to be the central objective of the film's plot as in that Capra masterpiece. Here, they are better defined as apt devices that simply further the plot and alter relationships of the story's primary characters.

You won't find many a brighter Christmas 'angel' than little Gordon Gebert as wide-eyed, fair-haired Timmy in any holiday film. If you haven't seen 'Holiday Affair,' don't wait for its next cable TV showing. Rent or buy it as one of a couple of DVD versions currently available.

I can honestly say that, in a season dimmed for my family by human and economic loss, 'Holiday Affair' returned quite a bit of warmth and luster. And all because I stayed up a little later one holiday evening. Maybe Leigh and Mitchum are, somehow, up 'there' smiling at their accomplishment. They should.

Forever Mine (1999)

Like 'em hot? This will do it for ya

[8/10 · 30 July 2007]

This is one of those features that played late at night on HBO, so I figured I would watch since I like Joseph Fiennes and Ray Liotta. I'd never have paid to see it, given the plot summary, but I was very impressed with this pot boiler of a love triangle. It is a definite case of style over substance, but the plot remains plausible enough for those who are true romantics and who feel that those truly destined for one another will go to great lengths to be together. I must admit that the facial scarring of a primary character should not have been enough to fool those close to him, but beyond that I had no problem with the assumed identity device. On a lighter note, I have to say that Gretchen Mol looks sensational here. How much so? I 'bat for the other team,' yet noticed that Ms. Mol's breasts looked exquisite in the tasteful semi-nude scenes. I can see why her character was pursued so authentically by Fiennes throughout the feature. If you liked the original 'Postman Always Rings Twice,' this is a good companion piece.

One Sunday Afternoon (1948)

Diluted sequel/remake to Strawberry Blonde (1941)

[10 April 2007]

How can you outsing, outact and outdance Jimmy Cagney? Maybe you can't. At least Dennis Morgan didn't here in this film with the same characters and basic plot as 1941's Strawberry Blonde. Both films are colorful and feature a lighthearted glimpse at a turn-of-the-century romance, but 'Blonde' trumps 'Sunday' in almost every regard. Can anyone portray a brawling, impish, but lovable Irishman better than Cagney? No, and I am surprised that Director Raoul Walsh and Sunday's producers thought that a mere seven years after the release of Strawberry Blonde, people would forget how great Jimmy really was. There's another problem with this film, too. In both romances, Virginia is the femme-fatale that all men crave, while Amy is a mousy suffragette type that even Biff sees as second-best. In the first film, Virginia is Rita Hayworth and Amy is Olivia DeHavilland, while in the re-make, Virginia is Janis Page and Amy is Dorothy Malone. One can see the wise casting in the original, while in the remake, the ladies are of equal charm and beauty (but neither approaching even DeHavilland's Amy). A bright spot is Don Defore,(later 'Mr. B' of TV's Hazel) who makes the Barnstead role more likable. On its own, One Sunday Afternoon might have seemed an enjoyable B-grade musical, but by comparison, it is severely paled. I wonder why Walsh directed both only seven years apart??

I've Got a Secret (2006– )

On its own merit, a hopeful sign for the future of game shows.

[7/10 · 25 June 2006]

When the 2006 version of I've Got A Secret(IGAS) premiered, I was as uninterested as the most critical of those commenting on this site (except the hate mongers). I had to be honest with myself and admit that it wasn't this version itself that I disliked- it was the fact that Game Show Network stopped showing the Gary Moore 50's re-reruns to accommodate it. I love old game shows and stay up til 3:30am to see What's My Line, so there's no way I was going to give this new IGAS a chance. Stop comparing this to the original IGAS and it looks a lot better. In my opinion, it's encouraging to see a game show that relies on witty banter and hokey, sometimes slightly racy tricks rather than the bug-eating, pain inflicting degradation of Fear Factor or the mind numbing simplicity of choosing suitcases as in Deal or No Deal. Panel shows are so much more engaging and civilized. Civility, by the way, was what John Daly, 50's host of What's My Line, promoted along with literate panelists like Bennett Cerf and Dorothy Kilgallen. (If only shows featured perfect grammar and diction, people shook hands and treated each other with respect- but that's another story). I see what Game Show Network was aiming for- a return to the panel format that thrives on personalities rather than jackpots or gross-out stunts. They chose a gay panel because they hoped for a team of Paul Lyndes- as a gay man myself, I have to agree that 'my people' are reliable for racy quips and frequent sarcasm. The four they chose are personable but lack the 'gay quips' needed to bring laughs. Still, I think it's a good first effort, especially considering the network's relatively small production budget. I enjoy seeing the ordinary contestants and their silly stunts because it does remind me of the good old days. It really deserves a chance and yes, maybe a change in one or two of the panelists might help. (though Frank DeCaro should stay) If all else fails, maybe they could write some comic lines for the panel.

Teachers. (2006)

Full of possibilities - wait and see

[13 April 2006]

Sounds like the previous reviewer was having a bad night when watching this show's pilot. There's plenty of room for improvement for Teachers, but keep in mind that Cheers faced the same kind of harsh criticism and was almost canceled in its first season. Am I implying that Teachers has the same potential as Cheers? Not necessarily, but I do think it's a diamond in the rough. The main asset on Teachers' side is its host of distinctive characters. The writing is a bit uneven, but occasionally produces biting gems like an attractive female teacher's observation about three leering male co-workers, comparing them to a 'recruitment poster for Lesbians.' Put-down humor may not be genteel, but it scores laughs, and has ever since Sophia's zingers in Golden Girls. The main character seems to be Jeff Cahill(Justin Bartha), a sarcastic, bad-boy English teacher who's hot for Alice Fletcher(Sarah Alexander), a tart-tongued, ex-Brit fellow teacher who would respond well to Jeff's advances if only he'd be more mature. I share her disdain for his attitude and fountain of quips. Enough is enough. Also, the show's wardrobe staff take note: Jeff's jeans are way too tight and the low-riding pair worn in the pilot looked rather, well, feminine. If the writers use other characters more liberally (the slutty substitute, the burned out bald guy, and the uptight African American buddy), good things may happen. And how about involving students more? Will they maximize Teachers' potential, or will we consistently mark its card 'Capable of Doing Better?' We'll see.

The Prize Winner of Defiance, Ohio (2005)

A bittersweet lesson about Motherhood, love and happiness

[9/10 · 19 March 2006]

I now have a new favorite family film to add to my very short list. It's a film that teaches an important lesson in a creative and powerful way without ever stooping to high-handedness. The lesson, taught by Evelyn Ryan(Moore), a woman who fed and supported ten children and tolerated their abusive alcoholic father is that you have to savor every moment of happiness life gives you, no matter how small; waiting for that big break may cause you to miss what you have right now. Set in mid-1950's Defiance, Ohio, this true story centers on a woman who provides a substantial portion of her family's living by entering and winning contests. Mainly, they're jingle-writing contests, and she's brilliant at it! Some of the awards are small, like bicycles and pogo sticks, but others fill the family's pantry and freezer for a year, and some garner thousands of dollars and cars (which are sold to make money to live on). All the while, Kelly Ryan(Harrelson), her husband drinks away what little money they have and complains about the stress of his low-paying job. He feels humiliated and often lashes out, sometimes even destroying the winnings. Evelyn is unfailingly positive, even more than her children who grow to resent their Dad's mistreatment of their Mom. I think even the most jaded among viewers will, like me, be captivated by Moore's sensational performance. She's the epitome of the love and resourcefulness found to great degree in almost all mothers. The nostalgic TV programs, classic cars and authentic wardrobes take all baby-boomers back to a simpler, and as Evelyn knew, happier time. The film is based on a story written by Evelyn's daughter Terry "Tuff" Ryan. A pure joy from start to finish, I cannot recommend this film highly enough.

Under Southern Stars (1937)

Viewer Advisory-appropriate?

[7/10 · 15 March 2006]

In an age when the appearance of the confederate battle flag is offensive to so many, it follows that a film glorifying the Confederate cause and its leaders may one day merit a viewer advisory. If not that, then maybe an advisory for the unquestionably 1930's sounding song performed at the film's opening. What were they thinking? Thank heavens there was no Busby Berkely number at the opening of Gone with The Wind!

Aside from the above, this is a splendid example of Technicolor; a process that I wish would be revived. The startling saturation of color might liven up some of today's 'dogs.' Civil War buffs will certainly find authentic-looking costumes and the portrayal of Generals Lee and Jackson more than a little interesting. In many regards it is more convincing than Selznick's 1939 masterpiece.

Nightwatch (1997)

I only wish there were more like this at theatres

[9/10 · 24 February 2006]

Genuinely creepy. Scary. Real suspense. This is Nightwatch(1997) in a nutshell. If it was at theaters I missed it, so it may have been direct-to-video. That's a pity, because though it isn't exactly Hitchcock, it has more suspense than Saw, Saw II, Scream and Hostel, combined. I'm talking real 'what's down that dark corridor' suspense, not what happens when a carefully placed cat jumps out of a closet at a precise moment. The camera angles, darkened sets, and dead-on (no pun) direction put you right in Ewan McGregor's shoes as he creeps down corridors of the coroner's office, fearing that he'll see a corpse moved to a new spot -on its own. Catch this one on cable or DVD if you can!

Wolf Creek (2005)

Slow starter but sizzles near the end

[6/10 · 26 December 2005]

The first uncomfortable thing many audiences will discover in Wolf Creek is the cast's rather thick Australian/British accent. Combine that with a shaky handy cam-like opening that has an amateurish look and you may be wondering whether you've made a mistake purchasing a ticket to this feature. Give it about 15 minutes and as soon as the trio gets on the road, things improve. First, the exquisite Australian countryside, including desert panoramas and mountain vistas, becomes the attention-getter. Then, when the group gets 'help' from the gruff old wilderness-dweller, things take off quickly. The ending, in which the real facts about the case are revealed, is somehow anti-climactic. In brief, this is more a violent and uncomfortable than a 'frightening' film.

Cimarron (1960)

Sweeping spectacle makes the 1931 story even better

[9/10 · 12 December 2005]

I truly loved the 1931 version of Cimarron for many reasons, but I prefer it for just one: Irene Dunne, who plays Sabra. The 1960 version gets the full, big-budget treatment and the result is a spectacle that anyone who loves history, and tales of the experience of the American pioneer, will find fascinating. It has the kind of scope and sweep that another favorite, The Big Country, has. Simply awesome performance by Glenn Ford as Yancey. His dignified, masculine but sensitive characterization is a tribute to all that is manhood. The cinematography, using the best effects available at the start of the 1960's, makes the western locations extraordinarily effective.

Dr. Ehrlich's Magic Bullet (1940)

Biographical Melodrama Well Done

[15 July 2005]

How I long for the era when Hollywood was capable of producing films based upon the lives of great scientists and physicians. Current moguls may consider the material too trite, but that just proves how they misjudge quality cinema.

Dr. Ehrlich's Magic Bullet is a great old biographical melodrama that probably does overstate certain emotional moments, nonetheless it helps recall the bigger-than-life accomplishments of scientists who otherwise would be forgotten.

Edward G. Robinson, though apparently too mature for the role, knew a good script when he read it, and ended up with the finest performance of his long career. Credit goes to the Warner Studio, too, for making a film about the cure for syphilis when even the mention of the disease was prohibited in motion pictures. Those who enjoy films like Edison, The Man will find this more involved with science and less with personal matters than the MGM/Spencer Tracy epic.

This is grand Warner's entertainment with a lesson or two for all of us.

Land of the Dead (2005)

Let me edit this and it will be perfect

[7/10 · 26 June 2005]

It appears that George Romero's genius has just a few limits. He's great at developing film scenarios and designing sets and zombie characters. Sadly, he needs some help with dialog and plot development.

'Land' would be near-perfect if George had left the walled-city boss (Hopper) out of the plot. Dennis' dialog was trite and the usually dynamic character actor genuinely looked bored. Similarly, Leguizamo was saddled with some poor dialog, including lots of 'hip' Latino phrases that just seemed unnecessary.

Give me the scissors! Keep all the scenes involving Baker and his cohorts vs. the zombies (and each other) and drop the rest.

Choose Up Sides (1953–1956)

Great Nostalgia but somehow creepy

[30 April 2005]

The Game Show Nework is now showing re-runs of this rarely-seen children's show, hosted by Match Game's Gene Rayburn. Unfortunately, GSN relegated these classic shows to the wee-hours of the morning, so you may have to stay up late or set your TIVO to catch it. The 1950's nostalgia makes it worthwhile- especially if you're a baby-boomer.

The premise is fairly simple. About 100 kids are invited to the studio to compete in stunts to win prizes. Half are designated Buckaroos and the other half Sky Captains. A Jovial (but you know he had to be less than thrilled, given his later career) Gene Rayburn leads the 8 to 12-year-olds on stunts that are dictated by a weird paper-mache character with rolling eyes and collagen-looking lips (you have to see it).

Some of the well-groomed kids look absolutely horrified, and the least coordinated often are assigned tasks that require balance, speed and finesse. Still, it's good-natured and offers a glimpse into an era long past.

Cold Mountain (2003)

A Very Good, Almost Great, War Drama

[8/10 · 25 December 2003]

I have been waiting for the release of Cold Mountain for more than a year, and eagerly attended the first showing on opening day. My interest was based upon the Civil War theme and my respect for Minghella, Law, Kidman and Zelwegger. My expectations were largely met, but there were aspects of the film that came up just a little short.

What was great about Cold Mountain? As Ruby (Zelwegger) would say, Number one- the cinematography. The initial battle scenes were astonishingly realistic and inspiring. I have not seen such splendid reenactment since Glory (a favorite film). Number two- the authentic costumes and set design. Number three- Jude Law's perfectly understated characterization of a war-weary Inman. Number four- Renee Zelwegger's delightful portrayal of Ruby. Number five- Nicole Kidman's beauty and grace.

All of these splendid facets made this a superior film. There are a few small details that detracted from its greatness, and here's my short list: number one- the location shooting in Romania works 70% of the time, but the extremely high, sheer-faced and snow-capped mountains are not typical of North Carolina. number two- the instant attraction of Inman to Ada is part of the plot but needed to be developed just a little more to make the separation more meaningful to the viewer. number three- being no prude, I have no real objection to nude scenes but they seemed unnecessary in this Victorian-era romance. Leigh and Gable didn't need to flash breasts and buttocks to make it clear they were about to have intercourse when Rhett swept Scarlett up the staircase in GWTW. number four- what's with all the animal mutilation? people have to eat but for goodness sake, there's a bull sawed into pieces, a rooster head yanked off and a cute little goat's neck is slashed. PETA members, be warned. number five (and last)- Civil War history buffs know that the vast majority of casualties at 'the crater' caused at Petersburg were African Americans but this is not evident in the opening battle scene.

Overall, Cold Mountain was a terrific dramatic film and certainly deserves the accolades it has received. I cast an early set of votes for upcoming Oscars as follows: Best Picture, Best Actor, Best Supporting Actress, Cinematography, Screenplay, Direction, Costume.

Scary Movie 3 (2003)

Scary Loss of $8

[2 November 2003]

I was never a huge fan of the Scary Movie series, which fails to approach the quality or creativity of the Zucker 'Airplane' films, but the first two were like Citizen Kane compared to this. There were a few genuinely funny sight gags, but almost all of them are seen in the trailer.

There's a long and curiously off-topic segment about rap music that seems to go on forever. I am not certain, but I assume the idea was to parody the film '8 Mile' but that wasn't a horror film...was it? Whatever its intent, it wasn't funny.

Poor Leslie Nielsen looks lost in his repeated cameos here and every other star also seems to go through the motions. I felt embarrassment for all of them...even Pamela Andersen.

One saving grace is the short duration of the film, which I clocked at under 90 minutes..and believe me, I checked my watch many times.

Enough (I) (2002)

Retitle it "Screenplay from Hell"

[1/10 · 21 July 2002]

Awful. Perhaps one of the worst movies I have seen in the last two years, "Enough" was doomed from the opening titles, mostly due to an incredibly inane, unbelievable script. One of the sure signs that a film has been poorly written is apparent when good actors (Lopez, Campbell) look like they cannot act. The dialogue is so shoddy that it lends no credibility to their characters.

Irritating sequence titles "Our Wedding," "The Conquering Hero," etc., are used to paste together badly paced events in the first half of this story, then are abandoned in the worsening second half. Major plot developments (relationships, telltale violent behavior, murders, cross-country travel) are curiously omitted.

The first sign that Lopez's hubby is wacko strangely does not happen until they have been married for five years. Upon his confession of an affair and refusal to end it, the wronged wife is immediately forgiving and accepting.. much more than most spouses would be for a forgotten anniversary. When he first assaults her, rather than showing fear and revulsion, she wipes a small (already clotted) trickle of blood from her cheek and continues a philosophical conversation with him about their relationship.

The plot, dialogue, editing and continuity are a mess. This was a true waste of talent including Lopez, Campbell, Noah Wylie (who has made a bad misstep in choosing a first major screen role) and Juliet Lewis (who once AGAIN exhibits facial expressions that convey a character with mental illness or some emotional disturbance).

Enough already.

Cecil B. Demented (2000)

Griffith Shines in a Perfectly Demented Role

[8/10 · 23 August 2000]

John Waters' most recent oddball cinematic offering, Cecil B. Demented, serves a generous helping of bizarre characters, grotesque plot twists, and inside jokes not found in mainstream Hollywood. As Waters has gained greater visibility (and near acceptance) as creator of commercially viable films, die-hard fans worry that he might lose his "edge." Fear not, "Demented" has something to offend almost everyone.

Cast as self-centered, demanding, yet wildly-popular actress Honey Whitlock, Melanie Griffith has given perhaps her most creative and indispensable performance since "Working Girl." Griffith's character, after being abducted by a group of anti-Hollywood cinematic terrorist/filmmakers, subtly and believably makes the transition from horrified captive to willing accomplice. Whenever she appears on the screen, all eyes are on her, no matter what carnage or lunacy surrounds her.

Not generally a major Griffith fan, I was very impressed with her willingness to accept such a role, and, further to play it so convincingly. Do not be surprised if The performance is recognized by major awards next year.

The balance of Demented's cast are, in typical Waters style, flamboyant, outrageous and memorable. Stephen Dorff's portrayal of the gang-leader and title character is on target, though often upstaged by the glory of Honey Whitlock.

Mainstream cinema fans, accustomed to ordinary characters, typical plots, and acceptable social behavior may actually walk out of this film. Pity, they would miss so much!

Hopefully Demented will be released at more theaters, nationwide. America deserves this level of originality, and Hollywood deserves the biting humor Waters delivers at its expense.

What Lies Beneath (2000)

Cast, plot twists make thriller worthwhile

[8/10 · 10 August 2000]

Michelle Pfeiffer is radiant in this above-average thriller. She is convincing as a distraught wife of a professor (Harrison Ford) who hides secrets including his infidelity. More troubling, is her belief that she is being haunted by a mysterious female ghost.

Except for the final 10 minutes of the film, the supernatural plot is credible. Zemekis succumbs to the temptation to overcomplicate a logical conclusion to the action.

Grab the Drano! This film demonstrates why it is important to keep those bathroom drains clear, and to subscribe to a good Celular phone provider. Those who have seen the film know what I am talking about!

Very enjoyable! And a new dimension to Harrison Ford. Wow.

The Patriot (2000)

Above Average Historical/Action Pic Hits Its Mark

[9/10 · 1 August 2000]

Although "The Patriot" does not compare in many ways to Gibson's last historical epic, "Braveheart," it does not fail to entertain, inspire and generally involve its audience. Those seeking action and drama, but who are bored with excessive special effects, will enjoy this well-crafted film.

Gibson and cast do a fine job portraying revolutionary war-era characters. The British officers' over-the-top characterizations detract from 'Patriot's' credibility, often appearing as one-dimensional comic-book style villains. A better choice would have been to depict both sides a bit more evenly and realistically.

Still, there are plenty of tense, action-packed (and sometimes excessively gorey) battle scenes, a-la "Braveheart" plus enough tender, inspiring moments to make the movie very worthwhile.

The Perfect Storm (2000)

Perfectly AWFUL

[2/10 · 23 June 2000]

(Preface: I had the opportunity to view this film at a promotional "sneak preview" hosted by Warner Brothers one week before the 6/30 opening. Luckily, I did not have to pay to see it.)

Everyone in Perfect Storm is miserable. The fishermen, their women, the townsfolk, the Coast Guard, the AUDIENCE.

The film begins with the return of the rugged-looking but angst-ridden crews of two fishing boats to a small (Hollywood-envisioned) New England port. One crew, led by a haggard looking female captain (played by Mary Elizabeth Mastrantonio,) was successful; the other, led by a brooding and ill-kempt Captain Billy(George Clooney) failed to catch a good haul and is in deep trouble (but not as much as the script!).

Soon, we meet members of the fishing crew. Their personal issues. What they've given up for their love of the sea. Their long-suffering women-folk. We are confronted with overly dramatic monologues on the nobility of seafaring. Over-the-top dialogue is turned a notch-up by overer-the-top acting.

Everyone looks terribly grungy. Apparently the Gillette reinforcement ship was sunk in an earlier storm, as scraggly beards are donned by everyone in town and on either boat (except the lady captain who simply wears no make up).

As Clooney's boat departs for its next "catch fish or be damned" mission, the townsfolk give an oddly heroic, teary sendoff. It's as if eveyone knows what's going to happen in the film as well as in the audience. Which begs the question..so WHY GO, Dummies?

It worsens. The weather, and the plot. Contrived hassles between crewmates. Hokey "Jaws-like" shipboard (yes-shipboard!) shark attacks... faulty radio equipment and missed warning calls. Ignored radar images of the approaching storm.

The film smells worse than the fish spoiling in the hold of the leaky vessel. Too late for an S O S. Let it sink!

Intersection (1994)

Awful! Awful!

[20 February 2000]

Intersection is one of the three worst films I have viewed at a theater. The painfully slow-moving, confusing, vague plot becomes unbearable after the first 40 minutes. There are no appealing characters to win your heart, and no drama to keep your interest.

I walked out before the end. And that's one of only 3 times I have ever done that! What a waste of talent........

The Bone Collector (1999)

Suspenseful, Dark, Worthwhile Thriller.. with a few flaws

[8/10 · 14 February 2000]

Weary of the run-of-the-mill teen slasher epics with formula characters and outcomes, I looked forward to release of The Bone Collector. For the most part, thanks to another great performance by charismatic Denzel Washington, and stylish, dark depictions of grisly murders sprinkled throughout the film, I was not disappointed.

Like almost any cops-chase-the-psycho-killer-to-save-the-victim-in-time movie(see "silence of the lambs,) a suspension of disbelief on the part of the audience is a necessity. Take, for instance, the willingness of the NYPD to outfit the bed-ridden Washington's apartment with a staff of perhaps 30 pathologists, scientists and detectives complete with appropriate computers, lab equipment and state-of-the-art telecommunications center. Once these excesses are overlooked, "Collector" moves at an extremely fast pace, and delivers the chills and action as promised.

Several graphic, realistic mutilations are performed during the film, so the viewer should be advised in advance. Other than that, a family film! Hardly any swearing or sex.