AP-Project Reviews

Behind the Camera: The Unauthorized Story of 'Charlie's Angels' (2004 TV Movie)

Good Nostalgia Trip

[8/10 · 10 March 2004]

There's plenty of truth hidden in the glitz of this CA origin story. Some series pilots can have terrible preview screenings, but then go onto great success as this one did. Other shows, without an influential producer, will be killed by mediocre or bad test screenings. The time was right in'76 for CA, and Spelling knew it. However, the world wasn't ready for reality shows then (with many classic comedy and drama shows still in their primes) and green lighting them then was unthinkable. The underlying theme of this movie is every series, and every idea for a series, has a certain time window when it can be launched successfully. As shown in the movie, one of the CA writers later created Cagney and Lacey. C & L probably could not have existed without CA paving the way for it.

As for the Angels themselves, Jaclyn Smith is portrayed as the shy, conservative young woman she was. She was the most demure of the bunch, but ironically Jaclyn became the biggest television star (of the 3) after CA ended. She was in a huge number of highly rated made-for-tv movies. Kate was the most ambitious, but the key to playing her is capturing that distinctive voice. When I recall the show, her voice is impossible to forget. Kate had no idea this would be a "jiggle" show, and it still broke barriers as an hour of television devoted to the weekly adventures of 3 smart women. That concept, for 1976, was revolutionary. Also, Kate came from the "The Rookies," another series that had pushed the envelope, although from a racial aspect. Farrah was raised as a very conservative Texas girl who always put her man, and his needs, first. She practically polled Lee daily to see if he was tolerating her stardom. As Lee self-righteously pointed out, he was making much more money per episode than his wife. Later, perhaps a year or two after the first season of CA had ended, Farrah realized that her upbringing taught her subservience to men, but life had more to offer than that. She became a successful dramatic actress. This movie is very accurate in its details and is well worth seeing.

Gilmore Girls (2000–2007)

Love The Parenting Approach Here

[30 June 2003]

I love the parenting approach in Gilmore Girls. Young people, and people in general, respond best when their ideas and intellect are appreciated. This means the parent who listens, truly listens, to his/her child and interacts with him/her in a non-condescending way will not only have a friend, but will sustain the child's self-esteem on a daily basis. Also, this approach enables the child to hear something besides pressure to get good grades or achieve success in athletics. A young person can achieve self-esteem from talking to friends, but friends move on with their own college, job, families and responsibilities. That relationship with the mother/father will always be there and the best ones have plenty of honest and open (and even intellectual) communication. A child feels isolated if the parent treats the son/daughter brain as something much inferior (and less important) to an adult's brain. That sort of contempt is what really does a number on a child. Thankfully, the scriptwriters of Gilmore Girls realize all of this and have incorporated it into each episode of this marvelous show. Thank you again, Gilmore Girls, for being such a great show.

Gilmore Girls (2000–2007)

Witty, Classy and Fun

[19 June 2003]

Gilmore Girls celebrates all the agonies and joys of life. Alexis Bledell and Lauren Graham have a winning chemistry as actresses. Rory and Lorelai have great vocabularies that allow them to instantly articulate their reactions and feelings to anything, ranging from petty annoyances to profound love. I really love that this show treats teenagers as very intelligent, sensitive people who have growing pains, but try to rise above them with newfound maturity. One of the best episodes had a sub-plot wherein Rory's girlfriend Suky (an intellectual bookworm like herself) becomes a cheerleader and actually enjoys the experience (at least for awhile). Suky grows from the experience and her friendship with Rory became stronger and deeper. Now they are both more skeptical of labels and stereotypes. This is also one of the few shows on TV where intelligence and scholarly success are considered as facets of a complete personality rather than a personality defect. Three cheers to this excellent show that manages a sense of familial warmth, a pinch of grace and a whimsical sense of humor.

K-19: The Widowmaker (2002)

Enthralling

[9 June 2003]

This film starts slowly, but gradually gains momentum and emerges as a riveting docu-drama. Intense acting from the leads, and the entire cast, helps to lend gravity to the story. Claustrophobia is emphasized, perhaps more so than in any other previous submarine film. Kathryn Bigelow (the director) accomplished this by keeping the interior dimensions of the sub as they were in the actual Soviet fleet. By avoiding enlargements of the sets, they had to be resourceful in camera placement, and this leads to interesting camera angles throughout the film.

Overall, this is a wonderful film. Students of history, especially Russian history, should enjoy this immensely. Steer clear if Cold War politics and history bore you.

Just Shoot Me! (1997–2003)

Superb Cast, Great Show

[9 June 2003]

This is a fantastic show which always makes me laugh and giggle. Probably the best comedy ensemble on TV, and the humor is mostly aimed at adults. Blush, as a setting for the hijinx, is perfect and the office setting seems organic and realistic, as opposed to lumps of furniture. Contrast this with Suddenly Susan, where the office setting is ridiculous because noone seems to belong there. On Just Shoot Me, the characters are fleshed out from the beginning and their motives, personal and professional, are clear. Maya and Jack Gallo, the irrepressible Dennis Finch, Elliot and Nina all supply laughs constantly. There's lots of practical jokes and wicked schemes that sometimes (but not always) backfire. Maya is the most earnest (and an intellectual feminist), but she's also vulnerable and compassionate. She is the heart and soul of Blush, but also the butt of good-natured jokes. The other four (especially Dennis) are more self-centered and mischievous. All in all, this is a wonderful show that resonates, because it echoes (in an exaggerated way) the chemistry of co-workers in real life. In this respect, it resembles Taxi, another great show that relied on well-defined characters to make comical situations seem more natural.

Buffy the Vampire Slayer (1997–2003)

Trendy, But not Entertaining

[9 June 2003]

The concept of this show is that it's a horror/comedy hybrid. That presents a major problem because the show is never funny, and certainly isn't frightening. SMG's Buffy is less believable than Kristy Swanson (from the movie) as a vampire slayer. Swanson's Buffy reluctantly grew into the responsibility, and it was fun watching her progress. One should like the main character of a show, but The TV Buffy is so busy sounding hip and tough that I never care what happens to her.

Dick (1999)

Whimsical Parody

[25 November 2002]

This is a delightful film. Kirsten Dunst and Michelle Williams are charming and adorable as the clueless girls who naively help to topple a presidency. The polka-dot dresses they wear leave no doubt this story takes place in the more innocent, much less jaded decade of the 70's. My favorite scene is when the girls get their hands on a secret oval office tape. There's a new explanation, thanks to the girls, for the missing minutes on the infamous tape. Dan Hedaya as Nixon, and Saul Rubinek as Kissinger, are terrific and certainly evoke memories of that era. The movie also has fun with the Woodward and Bernstein characters to hilarious effect. The perversely funny thing about this movie is it almost seems plausible, and that's what makes the humor especially great. This is a laugh riot at times as it lampoons politicians who were gravely serious (to the point of pomposity) back in the 70's. Self-important people (like the famous journalists) also get taken down several notches. Dick drags in certain sections, but is a joyful and memorable satire of a very distinctive era.

Swordfish (2001)

Glossy, Yet Intense Action Yarn

[7/10 · 13 November 2002]

There's a nice air of affluence surrounding Gabriel Shear and his entourage throughout this film. That Euro-chic style is enticing and makes this different than your average action film. Misdirection is the key theme of the picture, and it is Gabriel's modus operandi. The subtext of the film is, in this world plagued by single-minded terrorists, do we want someone as ruthless as Shear on our side? More to the point, is it absolutely vital (though we may deny it to ourselves) to have someone like Shear on our side? Travolta, Jackman and Berry are just fine here and seem comfortable in their roles. There are elements of "The Rock" and "Speed," but Sena has crafted his own unique picture, and it's quite good. Sena's DVD commentary is logical, demonstrates his knowledge of film, and explains precisely how and why scenes were framed and filmed as they were. He explains how a computer consultant spent a good deal of time on the set helping to achieve realism in that department. The worm was made into an image (instead of a set of numbers as it really is) solely to assist in story-telling and add punch to what is, after all, a visual medium.

There were two script-related items that bothered me a bit. Roberts' gullibility in taking a phone call in the middle of questioning Shear's

previous computer expert was one gaffe. The other was 3 or more guys rolled down a steep hillside, and yet none of them sprained ankles, or broke any bones after such a long, fast roll. Also, Sena himself acknowledges their clothes should have been dirtier. Despite these minor complaints, I really enjoyed the film, and give it 7.5 out of 10 stars.

The Royal Tenenbaums (2001)

Yada yada

[5/10 · 6 November 2002]

I'm not one of those people who believes that if a director made one excellent movie, then all of his future films must also be considered pure genius. Wes Anderson is an example of this phenomenon. This movie, the Royal Tenenbaums, lacks depth and lacks soul. The characters, as others have said on this forum, are mere caricatures of real people. The children of Royal Tenenbaum seem to represent all the worst qualities of young people associated with the "slacker" generation. Selfishness, venality, hedonism, egomania, egocentrism and more are seen here in the younger cast members. By contrast, Royal Tenenbaum (who Anderson inexplicably calls the "villain" in his DVD commentary) comes across as a flawed, but friendly and down-to-earth guy. Gene Hackman makes this movie worth watching, but that's the only reason to watch. I'd watch him read from the phone booth and that might be an improvement over this movie. What could have made this better? Look at Rushmore, which is a true masterpiece of story-telling. There, the whole story is funny and intriguing because we see the Schwartzbaum character displaying his genius throughout his childhood and we believe he is gifted in some way. Sometimes his genius is manipulating people, but in an earnest way. He has a manic energy which is infectious, which contrasts sharply to the droopy slackers in Royal Tenenbaums. Supposedly, the children of Royal Tenenbaum are geniuses also, but that part of the character development (a crucial part) is given the yada yada treatment and I never accepted these children (now adults) as once possessing genius or charm or precocity. They just seem to be ciphers. Now the movie wants to make a statement that divorce takes a toll on children, but that would be a dramatic theme which seems beyond the scope of this comedic film. Also, as drama, it's not very convincing because, once again, we never learned to like Royal's children at any point during the story. Also, much of their suffering seems self-induced and part of a strategy to shift the blame (to their father) for personal failures so as to avoid taking responsibility for themselves. As always, Gene Hackman is excellent to watch as a craftsman, but he deserved a better movie than this. I wanted to love this movie just as I loved Rushmore. However, this one didn't make the grade. For Hackman's performance only, I give the Royal Tenenbaums 5 out of 10 stars.

The Others (2001)

Kidman's Best Work

[9/10 · 18 October 2002]

I was very pleased by this movie. The cinematography is wonderful and helps to make the house seem more claustrophobic. The director captures an ethereal quality in the actors. The mysterious sounds and voices that disturb this family, led by Kidman, ultimately come from more than one source. Their deepening confusion, and struggle to maintain sanity, is what propels the plot. Obviously, this is the type of movie that demands to be seen and not spoiled by too many revelations here. I think Kidman is cast perfectly in this role. This is her best performance. In some respects, this is a story about seeking redemption. Can eternal love achieve forgiveness for a heinous sin? There are some interesting questions posed herein by the director. This movie has a wonderful cast, excellent acting and terrific cinematography. It is not a superficial or facile movie, although it might appear to be at first. The Others rewards a perceptive, attentive moviegoer with a great experience. Highly Recommended.

The Man Who Wasn't There (2001)

Atmospheric, Subtle Period Piece

[9/10 · 29 September 2002]

I loved this movie. I love this time period in American history when people dressed in nice suits, wore hats and had good manners. It was also a time when the appearance of impropriety was something a person would avoid at all costs. A person's public reputation was quite important. Against this backdrop, the Coen brothers have concocted a story of blackmail and internecine deceit that eventually envelops all the principals. I love the story and the "quiet desperation" of Ed Crane's character is something many people try to keep hidden while going about the tasks in their mundane lives. While Ed doesn't say much in the barbershop, his mind is attuned to his circumstances and he knows that he's not quite satisfied with his identity; that there should be something more out there for him. The story really works for me and I found this much more satisfying than Fargo, which had an obvious (and unsympathetic) villain, and overly prolific use of those Minnesota accents. Thornton is terrific in this movie. He has the patience and calm to play this quietly intelligent man, and I don't think many other actors could handle it properly. I'm not crazy about the very end of the movie, but I believe the Coens added that to say that crimes are pinned on people simply to "solve" them, which makes the public feel safer and that was certainly a major priority in that era (as it is today). I highly recommend this film. It rates in my top five (of any genre) from the last 2 years. This is a great movie. I give it a 9.5 out of 10.

Taxi (1978–1983)

Greatest Sit-Com

[26 September 2002]

Taxi was, and still is, the greatest sit-com I've ever seen. The Louie DePalma, Iggy and Rieger characters were simply magnificent creations. I would laugh until I cried while watching this show. It's still funny today in re-runs. Louie's "affair" with Emily (which was revived in a later episode) is particularly hilarious. Iggy playing piano at a black-tie

gala (as Elaine's "date" for the evening) is both amusing and heart-warming. The scripts were excellent as they blended wry, sarcastic humor with some degree of pathos in each episode. This show succeeded at a time when there was no "political correctness" to erode its rough edges. It's very doubtful one of the three major networks would create and air a show like this in today's more conservative climate.

Xena: Warrior Princess (1995–2001)

Likeable Show About Redemption Mixed With Great Comedy

[3 September 2002]

This was an amazing show that switched from comedy to high drama to tragedy to sword-fighting action and mayhem. All of this usually happened in the same episode. A great show for students of mythology, although the writers did incorporate their own ideas (into the mythological settings and characters) to give the show more texture and layers. The best part of the show was Xena and Gabrielle's intense affection, friendship and respect for one another. They are truly partners in everything they do and always willing to sacrifice for one another. However, there's plenty of comedy as well to keep the show from getting too serious. The more episodes you watch, the more you'll like and understand the concept of the show, and how it works on different levels simultaneously. Very highly recommended.

Friends (1994–2004)

Progressively Worse

[3 September 2002]

This was a charming, but very slight, show for the first one or two seasons. The characters are not three-dimensional or realistic in any aspect, but basically just joke-spouting machines. The writers had some good jokes in the mid-90's early run of this show, but ultimately had to repeat themselves over and over and over. The main weakness is none of the characters are very witty or sardonic or intelligent or perceptive or insightful, which leaves them nothing to do but make juvenile jokes incessantly. Intelligent characters create more opportunities for humor, not less, but the creators of Friends decided to go with all dumb characters and recycle the same jokes over and over. Hey, it worked; big ratings winner; but about as infantile (and funny?) as the Flintstones.

Charmed (1998–2006)

Imaginative and Engaging

[26 August 2002]

This is a wonderful TV show with great episodes that, in serial fashion, depict a constant battle between good and evil. Evil, as in the Source, is very clever and wears many disguises. This is what's great about this show. Evil is never fully defeated, although the lackeys are destroyed quickly, the greater evil persists. This presents a constant challenge to the Power of Three and they must always be on their guard. Other WB shows allow the hero or heroine to win very easily and the hero or heroine is too sarcastic. Charmed, however, has the right mix of all elements and the writers appreciate that evil forces that are truly dangerous and formidable create a more rich, tense atmosphere. The fourth season was very good, and I liked Rose as Paige very much. The chemistry between the sisters also carries the show and their personalities seem real and three-dimensional, while other shows of this genre fail in that regard. This is one of the best written shows on television. It really deserves more critical recognition and respect, but if that doesn't happen, I'll still enjoy it.

Along Came a Spider (2001)

Solid Thriller

[8/10 · 24 August 2002]

Morgan Freeman does a terrific job again, this time as Detective Cross. This starts out in a deceptively simple manner and becomes gradually

more complex until the end. Fans of suspense thrillers (such as myself) should really enjoy this. SPOILER ALERT >>>

The linchpin of the film is Potter's character. Notice how Cross immediately insists upon her presence during the investigation. She has special knowledge, but does he also want to keep an eye on her? This subtlety (not in the book from what I understand because there they fall in love) makes Cross seem even more intelligent and perceptive. Sometimes movies improve on books in some aspects. The oldest cliche is 2 people working together who fall in love. This trap is avoided here and it really helps the film. Wincott is terrific and his convincing portrayal makes the "lone psycho" theory seem to be the only possible explanation for the relative ease of his escape from the school and (later) the ransom. Potter's resemblance to Julia Roberts is uncanny, although I also saw some Sandra Bullock in her expressions. This is a wonderful movie for actors to shine and those are my favorite kinds of movies. Thanks to Freeman, Potter and Wincott, this is a riveting and underrated film. I give it 8 out of 10 stars.

Asswoman: The Rebirth (1999 Video)

Darling Darlin

[10/10 · 20 August 2002]

Adorable Jessica Darlin is very sensual and provocative throughout this raunchy and decadent romp. She's in every scene and all of the scenes are role-playing sex games of some sort. Jessica is really gorgeous and her body is exquisite. Best of all, her sexual appetite is voracious and she enjoys every minute of it. I also love her pouty lips. There's a great scene with Jessica as a nun and more imaginative sequences here than in most adult movies. Very well done. There are other stars more famous than Jessica, but none of them beats Jessica in this movie. A must-see!

Star Trek II: The Wrath of Khan (1982)

Exhilarating, Great Classic Trek

[9/10 · 16 August 2002]

I was a teenager when this movie debuted and it was an exhilarating movie to see in the theater. There were two reasons I loved it. One, because it was a very good movie (especially for its time) and two, the anticipation Trek fans had for a new, quality Trek adventure (after the uninspired first film, but long before TNG and the rest) was nearly palpable. I believe this movie resonates much more with the long-time Trekkers, who waited throughout the 70's for Star Trek to be revived. Twenty years later, the film has aged fairly well and it presents the classic characters as larger-than-life icons, which they really are. I watched this again on the recently released DVD director's cut. This is a still a very taut film. There's a purpose for each scene, and this is a tribute to director Nicholas Meyer and also to Harve Bennett, the producer. The film is hindered by a lack of CGI technology, which could have made the Genesis Cave (among other things) much more impressive. Those who are thinking of watching this should rent "Space Seed," an episode of the original TV series, before watching this film. The story here, particularly Khan's obsession with destroying Kirk, will then seem like a natural progression. Montalban does great work, but I wish there were one or 2 more scenes with him. Nimoy is excellent as Spock and really has wonderful dialogue written for him. The themes of aging, mortality, obsession, sacrifice and rebirth are all present so this film

has a very meaningful subtext beyond the Khan-Kirk rivalry. A Tale of Two Cities is used as a literary reference and Khan quotes Shakespeare. Meyer

brings all these threads together beautifully. As an aside, I should mention TNG (especially the first 2 seasons) borrowed many plots and styles of presentation (including lots of Shakespeare) from the Classic Trek TV show and these early Trek movies. I loved Kirstie Alley as Lt. Saavik. Some of Kirk's best scenes are with her and the first meeting with Khan allows Saavik to show her poise. Saavik was intended to be a major new character in Trek, but when Alley declined to appear in the third film, Saavik was recast and given much less to do in The Search For Spock. I still wish Kirstie had stayed with Trek. I have to mention the James Horner score is positively brilliant. All of his music underscores the dramatic moments perfectly. He did a great job. All in all, this is still a fine film which, if made today, would have benefited from CGI technology. There is one computer graphic showing how the Genesis project works, but advanced CGI was not available. Hard-core Trek fans must own the new DVD version of Khan. It has excellent interviews (past and present) with the cast and 2 commentaries, along with other features. I give the movie 9 stars out of 10.

Unbreakable (2000)

Could Have Been Great

[6/10 · 9 August 2002]

This is a pretty good movie, and will be especially enjoyable to comic book fans. I was a rabid collector at one point, so I've read many of the the origins of superpowered characters. The rest of this review contains many major SPOILERS.

Firstly, what I liked about the movie. I really loved the slow, deliberate pacing. This slow pacing accentuates the problems Willis' character is having accepting his lack of sickness and his seeming invulnerability. He is groping for an answer to his past, and he wants it to be as "normal" as possible. Willis is often cast in parts (like this) without much dialogue; this is not due to his lack of acting ability, but because his face and eyes are so uniquely, and poignantly, expressive in non-verbal communication. The drama this "good" man faces confronting his insecurities is plausible, as he very gradually comes to accept his uniqueness. This is shown very well in the weightlifting scene where his son keeps adding more and more weights to the bar. I was very satisfied with this side of the story, including his first crime-solving caper. I just didn't care for the Glass Man story. Jackson's character is so incredibly sympathetic and downright pitiful for 90% of the film that it's very difficult to suddenly accept him as a crazed, homicidal lunatic in the last scene. It would have been better if he knew of some super-villain (through his acute powers of observation) who committed these atrocities, and pointed Willis in that direction. Also, The childbirth scene at the beginning is horrifying, and creates even more sympathy for the Glass Man character. The final thing that bothered me is the very abrupt ending. I expected another 15 or 30 minutes of story, but the story ends very weakly with words on screen briefly describing what happened to the key characters. All in all, this was a noble experiment of a film. I liked half of it plus the slow pacing adds to the mystery, but I disliked how the Glass Man story developed and I also hated the ending. A mixed bag from my POV, so I give it 6/10.

Unbreakable (2000)

Could Have Been Great

[6/10 · 9 August 2002]

This is a pretty good movie, and will be especially enjoyable to comic book fans. I was a rabid collector at one point, so I've read many of the the origins of superpowered characters. The rest of this review contains many major SPOILERS.

Firstly, what I liked about the movie. I really loved the slow, deliberate pacing. This slow pacing accentuates the problems Willis' character is having accepting his lack of sickness and his seeming invulnerability. He is groping for an answer to his past, and he wants it to be as "normal" as possible. Willis is often cast in parts (like this) without much dialogue; this is not due to his lack of acting ability, but because his face and eyes are so uniquely, and poignantly, expressive in non-verbal communication. The drama this "good" man faces confronting his insecurities is plausible, as he very gradually comes to accept his uniqueness. This is shown very well in the weightlifting scene where his son keeps adding more and more weights to the bar. I was very satisfied with this side of the story, including his first crime-solving caper. I just didn't care for the Glass Man story. Jackson's character is so incredibly sympathetic and downright pitiful for 90% of the film that it's very difficult to suddenly accept him as a crazed lunatic in the last couple of scenes. It would have been better if he knew of some super-villain (through his acute powers of observation) who committed these atrocities, and pointed Willis in that direction. Also, The childbirth scene at the beginning is horrifying, and creates even more sympathy for the Glass Man character. The final thing that bothered me is the very abrupt ending. I expected another 15 or 30 minutes of story, but the story ends very weakly with words on screen briefly describing what happened to the key characters. All in all, this was a noble experiment of a film. I liked half of it plus the slow pacing adds to the mystery, but I disliked how the Glass Man story developed and I also hated the ending. A mixed bag from my POV, so I give it 6/10.

Austin Powers in Goldmember (2002)

A Mixed Blessing

[8/10 · 2 August 2002]

It was great to see AP in action again. The opening was great, but it was very much a mixed bag after that. The rivalry between Scott Evil and Mini-Me is taken to a higher level with unexpected twists, and is really the highlight of the movie. I loved Dr. Evil's sub design. A star cameo helps to reacquaint Austin with Foxxy in a very funny bit. Beyonce is very sexy and shagadelic. She has a nice voice, both for speaking and singing. Her acting is also commendable, as she recreates the Pam Grier persona very accurately. Fat Bastard displays an unexpected talent and is quite funny.

Dr. Evil has a very memorable scene with Mini-me. Two new characters are introduced, but they are only marginally funny. All in all, this is a fun trip for fans of Myers' quirky, absurdist humor. 8/10

Austin Powers in Goldmember (2002)

Uneven But Often Hilarious

[8/10 · 31 July 2002]

A trippy, almost surreal vision from Mike Myers that is generally engaging but occasionally misfires. The plot involves another ransom demand from Dr. Evil, who threatens to use a "tractor beam" to pull a large meteor toward Earth. The opening sequence, with several superstar cameos, is amusing and wonderful. The rest of the movie is a series of rapid-fire gags; many of them are of the self-parody variety. Goldmember doesn't have much witty dialogue, but his presence is intended to be an absurd homage, (complete with sick personal habits) to the gold-obsessed Auric Goldfinger character. Similarly, Beyonce Knowles as Foxxy Cleopatra is here primarily to emulate Pam Grier's persona from her sassy "blaxpoitation" movies in the 70's. I found these homages to be clever and well done. Beyonce is very sexy and delivered her lines very competently for a 20 year old with no acting experience. One of the failures of the movie is Foxxy does not become a romantic interest during the movie, as Vanessa and Felicity did in the earlier 2 movies. That would have given the movie more soul. The gags are mostly funny, however. The rap by Doctor Evil in prison is terrific. Seth Green's new gambit for his father's love and respect becomes hilarious and he ends the movie on a petulant, defiant note. Mini-Me's "conversion" is also hilarious, especially his new duds as a Powers' convert. However, the fight between Mini-Me and a misconstruing Powers does drag on too long. I'm one of the few who thinks Fat Bastard is funny and I thought he was more funny here than in the last movie. Michael Caine was drolly amusing as Austin's father. I loved Nathan Lane's cameo as a Foxxy liasion. The least amusing scene was Austin's (over)reaction to the "Mole" character. However, the Mole's scene with Dr. Evil was genuinely funny. All in all, this is a fun movie to watch. I recommend it, especially if you can see it with other fans of Myers' absurdist humor. 8/10

Memento (2000)

Gimmick

[1/10 · 31 July 2002]

This gimmick of telling the story backward (because the guy has no short-term memory) is initially fascinating, but ultimately frustrating. It is impossible to identify with ANY of the characters in the film; they all just read lines to get us to the next scene, which is the previous memory. It's just a total waste of Moss' talent. Pantoliano's character becomes interesting in the last 5 minutes, but by then the boredom of watching this gimmick repeat itself has taken a toll. This is a trendy film, but it's very overrated. 4/10

Gladiator (2000)

Great Acting, Profound Story

[10/10 · 10 June 2002]

This movie truly deserved to win Best Picture. Ridley Scott does a magnificent job directing, and the acting is stellar from the entire cast. Connie Nielsen as Lucilla is particularly enchanting, and really looks the part of Roman nobility. She embraces her brother the emperor, but schemes against him at the same time. Joaquin Phoenix is also captivating as the callous and callow, yet fiercely cunning Emperor Commodus. The late Oliver Reed is wonderful in his part as the former gladiator Proximo, who earned his freedom. Russell Crowe is very good as Maximus. He portrays the strength, pride and dignity of a Roman General very well, and rightly maintains that facade even when he is reduced to gladiator/entertainer/slave status. The score by Hans Zimmer is appropriately haunting, as this is a heartbreaking film. It hurts to see Maximus lose his family, and become an outcast from the society he loved. It also hurts to see that refined society transformed into a bloodthirsty mob who live for the games orchestrated by a petty tyrant not deserving of the title emperor. Gladiator is very much a tragedy. I found it amusing that one major critic said he didn't like it because it didn't have enough blue skies and bright colors. Ok, I guess you didn't get the point of the movie. For everyone else, I highly recommend Gladiator, especially on DVD (which includes Ridley's informative commentary track on the making of the film).