Reviews

Sometimes a film comes along that contains such a riveting plot and brilliant script that any poor acting is forgivable--Hearts in Atlantis is NOT one of those films. The acting, direction, and script are so painfully bad that I had essentially no interest in any of the characters nor the film's semi-interesting storyline by the halfway point. Anthony Hopkins is, of course, remarkable, but not enough to carry the entire weight of the movie. Director Scott Hicks and screenplay writer William Goldman should choose new career paths. Child "actor" Anton Yelchin recites his lines as if he is in a first grade play, and Hope Davis fares no better with her obviously forced emotionalism and limp effort to study her character. I wouldn't put Stand by Me nor The Green Mile in the same sentence with this farce of a film.

This was a semi-enjoyable movie. I never saw its precursor, so I can't comment on how this one holds up. The action was good, but it was clear that computer graphics were employed at every turn. The Rock (Dwayne Johnson) was a noteworthy inclusion in the film's ensemble, although I think he deserved more screen time. Freddie Boath (little Alex) can't act at all, but it was his screen debut, so he can only get better. I paid a matinee price to see this, which is the maximum anyone should pay.

I am glad that I finally broke down and viewed Trainspotting. Since its release in 1996, the only comments I have heard about it include terms like "weird", "bizarre", "out-there", and "demented". Nobody really advocated it one way or the other. I thought that it might be on par with cult "classics" like Liquid Sky, which is easily on my 10-worst list. I will admit that many sequences in Trainspotting appear whimsically unusual, but nothing ever deviates from the film's strong, central thrust. Both the glamour and gore of heroin addiction are born out and inflated in such ways that the viewer can truly appreciate the characters' desperate plights--I will never forget Ewan McGregor's "skin diving" experience nor his withdrawal episode involving a deceased toddler. Director Danny Boyle can be commended for his poignant use of hyperbole and caricature to drive home the extremes being experienced by this group of people and the fact that there is a glimmer of hope for them ("choose life...").

I don't think there is a better suspense thriller out there. Like others, I had to watch it twice, and I will certainly watch it again. Never heard of it before renting it--will never forget it now that I have seen it. There is no read-between-the-lines meaning here, just a taught, well crafted gem. Nice work, guys!

A poorly acted, sloppily directed, simple-minded horror. This whole "return from the dead" plot has been done to death (pun intended) and if it's going to be explored, a bit more originality has to be included. Let's see, you bury a body in this particular sematary (sic) and they come back to life in a more malevolent form. Gee. "Plan Nine from Outer Space" was more riveting along these lines . In my opinion, Thomas Tryon is a far better writer of horror (of anything for that matter) and more of his novels should be made into movies.

"Elmer Gantry" can be considered the quintessential exploration into the omnipresent duality existing between a person's religious faith and simultaneous character defects. Burt Lancaster is bold and provocative as the title character who is preaching to you one moment and drunk and surly the other. The acting and directing is superb to the point that it becomes difficult to remember that it is only a movie. Jean Simmons is lovely and convincing as as Sister Sharon Falconer, the charismatic female evangelist who wins Gantry's heart (and lust)as they team up to jump-start America's dwindling religious beliefs. Of course, turmoil closes in on them as their inherent instincts of love overpower their adherence to the Christian principles they attempt to profess.

This is a searing message, indeed, that should be heeded by the Jimmy Swaggarts and Oral Roberts' of the world. Evangelism can be a dangerous platform when it allows a single person to rise to power while removing him (or her) from the fact that he is still a human and, thus, still vulnerable to the instincts and flaws he vehemently opposes on stage. It is thrilling to see how the Bible-Belt public shift their view so quickly when they first support and believe in the sincerity of Gantry and Sister Falconer but then witness their humanity and become violent. The scene where the heckling crowd throws garbage at the ostracized couple while a man plays a jazzed up rendition of "Onward Christian Soldiers" on the trumpet after Gantry is caught with a prostitute (played to the hilt by Shirley Jones) is both amusing and sad. If you enjoyed the book, you will not be disappointed with the movie in the least.

It is impossible for me to believe that this movie was in the same hands of the director who gave us the near-flawless previous films of the GF trilogy--not that there was much of a script with which to work. Al Pacino is dry and mechanical as the exhausted Don and it is excruciatingly obvious that he is trying to mimic the exact mannerisms of his late father, Vito Corleone (Marlon Brando). Fans of the first two will pick up on this immediately. To end the saga with that foolish keeling over (hmmm, where have we seen that before?) was preposterous. The finale in the opera house was also tough to tolerate as it was clearly an (ineffective) attempt to recreate the breath-taking baptism sequence in Part I.

Andrew Garcia was good but a bit too flashy for his role. The love affair he develops with Mary (Sofia Coppola) is an annoying distraction. I have much preferred him in his subsequent roles (especially in "When a Man Loves a Woman"). Diane Keaton does her best as Kate Corleone, but, again, the script she had to work with left her character flat and shallow.

Rosemary's Baby stands as possibly the best suspense/horror films of all time and is frequently referred to as such for good reason. Director Roman Polanski clearly knows his audience and how to keep us entertained as he artfully transforms Ira Levin's novel without missing a beat. The scenes are brief and to-the-point which keeps the pace enjoyably taught. Mia Farrow was ideal for the role of the young and gentle Rosemary Woodhouse; in fact, I can't imagine anyone else playing the role. John Cassavettes is also phenomenal as Guy Woodhouse, the impetuous struggling actor who becomes willing to undertake desperate measures in order to save his waning career. Of course, Ruth Gordon and Sidney Blackmer turn in stellar performances as the nosy neighbors who are actually more imposing than Rosemary initially suspects.

Set in Manhattan, the movie has a very realistic base that fares well with the enigmatic witchcraft elements that gradually creep out of the woodwork. Polanski invites us into a believable situation involving a likeable young couple. We can all identify with the process of choosing a new apartment, putting up with annoying neighbors, coping with career related stress, and the prospect of bringing a child into the world. Rosemary is not the typical helpless idiot prevalent in many of today's horror films, but is, instead, headstrong and determined not to succumb to her surroundings, even as they become overwhelming. We can see ourselves in her situation and feel for her as she is made to feel isolated. The supporting cast is also highly talented.

This is yet another badly directed Steven King tale that does the talented author a great injustice. Other such travesties include "The Dead Zone", "Christine", "Fire Starter", and "Pet Semetary". The Saint Bernard is about as frightening as Peter Rabbit, and the characters are simply dumb people who do everything humanly possible to put themselves in harm's way. Classic scene: mommy and her darling boy are about to escape from the "vicious" mutt in their car. "F*** you, Dog!" shouts the mother. The car dies and refuses to start. Yawwwwn.

DEEP G.I. THOUGHTS......

Gilligan had his own taxi cab, Professor had a well-stocked laboratory, but a raft was too complicated to construct.

A three year cruise would have fit the theme song much better, since at least three years worth of luggage was possessed by each of them.

Where did they get the cream for the coconut cream pies?

I hope whoever manufactured their clothing has a patent on the indestructible, time-tested fabric.

Origin of Ginger's endless supply of make-up?

Radio reception from the mainland was impeccable--on an UNCHARTED island?

Batteries for the radio had an unsurpassed life-time that would make the Energizer Bunny blush with embarrassment.

Overall, I always liked the show!!

I have always enjoyed listening to the Alice's Restaurant Massacre. Arlo Guthrie is a natural behind the microphone, and I have had the pleasure of seeing him perform live with great enthusiasm. Unfortunately, but not shockingly, the movie doesn't capture the carefree essence of the song to any degree. Although there were some interesting scenes, the remainder could have been dropped without a hitch. Most of the indoor footage looks as if it was done on sets recently abandoned by the Monkees or Batman, which adds an annoyingly silly touch to what is supposed to be a statement against the establishment.

The outdoor scenery, shot mostly on location in rural western Massachusetts, is beautiful and adds nicely to the overall 60's atmosphere of the film. A particularly powerful and moving scene, done to Joni Mitchell's stark "Songs to Aging Children Come", involves the group burying a friend who died of a heroin overdose at a rustic cemetery during a light New England snowfall. More scenes like this would have helped considerably.

Of course, the arrest-for-littering story recited in the song is played out, but it's amidst a convoluted array of hippie do-as-you-please nonsense. The movie's editor must have been on strike that week-especially during the finale where Ray (James Broderick) goes on a verbal drunken rampage with no apparent purpose. I can't imagine any die-hard Arlo Guthrie fan of the era leaving the theater feeling anything but confused after this. Stick with the song!

Gus Van Sant proved himself well with this stark tale of life under the needle. The hard core scenes are beautifully contrasted with dreamy sequences as if the viewer is being exposed to the solace of a drug high in the face of pain and suffering. Matt Dillon gives the performance of his career as Bob, a junkie who romanticizes his lifestyle to the best of his ability despite the inevitable consequences. One of my favorite scenes is when Bob meets up with an old priest he once knew who is heavily drug addicted and offers him some narcotics. The old man thanks him kindly and gingerly places the score on top of his Holy Bible (which of the two do you think he'll be reaching for first?). Desmond Dekker's rock-steady "Israelites" is a fine inclusion in the film's sound track as it up-beatedly gives the feeling of desperation. Don't miss this one!

I have a hard time believing that the people who gave this movie a strong thumbs-up actually sat through it. John Cassavetes was a fine actor and director as evidenced by his superb performances in movies like The Dirty Dozen and Rosemary's Baby along with the directorial prowess of movies like A Woman Under the Influence and Husbands. For this reason, I was thrilled when his movies finally became available on video cassette. But Faces lost my attention at several instances. The scenes drag on indefinitely as if the actors are waiting for someone to yell "cut!", and as a result, the "deep character study" allegedly being transmitted becomes vague at best. The plot involves little more than a bored husband, a bored wife, a young blond woman, a bold young man, Friday night. Guess the rest.

The performances by Marley, Rowland, and Carlin, as well as the supporting cast save the movie. I honestly thought I was eavesdropping on the private conversations taking place amongst their characters, and I think many viewers could identify with the typical suburban situation and the desire to break free from it all. After the first five minutes of each fifteen minute scene, however, I grew anxious for a change. Overall rating: 7 out of 10.

This was a major disappointment for me. I have always been a fan of Walter Matthau and Robin Williams and director Michael Ritchie, but not even the three of them together could breathe any life into this dry film. Williams' character, Donald, is a neurotic, bumbling idiot who is unforgivably paranoid, and his relentless struggle to make some sense out of his life simply isn't funny nor interesting. Sonny Paluso (Matthau) is a sour old fart who, of course, eventually warms up to Donald (aaaaaaawwwwwwhhhhhh). I went to see this with a friend, and , aside from two other people, we were the only ones in the entire cinema--not a bit surprising. The World According to Garp is a much better representation of Williams' early '80's efforts. As for Matthau and Ritchie, stick with The Bad News Bears.

This is a superb movie. I don't think it will ever become dated--not as long as little league baseball is in existence. I remember first seeing it at a drive-in when I was ten, shortly after my own little league season had finished. Walter Matthau is excellent as Buttermaker, the beer-soaked coach who takes on the unwanted task of coaching a team of misfit kids who were allowed to play in the league only after a civil action law suit was won in their favor. Tatum O'Neal shines as the team's recruited pitcher Amanda, whose mother once dated Buttermaker. A touching subplot involves the relationship between Amanda and Buttermaker which turns from distant to warm as the final game approaches. Vic Morrow gives a frighteningly good performance as the out-to-win-no-matter-what coach of the opposing team who was never happy with the fact that the Bears were allowed to play in the first place. Joyce Van Patten is also good as the butch, outspoken league supervisor.

It's the kid players that really give this movie the edge. All performances are top-notch, and director Michael Ritchie splendidly keeps the focus mostly on them and their feelings about the whole ordeal. Stand-outs include Jackie Earl Haley as the heroic Kelly Leak and Chris Barnes as shortstop Tanner Boyle. This film should be a warning to relentless adults who try to achieve stardom on the backs of their children, be it on the baseball field or on the ballet floor.

Director Robert Mulligan is best known for his classic To Kill a Mockingbird, but the same directoral finesse is manifested in this less renowned thriller. Based on Thomas Tryon's gripping novel, The Other taps into a volatile and potentially dangerous area--the imagination of a child. The setting is a rural Connecticut farm inhabited by the Perigrine family. The youngest are mischievous twin boys, Niles and Holland. In the beginning, it seems strange that the boys are never seen together in the same frame, which almost appears to be a feeble attempt at having one actor play both roles. However, Mulligan has other plans for the viewer which gradually evolve as the outwardly tranquil atmosphere grows suspicious. Uta Hagen is tremendous as the boys' loving yet stern grandmother whose earnest love for her grandchildren is ironically the ultimate cause of the horrific events that come to pass. I won't reveal any more details of this amazing yarn. Parents, think twice before you tell your children that it's too nice of a day to go to the movies, because they WILL find other things to do.

Rick(y) Schroder sat heavily on America's nerves while playing his sickly sweet role on the 80's TV series Silver Spoons, and his appearance in this TV movie sapsicle only added fat to the fire. Fortunately, he has taken on some more mature and refined roles since then. Peter Fonda is so stale and 2D playing the ever-so-mean father to Ricky's cry-baby character that the audience is left hoping they'll both perish before the film's finale. Couldn't Easy Rider have launched Fonda's career to higher heights? Apparently not. Ulyee's Gold was superb, though, so hope was not entirely lost.

Possibly my favorite movie, this is an unsurpassed gangster film and well deserving of the universal praise it received. It scores a 10 in my book, not surprisingly, but I will include what I consider to be some minor flaws. First and foremost, the kindheartedness of Brando's Vito Corleone character is extremely misleading. I don't believe that any mob boss of that era, or even today, possesses anything but heartless greed for money and power. The viewer is left thinking that Vito is warm and gentle and had no choice but to enter the life of crime to support his family--bulls**t! The sequel (another gem) tries to explain this, but I still don't buy it. Also, I don't think James Caan was cast well as the hot-headed Sonny. He looks about as Italian as James Cagney. His acting is superb, but I think someone like Robert DeNiro (who also auditioned for the role!) would have delivered a far more accurate portrayal. On that note, it also struck me that Richard Castellano, who plays Clemenza, could have just as convincingly played the Don as Marlon Brando and, perhaps, saved the producers millions. Brando is, of course, phenomenal, but I think it's important to point out that the less recognized co-stars are comparably as talented. Aside from this, The Godfather is a cinematic masterpiece not to be missed.

OK, I'm as fed up with the polyvinyl, well-scrubbed Brady family as anyone, so a spoof on the entire genre was most refreshing. But I think people who are not familiar with the series may take some pleasure in the 90's-steeped humor that's also present. Certainly not for everyone, but I can only rate a movie as I see it, and I was thoroughly amused (rating: 7/10).

This movie is a sincere account of the confusion and loneliness that lies beneath the campy and frivolous exteriors of many homosexuals, both past and present. Friedkin builds each character with generous precision such that I felt as if I knew each one personally by the end. When juxtaposed against his later films like "The Exorcist" and "Sorcerer", this film adds testimony to the director's remarkably multifaceted talents. The premise is rather simple; a surprise birthday party at a Greenwich Village apartment. Nine men are present all but one of whom are admittedly gay. With a piercingly intelligent and often hilarious script, the one-set atmosphere is hardly a deterrent. The proverbial camp and exhibitionism commonly associated with homosexuality are present throughout, but a careful balance is achieved as the darker, more emotional sides of everyone slowly emerge. Kenneth Nelson turns in a near perfect performance as Michael, a prideful man constantly struggling with his low self-esteem only to arrive at the same conclusion as always--that he is a homosexual, and nothing can change that fact regardless of his best wishes and attempts. Anyone who firmly believes that homosexuality is nothing but an acquired trait of weakness need only tune in to this film for a convincing counterpoint. Several common prejudices are squarely addressed in an unpreaching, effective manner that should go over well even today. I was saddened to learn that several of the cast members have since died of AIDS related illnesses. Avoid the edited TV version at all costs!

This is perhaps the most overrated film I have ever seen. The "dazzling" special effects were completely without effect, and Will Smith was an even bigger pain in the ass to watch than usual. How does he take care of a threatening alien being? He PUNCHES it (successfully knocking it out, of course). The whole "virus" concept, which ultimately saves the day, is also hard to put up with. Recommended for insomniacs who wish to slumber.

This is truly a movie worth owning. I must watch it at least once every other month. Warren Beatty is riveting as the overly ambitious reporter for a third-rate newspaper who gets himself tangled up in a convoluted plot centered around an obscure organization known as Parallax, Inc. This ranks as perhaps the best of the 70's "everyone is out to get me" tales (other gems are "Duel", "Marathon Man", "Three Days of the Condor", "The Conversation", and "Chinatown"). It is downright eerie as events unfold and Beaty's character slowly learns that he is NOT paranoid--things are actually WORSE than anticipated! I shudder to think that an organization such as Parallax could possibly be alive and well in today's society, but I don't lose any sleep over it. Kudos to the supporting cast as well for some fine performances that keep the story taught and believable.

Being a die-hard Beatles fan for many years, I was attracted to this movie despite the negative reviews it had received across the board. I think it was mainly because I owned the album and loved the songs. The movie was also very difficult to come by, so when it finally appeared on HBO several years back, I jumped at the chance--much to my disappointment. The picture book in the album was more enjoyable! Even the impeccable songs couldn't save this cinematic fiasco. The four Beatles are about as lively as "yellow matter custard" as they drudgingly try to appear perky during this tragical history bore. It doesn't even pass as good avant-garde material. If you're a Beatles fan, you should see this film just to say that you've seen it and to enjoy the music; otherwise, keep away. (rating:3/10)

I couldn't stop laughing during this classic movie. Cagney is flat out hilarious as the tough Coca-Cola business exec. trying to maintain some semblance of order in his chaotic work and business life. Time has not left so much as a scratch on this one. Picture German officials torturing a Russian captive by making him listen to "Itsy-Bitsy Teeny- Weeny Yellow Polka-Dot Bikini" over and over again until he screams for mercy. That is but one of the non-stop antics this gem delivers. Be prepared to laugh!