Reviews

A typical Hollywood studio custom for as long as I have seen movies is the practice of releasing a movie perceived to be bad in the "dumping ground" of January, usually as close to New Year's Day as possible. The horror comedy M3GAN, while not in a class of it's own, is fairly effective with the frights. Allison Williams, who in Get Out, played a character ready to take things to the next level, is a career woman unprepared for taking care of another person. Her solution, a somewhat hastily created lifelike robotic doll to her appease her demanding toy company exec's demands and as a companion for her suddenly orphaned niece. A two-birds-one-stone solution soon becomes a problem as not everything is though through. Including the connection between the girl and the doll.

The short film Not Me, in under seven minutes, puts forward an increasingly troubling scenario involving a hotel room service waiter and the guest he's serving.

Very well acted by the two main performers.

The Hunt (2020) is a well-executed action/thriller with filled with humor as some seemingly selected at random people find themselves on the wrong end of other people's wrath. Much has been said about which side does what to whom. Thankfully, it is Crystal, played by Betty Gilpin who doesn't give a damn about anything but getting out of the situation she's in. While the depictions of people on either side are on the nose at times, the satirical depictions of conservatives and liberals are mostly even-handed.

Put it this way, the performance by Adam Sandler in Uncut Gems is worth every penny on a movie starring Adam Sandler- outside of Anger Management, I've chosen not to do very much. With the supporting cast, including everyone from Idina Menzel to Eric Bogosian to Lakeith Stansfield, to Kevin Garnett (as HIMSELF), plus Julia Fox as Sandler's character's mistress (essential in the third act)- I will make plans to see Uncut Gems again. And Good Time, the previous movie directed by the Safdie Brothers.

The need for attention becomes a dangerous thing in "Ma", where Octavia Spencer reunites with director Tate Taylor.

The story begins with teenage Maggie and her mother moving from California to a VERY fictional version of Sandusky, Ohio (leaving out a very specific place- probably at Universal's insistence). Mom Erica (Juliette Lewis) quickly is employed at a casino, Maggie is enrolled at the high school, instantly gaining the attention of the cool kids, and becoming part of the group. It's when they're trying to get alcohol for a party that the story kicks into high gear. Sue Ann (played by Spencer) is the individual who comes through for the teens, who aren't legally able to purchase alcohol. Sue Ann, burdened by her boss (Allison Janney, in an uncredited cameo) at veterinary clinic, decides to stop being on the outside looking in, and integrates herself by providing a hangout spot in her home. Unbeknownst to them, she's looked up a few of their social media profiles, once Sue Ann recognizes the name on the van being driven by Andy. I wanted to love how Spencer's Sue Ann went about having fun, which is highly improbable, but as the movie progresses- and more about Sue Ann's past emerges- what can be tolerated will depend on the viewer. Juliette Lewis and Diana Silvers (as Maggie) are a believable mother/daughter duo, while McKaley Miller and Corey Fogelmanis stand out among the quintet. And from Taylor's previous movie- the otherwise disappointing "Girl on the Train"- Luke Evans portrays a local who has a connection to Sue Ann.

6/10

That would probably best describe Extracurricular Activities, a (kinda) dark comedy revolving around a high school kid named Reagan (Colin Ford, of Under the Dome) who helps "assist" some of his fellow students who have problems with their parents. This raises the attention of a police detective (Timothy Simons) at the scene of deadly accidents who puts two and two together- he thinks- and soon is the only one convinced the student is up to no good.

Ford and Simons pretty much are the main reason to check this out, the same way that Bueller and Ed Rooney were perfect antagonists in "Ferris Bueller's Day Off". One issue- some of the secondary characters are either too earnest (Reagan's parents) or appear to be ungrateful.

That's one way to explain what was a missed opportunity with the ensemble cast featured in this alleged comedy. A single father (played by the rapper/actor Common), is suddenly beset by a relationship revelation and a curious incident at his place of employment. While his daughter waits for his Career Day presentation at her school, that very place is the scene of a man's dead body at the school. It's being handled by administrators in a curious "we must keep this secret" fashion. The directing debut of Judy Greer (professional "best friend" in multiple rom-coms) doesn't hold much appeal beyond some scenery. Most characters here you care just enough about, but it's in a mostly unfunny script.

The Airport is funny. There's no other way to say it.

Starting off with Jerry and Elaine in St. Louis- he's done his comedy gigs, she's visited her sister- they're heading home. But a selfish parking lot attendant driver hinders their chance to go straight to the plane from their rental car. Instead they're stuck at the ticket counter, and a choice must be made. Oh, and their plane isn't going to JFK as planned.

Meanwhile, back in NYC, George and Kramer are on their way to JFK airport, mostly due to George losing a bet. Picking up Jerry and Elaine absolves George of any financial obligation. But instead of going the way George has planned, George and Kramer are stuck in a traffic jam. Upon arriving at the airport, they learn things have changed and soon are back on the road. But not before George taunts a wanted criminal on a magazine cover, and Kramer thinks he recognizes someone from his past.

Thanks to the choice Jerry chooses, The Airport highlights the world of haves- with Jerry in first class (meeting the model Tia, eating hot fudge sundaes), and Elaine in coach (being forced into eating someone's pre-ordered kosher meal). We're in delight with Jerry, but we're also feeling Elaine's pain. Add to that a sudden decision with the purchase of airline tickets, you've got an instant classic in it's own right.

Even if this is the first episode after The Contest.

10/10.

What starts a great opportunity for Jerry soon becomes a nightmare in "The Puffy Shirt".

Jerry, while helping Elaine with a charity event, is at dinner with Kramer and his new girlfriend Leslie, who is a clothing designer. The chatting goes well... except for when Leslie speaks. Because neither Jerry or Elaine can hear what she says (she is dubbed a "low- talker"). When Kramer leaves to use the restroom, Jerry and Elaine are left alone with Leslie, who asks a question. Jerry and Elaine answer in the affirmative.

Meanwhile, at another dinner, George is with his parents on the first night after he is reduced to having moved back home. Needing to get some air, he runs into a woman, who stops him and presents him with an unexpected opportunity.

"The Puffy Shirt" does start out slowly. George is upset at the turn of events in his life at the beginning, but midway he's hook, line, and sinker in his new profession (maintaining the necessary appearance). The significant moment in this episode comes when Kramer brings over the titular item. Which Leslie has created- and expects Jerry to wear it. Because he's helping to promote Elaine's benefit show to help the homeless- live on the Today Show.

The laughter that will come from this keeps building and building, including a sort-of reference to season four's "The Contest", when the story of the person previously in George's position is told. And the end is one of a few episodes where EVERYONE is directly affected by the outcome- in this case of Jerry's mortifying appearance on the Today Show (with then-cohost Bryant Gumbel as himself).

Going in to see SWAT, I knew I would be expecting some fireworks. Because, of course an international fugitive (Olivier Martinez) declares he will give $100 million to whoever breaks him out of prison- a fact well established in the previews.

Colin Farrell stars as one of L.A.'s finest demoted from SWAT to an action-free job due to his actions in a hostage crisis. The ever-reliable Samuel L. Jackson is brought in to put together a group that includes Michelle Rodriguez and LL Cool J. Seeing that Farrell is a natural, Jackson gives him a second chance.

Directed by Clark Johnson (a cast member of the very-overlooked TV series Homicide:Life on the Street) SWAT feels like another predictable by the numbers cop thriller, yet with Martinez' declaration, things start to come alive. An ex-partner of Farrell's decides to take a shot, and for the last half of the movie you've got few, if any, surprises. It is worth watching, but just know what to expect.

At the time that The Cable Guy was released back in 1996, a big deal was made of the fact that Jim Carrey had earned more than $20 million for his performance in the movie.

This is irrelevant.

Carrey plays the title character much as he did compared to one of his characters on the TV show "In Living Color", Fire Marshall Bill. The plot of the movie itself concerns Matthew Broderick's character, Steven Kovacs, an architect who is on the outs with a girlfriend after she refuses his proposal of marriage. A friend (played by then-unknown Jack Black) suggests he asks for free cable for his new apartment.

When asked, Carrey complies, but for Broderick, he will learn that that choice will make him his "best friend or your worst enemy".

As directed by Ben Stiller, The Cable Guy drives home the idea that we are all connected too closely to what we see on television. In Jim Carrey's case, TV is his character's best friend until Broderick comes along, and when he does something that Carrey doenn't like (and what TV doesn't do) he pays the price for it.

With a mixture of hilarity, creepiness and a subplot about a murder trial of a former child star (played by Stiller) The Cable Guy wasn't given a fair shake, especially by viewers who only saw the goofiness of the Ace Ventura movies. Jim Carrey can do anything he allows himself to do, and this is proof of it.

In Abandon, Katie Holmes is a college senior preparing for her upcoming graduation. The pressures are getting to her, and to make matters worse, an old boyfriend who went missing two years earlier has suddenly reappeared. Benjamin Bratt (formerly of "Law and Order") is a cop who, while battling a alcohol problem, is investigating the disappearance, and goes ga-ga over Katie.

This is neither a brilliant movie nor completely stupid. Since I knew the ending to Abandon before I watched this, I was glad I waited to see this on video-- and not pay for it.

Changing Lanes is one of those films that can tend to stick with you. Samuel L. Jackson and Ben Affleck star in this well-made drama about a day that starts off on the wrong foot.

Both Jackson and Affleck are headed to court for different reasons, but each man neglects to tell the other that fact when their fender-bender on a Manhattan freeway. Affleck, as a young hotshot lawyer for his father-in-law's firm basically looks the other way when he tells Jackson, who is going to a custody hearing to keep his family in New York City, "better luck next time", which are words that will used against Affleck.

After the accident, Jackson misses his custody hearing by minutes while Affleck has lost his most important file for a court case intended to dismiss a lawsuit.

From there, a cat and mouse game ensues wherein both Jackson and Affleck do things to hurt each other, but not necessarily in the physical sense. Meanwhile, Jackson tries to keep his sobriety while Affleck tries to understand why he got an estate case that may or may not have a fraudulent signature.

Changing Lanes is a well told story featuring supporting roles from Toni Collette, Amanda Peet, William Hurt, and Sydney Pollack.

At the beginning of Phone Booth, it is mentioned that the particular phone booth of the title is set to be removed. After all, in the city of New York, millions of people use cell phones.

One of them, Stu, played by Colin Farrell, seems to live and die by his up and down the streets of Manhattan. In his everyday routine, though, Stu stops to make a call to a young woman(Katie Holmes) who isn't his wife from the phone booth; there is a reason for that.

After refusing a from-out-of-nowhere pizza that he didn't ask for, Stu answers the call that will change his life. Still in the phone booth, a stranger on the other end of the line informs Stu he will be shot to death if he leaves and/or hangs up.

And so finally, we get the performance from Colin Farrell that is worthy of the hype that surrounded Phone Booth, whose release was delayed due to the sniper shootings in the fall of 2002. The similarities to the shootings and this movie, whatever they may be are purely coincidental. If anything, a man stuck in a phone booth with a police force AND the sniper(a very creepy sounding Keifer Sutherland) is like a blip on a screen compared to the real-life sniper shootings.

While I recommend Phone Booth for its use of split screens to illustrate phone conversations, the ending bothered me slightly.

I first saw Wonder Boys on video after hearing all of the critical acclaim after its two theatrical releases. American audiences really missed something special here.

Michael Douglas, in one of most underappreciated roles, plays Grady Tripp, a college professor and the author of one successful novel that was published seven years earlier.

Life for Grady Tripp isn't great at the beginning of Wonder Boys. His wife has just left him, he learns his boss' wife (Frances McDormond) is pregnant, and 2600-page follow-up novel is nowhere near completion, which is not good news for his editor (Robert Downey, Jr.) to find out when he arrives for the three-day writing festival at the school.

If that weren't enough, he tries to fend off the subtle advances of a female student(Katie Holmes)who rents a room from him, and he must deal with the troubles of James Leer, a talented writer played outstandingly by Tobey Maguire.

Wonder Boys starts slowly, but picks up when his boss' blind dog (who knows Grady is sleeping with the wife) is accidentally shot to death. It is one of many great scenes in which Douglas and Maguire are together that help drive the story forward.

In recent years, it has been commonplace for movies to have many twists and turns, and/or the big shocker at the end. The Italian Job, from director F. Gary Gray, proves that neither are necessary. A gold heist turns sour after Edward Norton, who plays Steve, has his own plans for the gold, and makes sure of that once the team reaches the Italy-Austria border. A year later, the leader of the team, Charlie (Mark Walhberg) recruits Stella (Charlize Theron) to join the remainder of his team to steal back the gold.

The Italian Job, free from fancy visual effects, feature actors who are perfectly suited for their roles. Jason Statham as Handsome Rob, Mos Def as the demolitions guy who "had a bad experience" with dogs, and Seth Green, who claims the idea for Napster was stolen from him.

Simply put, The Italian Job is fun to watch from beginning to end, the boat chase in Venice, Italy to the Mini-Coopers in L.A., the sneaky but simple-minded bad guy played by Norton. It is far from perfect, but it deserves to be a box-office success.

Seeing the previews and whatnot for Speed 2, I knew that if Keanu Reeves (who is in a way,underrated) wasn't participating in this, what point would there be for me to see it. Having missed it in theatre I decided to take a chance and see this on video. Knowing that I saw this at all is regrettable. It is somehow one of the worst movies I have ever seen, and certainly one of the worst of the last ten years. Sandra Bullock, Willem Dafoe, and especially Jason Patric have to take a look at themselves and ask what was in it for them-- besides the money?

A complete waste of time, money, energy,etc., etc.,....

To put it simply, The Fan was a disappointment. It felt like as if I was watching Taxi Driver, except Taxi Driver was much better than this. It seemed like the filmmakers wanted us to root for Robert Deniro's character 100 percent. This approach didn't work.

This movie, "Dude, Where's My Car" should not at all be confused with, say, "Dr. Strangelove" or even "The Naked Gun". In spite of the scene where the dudes encounter the ostriches (with their known brain capacity) there's not much going on here. This is not to be taken seriously. If they are making a sequel to this, they have much to improve on.

Wild Things is on the surface some kind of knockoff version of that old Melrose Place TV show, is actually a very interesting twist-a-minute thriller with a very great cast. I have seen this on television every chance I get and I am knocked out every time.

First of all, this is a review of the special edition version I first saw about five years ago. The Abyss is one of my all time favorites, even better than Titanic, which, like The Abyss, was directed by some hack whose name is James Cameron. First of all, what I love about The Abyss are the special fx, including the first appearance of the INT's, if I am correct. Then there are the performances by the leads, Ed Harris and Mary Elizabeth Mastrantonio. One great scene for me is when Mastrantonio's character Lindsey has apparently died and Bud, played by Harris, attempts to revive her. It is an phenomenal shift from tragedy to relief, and as a guy, I will readily admit to have shed a tear. And all the moments of action and suspense, plus the end where the tables have turned and it is Bud who seems to have been lost forever after diffusing the bomb (another cut-the-wire situation).

please bear with me, I'm writing my first review here Seeing this movie Identity, which I have already recommended to those i know,was not what i expected. this was probably billed as a horror movie, but it didn't feel as such in spite of a few gory moments. without giving anything away, there were scenes that had me saying I KNEW IT! but once the last twenty minutes kick in, it makes most other things irrelevant. A few predictable moments aside, it was worth the seven bucks I paid.