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America's Sweethearts (2001)
Garbage - lazy writing, wasted acting talent
This movie is a confusing mish-mash of chick-flick basics mixed with "gross-out" movie wit (contradiction in terms?). Is wasting the talent of so many quality actors an imprisonable offense? If so Old Billy Crystal should do hard time.
My guess is that Crystal lost a lot of money on his HBO baseball movie. It was a story straight from his heart and touched all of us males over 50 who come from the New York area. We are, however, a limited audience. So I guess Billy got killed financially and had to slap something together fast to cover his loses. Billy's gain here is the movie going public's loss.
For reasons only their analysts know there are a lot of middle-aged comedians out there who write male organ jokes when they run out of energy or time to do original comedy. Crystal, sadly, has become one of them (Robin Williams is surely Chairman of this group). No, I'm not a prude (I'm still chuckling about "Something About Mary"), but gross-out humor fits nicely in a gross-out flick like "American Pie", which is intentionally immature. You're in an eighth grade frame of mind while you watch those things. "Sweethearts" tries to be sophisticated, the mix with D--- Jokes just doesn't work. Anyhow, Billy uses three of the four basic DJ's in this flick - an indication that he couldn't be bothered to work. He did leave out the standard caught-in-the-zipper routine however, probably an oversight.
The only laugh earned from the audience where I watched the movie was on the "Take the poison" joke. Clearly stolen from the old Winston Churchill/Lady Astor story. That's appropriate however, originality is sadly lacking in this flick.
I thought I'd never forgive Crystal for ruining "Music of the Night" for me in "Forget Paris", but I got over it (he's right, it does sound like "School Days"). But after this fiasco I think I'll give Billy Crystal's work a long rest.
Leaving Las Vegas (1995)
Best Actor? You gotta be kidding.
Not really a bad movie, but Cage is just terrible in this soft-porn flick.
This story of the dark side of life could have been worth the watching, the plot is gripping and Elisabeth Shue in particular does a terrific job. The gratuitous porn could have been done without (If I want to see lesbians watched by voyeurs I'll hit the X section of my video store, thanks), and Cage's performance is an absolute joke. Jim Carrey was more subtle in "Ace Ventura".
Cage does comedy and action/adventure very nicely, but a serious dramatic actor he is not. If you want to enjoy Nicolas Cage in Vegas you should rent "Honeymoon in Vegas" which finds him in an environment where he's comfortable, and leaves you laughing and feeling good.
How on earth did Hollywood give him an Oscar for this terrible Foster Brooks imitation. You gotta be kidding.
O Brother, Where Art Thou? (2000)
Lots of fun
You're never sure of what you'll get when you go to a Coen brothers flick. Well, maybe you are - you're going to get entertained. They do it again with O Brother (will someone explain the title to me?).
The story is silly and fun and keeps a smile on your face. The music is a much needed cinematic nod to a unique American sound that has been lost to so many of us. The tunes fit the story perfectly and lift the movie to a level of pure enjoyment.
There are lots of moments in this film that will leave you chuckling long after you see it: The Siren scene; Delmar's comment "Good ole George, right back on top again" as a wildly manic Babyface Nelson is lead to his execution; the upside down bloodhound drifting by in the flood; the blind radio station owner (talk about great character actors); Holly Hunter not needing to hide her accent for the second time in her career; and on and on and on.
Finally, Tim Blake Nelson is incredible as the sweet half-wit Delmar. Clooney and Turturro seem like easy choices for the Brothers Coen, and both do great work here. But how on earth did they find Nelson? He's perfect as Delmar, and nearly steals the movie. Sings a pretty mean rendition of "In the Jail House Now" to boot. Who knew?
Memento (2000)
Riveting, different, satisfying
Went to see this when I noticed it at number 12 all-time on the IMDb list. Figured I'd vote it low just to get realistic. Nope. Just have to give this a 9 or 10.
Don't miss the first few minutes of the film. You're going to sit there for two hours that will fly like fifteen minutes. You'll be just as desperate as Guy Pierce's character to make sense out of what is happening around him. The resolution of the plot is totally satisfying and makes perfect sense within the context of the movie.
Pierce is absolutely incredible as he, with no short term memory, spins and wanders desperately confused through the story searching for those who raped and murdered his wife. You're as desperate, because at the start of the film you'll watch him kill the man he thinks killed his wife. Pierce, of course, has forgotten the kill - and the story takes you back piece by piece in time to see if he got the right man.
One critic condemned the technique of moving backward in time in the movie. And, like the critic, I've seen the technique before and did not care for it. But here it leaves the viewer with effectively no short-term memory, just like the main character. People walk into his life and recognize him, you can tell, but he and you both have no idea who that person is. Can they be trusted? Why do they know him? You feel as frustrated and suspicious of everybody as he does. Tremendously well done.
Groundhog Day (1993)
One of the best movies ever, a delight
With the notable exception of film critics, everyone who has seen this movie loves it. It seems that Hollywood is stuck with about seven basic plots. Here's a movie that is totally different. A new idea, a comment on our humanity, a metaphor for our lives, and we're not scolded about our failings, we're allowed to laugh as we learn - what were the critics thinking about with their ho hum reviews?
The plot? Bill Murray is a conceited and arrogant Pittsburgh weatherman doomed for all eternity to repeat February 2 in boring Punxatawnie, PA over and over again. At least until he gets it right. What's right? Murray finds out the hard way, and you'll have a delightful trip learning with him. And you might discover something about yourself along the way.
Murray is the only person alive who could have pulled off the lead role, and Andie McDowell plays the innocent foil just perfectly. The setting in Punxatawnie is cleverly broadly American. Critic Roger Ebert recently asked why we see no movies about small town Americans who are as lovable and eccentric as those in certain Irish and English settings such as "Waking Ned Divine." Well here it is Ebert, the characters and the actors portraying them are as eccentric and lovable as they come. They make the movie work.
Harold Ramus did absolutely nothing wrong putting this movie together.
The Pledge (2001)
Perfectly paced gem of a movie
From one who has actually disliked most of Sean Penn's work - this movie is a well-made gem. Penn paces things perfectly, the story unfolds as if you were living it.
Nicholson is at his best, he leads you to love a character not worthy of your affection. When he cheats on your trust you forgive him the way you would a good friend or relative. Cleverly done.
The ending will leave you disappointed as you leave the flick. But you'll start talking to your family and friends about the movie and realize that the story finished the only way it could. Justice is served in every way, and the viewer takes away a lesson too.
This is not a movie you'll forget when you leave the theater. A great job by every actor. And an especially great job of directing.
The Great Gatsby (1974)
Redford is the only actor ever to capture Gatsby
Critics tended to pan this version of what may be America's greatest novel. I've read the book three times and seen several movie, TV, and theater productions. I'm not at all a Redford fan, but have to admit he captures Gatsby perfectly. Every other actor wants us to see Gatsby's rough past in his character, only Redford lets you feel that just below the surface - just as Fitzgerald wrote it.
Maybe they disliked Mia Farrow as Daisy, and well they should. But then again, no one has ever captured Daisy and prbably never will.
A cable channel doing a 24 hour run on 'The Great Books' gave an hour to Gatsby. Lots of subtle fuzzy images, a beautiful but mute and distant blonde, and Donald Sutherland's cool voice as narrator captures Daisy. There is no other way to do it. Of course I believed no one could capture Gatsby until Redford came along.
This movie is very much worth your time.
The Family Way (1966)
Awesome performances by John and Haley Mills
A wonderful story of the human condition in working class 1960's England. The screenwriter has an almost Shakespearean feel for his characters - an understanding of these people, their way of living, and what matters to them. We can see ourselves in these people, hence we care about them deeply.
The quality of the acting is superb. John Mills, one of the best English screen actors ever, is incredible as the father of the Groom. His character is rough and boorish and totally thoughtless when his newly-wed son and bride are forced to share his family's poor flat. Dad is more concerned with memories of his long lost buddy "Billy" than he is with the lives of his own wife and family. Yet somehow Mills lets us feel a sensitivity behind this character that wrenches the viewers heart at the end of the movie.
The plot here is straight forward and simple, a vehicle for us to get to know these characters. Mills' son and the son's bride are forced to live with Mom, Dad, and family in a thin walled flat. Among other problems, the proximity of family leads the groom to a bout of impotence. The thin walls soon have the whole family, and soon the entire neighborhood aware of our hero's problem. Females tend to be sympathetic to our guy, guys tend to tease him or offer advice (pre-viagra days). One particularly sleazy character promises to get the job done for him. And the bride seems somewhat taken by this creep. Problems naturally ensue.
Mills' daughter Haley is cast in her first roll as an adult, playing her real-life father's daughter-in-law. She pulls off the change from child to adult actor flawlessly, she's a delight. The rest of the cast is strong and oh so believable. The Mom in this story has the heart and courage of an Edith Bunker with none of the ditziness.
This film probably made no top 100 lists because it is so topical and set so much in its own time and place. Try watching it as you would a Shakespeare play, put the surroundings away and enjoy the study of the human condition.
Cliffhanger (1993)
Lots of fun, Lithgow steals the show
I can only guess the relatively low average rating for this movie comes from those who were expecting something totally different. Go in with the expectations you'd have for a Bond movie and you'll love it.
This flick is what it is and what it is is fun. The opening ten minutes are about as nail-biting as it gets. The plot the rest of the way could be right out of one of those crazy thrillers being mass produced by the likes of Cornwell and Patterson, no more believable, no less. Bond fans will appreciate some of the aerial plane to plane, sky-diving, and mountain climbing feats accomplished here.
The incredible plot twists hold up quite nicely, thank you. And Stallone has plenty of opportunity to be "the man" in both strength and intelligence, just as all Stallone movies demand.
The movie is made most fun, however, by John Lithgow's delightful work as the international villian. He seems to relish his own evilness and we get to enjoy it with him. Check his callousness and nifty lines as he bumps people off, it's just too much. His most fun to watch role since the mad scientist in "Buckaroo Banzai".
A poor turn by Janine Turner stops me from giving this movie a full 10. Seems like the cast of the wonderful "Northern Exposure" just can't find comfort elsewhere.
Man of the Century (1999)
Great idea, great fun, wonderfully acted
A newspaperman (Johnny Twennies) living in the 90's with a complete 20's personality and lifestyle - fedora, manual typewriter, the Charleston, the works. It's a great idea for a movie and it couldn't have been done better.
Johnny doesn't miss a cliche, but never uses the same one twice. You'll find yourself anticipating his reactions to the harsher '90s world as the movie goes along, you'll often guess right - but that makes the movie just that much more fun.
Lots of fun when Johnny is called on to save the same damsel in distress (named Virginia, natch) on three different occasions. She responds with appropriate fluttering eyelids each time.
His reaction to independent women, openly gay men, and the general '90s milieu is delightful. He remains happily oblivious.
Don't worry, the movie never takes itself seriously. Nobody preaches about the evil of the present, or the shallowness of the past. You end up with a warm feeling for all the characters, even the bad guys. This was one of those rare movies where you can actually feel that the performers are thoroughly enjoying their characters. The film makers make sure you know that with a delightfully offbeat ending.