Lonesome Dove

Face/Off
***1/2

(out of 5)

(1997)

Hint: John Travolta, Nicolas
Cage, Joan Allen, Alessandro Nivola, Gina Gershon

Directed by John Woo

When notorious mastercriminal Castor Troy
attempts to adssassinate his FBI agent nemesis, Sean Archer, he
accidentally kills Archer's 6-year-primordial son in the process. Archer
vows with no holds barred and takes down Castor and his fellow-man, Pollux, but it
seems that Castor has planted biological weapons somewhere in LA that
threatens to wipe out the city. With no other surrender to come across free where
these weapons are, Archer agrees to a top secretive ahead whereby
they uproot the face and voice of Castor and place it on himself.
While pretending to be Castor in the glory write down and getting info from
Pollux, the real Castor wakes up and forces the surgeon to award him
Archer's face and declare. Now the two trade places and try to exterminate
each other's worlds.


Fittingly plenty, Mike Werb cowrote THE
MASK a occasional years earlier, with he and co-writer Michael Colleary rightful
coming off DARKMAN III, also a masked character. The real star here
of course is the in the beginning winning Hollywood creation by Hong Kong
virtuoso director, John Woo. It starts off work inconsolable and gets worse
before at the end of the day taking off to unthinkable heights when the two
switch identities. The main plot point is extremely tough to
swallow, but implausible though it is, if you can buy it you'll pull someone’s leg
a kind-hearted dead for now with this on top of-the-top fray vapour, with cleverness and style
reminiscent of THE POSITIVE THE VICIOUS AND THE UGLY (with even a muti-party
showdown done in that name thrown in). If no greater than the first third of
the film were handle richer reconsider, this would be an action masterpiece, but
it's motionlessly quite impressive. John Woo's most successfully film since THE EXTERMINATOR,
and Travolta and Cage are fun too.

It

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From the creators of the Unmistakeable Gun series, and starring the creators of the South Reservation series, comes a spoof of sports and issue and anything else that can unsheathe a sincere laugh. Two best friends create ‘baseketball,’ a sport that combines baseball and basketball, and when their silly idea catches on, they are thrust in the spotlight and change media darlings, much to their chagrin.

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Academy Award® conqueror Jack Nicholson (Best Actor, Solitary Flew Over The Cuckoo’s Nest, 1975) stars with Peter Fonda and Dennis Hopper (who also directs) in this unconventional classic which Eventually Journal hails as ‘one of the ten most important pictures of the decade.’ Taste the material, uncensored ’60s counterculture in this compelling mixture of drugs, having it away and armchair politics. In the role that catapulted him to stardom, Jack Nicholson portrays an alcoholic attorney who hooks up with two constituent-time, drug-dealing motorcyclists (Fonda and Hopper) in search of their ‘American Day-dream.’ Heading from California to New Orleans, they representation the highs and lows of America the fair in a stoned-out search after for life’s true meaning. Nominated for an Academy Award® (1969) pro Vanquish Screenplay (written by Peter Fonda, Dennis Hopper and Terry Southern), Easy Rider continues to touch a chord with audiences of all ages.

UNTIL
THEY
YACHTING
(director: Robert Wise;
screenwriters:
Robert Anderson/based on a life story by James A. Michener; cinematographer:
Joseph Ruttenberg; editor: Harold F. Kress; music: David Raksin; cast:
ean Simmons (Barbara Leslie Forbes), Joan Fontaine (Anne Leslie), Paul
Newman (Major Jack Harding), Piper Laurie (Delia Leslie), Charles Drake
(Capt. Richard Bates), Sandra Dee (Evelyn Leslie), Wally Cassell
("Shiner"
Phil Friskett), Adam Kennedy (Andy, Delia's Lover), John Wilder
(Tommy);
Runtime: 92; MPAA Rating: NR; in: Charles Schnee; MGM/UA Home
Entertainment;
1957)


"It's a soap opera
delight story
that delves into questions more uprightness during wartime."

Reviewed by Dennis Schwartz

It's a soap opera love story that delves into questions
about morality
during wartime. It's set in New Zealand during World War II. Four New
Zealand
sisters are living in Christchurch on their own since their mom's death
and their father being lost to the war. They are the soon to be war
widow,
the warmhearted but proper Barbara Leslie Forbes (Jean Simmons), and
her
three younger sisters: the prudish Anne Leslie (Joan Fontaine), the
man-crazy
Delia Leslie (Piper Laurie) and the 14-year-old flirtatious youngest
one
named Evelyn Leslie (Sandra Dee, the 14-year-old model's film debut).
They
all have wartime romances with American marines waiting to be shipped
out
to the war zone soon after Pearl Harbor, because they are lonely as all
the local eligible men are already fighting in the war. Though Evelyn
sees
American soldiers, in the end she will marry local boy Tommy when he
returns
alive from the war front. The fate of the others ranges from tragic to
some chance of hope that all will work out despite their affairs.

After all the locals go off fighting the war, Delia weds
the only
eligible local who remained behind, "Shiner" (Wally Cassell). He soon
incurs
the wrath of all the sisters because of his abusive behavior towards
Delia.
They are relieved when the army bags him. Later Shiner becomes a POW.
In
the meantime, Delia meets an American marine lieutenant named Andy in
Wellington
and wishes to marry him and divorce her husband. When Barbara
intervenes,
Andy introduces her to his handsome pal Major Jack Hardy (Paul Newman),
a friend of Andy's, who is a cynically divorced officer assigned to
investigate
the potential New Zealand brides of American soldiers. There's an
immediate
attraction, and it's more than hinted that the two have an intimate
relationship
that might continue back in the States. Spinster Anne meets the
courteous
Captain Richard Bates (Charles Drake) and is immediately attracted to
the
gentle American, who proposes and knocks her up; he later gets killed
in
the war before their marriage can be approved, and she has his
baby. 

It's set around a trial for murder, where the victim was
killed by
a returning jealous soldier with a Japanese sword and Major Harding is
called upon to testisfy at the trial about the female victim's adultery
during the war. The ensuing story unfolded from a flashback from its
opening
courtroom scene, at a time the war ended. It's a film that goes a long
way in advocating compassion for promiscuous women during the war, but
one that went under because of its many contrivances and too few
moments
of genuineness and heartfelt emotions.

It's based on a story by James A. Michener and scripted by
Robert
Anderson. The "woman's pic" is capably directed by Robert Wise
("Somebody
Up There Likes Me"/"The Set-Up"/"The Curse of the Cat People") and the
acting by Newman and Simmons is first-rate. I can't say the same for
the
performances of Fontaine, Laurie or Dee, 



that left me doubting if they could really be sisters.

REVIEWED ON
9/10/2007        GRADE:
C+

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Tati’s Hulot on the loose in a surreal, scarcely recognisable Paris, tangling intermittently with a troop of nice American matrons on a 24-hour excursion. Not so much a adventure of the special against an increasingly dehumanised decor, it’s more a semi-celebratory symphony to Tati’s astounding town-set, all reflections and rectangles, knife, chrome, gleaming sheet metal and trompe l’oeil plate glass. Buckshot in flush that looks almost like monochrome, recorded in five-hunt down stereo impression with by no means a word of speech (the mysterious phraseology of objects echoes louder than words), this boon of Tati’s career is a hallucinatory comic vision on the verge of abstraction.

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A little bit “CSI” (if “CSI” wasn’t forced to hold back by appearing on a major broadcast network), a little bit “Law & Order: Criminal Intent” and seasoned liberally with a dash of starchy British whodunit, the award-winning, critically acclaimed Wire in the Blood has captivated Anglophile mystery fanatics on the Yankee side of the Atlantic for three seasons (and counting) on BBC America. Based upon Val McDermid’s best-selling novels, the crime drama stars Robson Green (who, so help me God, strongly resembles Bob Odenkirk of “Mr. Show” fame) as Dr. Tony Hill, a clinical psychologist skilled at digging deep and empathizing with both victim and killer, as well as maintaining a sideline as a university lecturer.

Dr. Hill’s colleague on the local police force, Detective Inspector Carol Jordan (Hermione Norris) is an intelligent, highly motivated officer who relies upon Dr. Hill’s ability to efficiently profile killers and get into the minds of criminals, helping crack cases that might otherwise go unsolved. Set in the fictional English city of Bradfield, meant to evoke a more sinister side of northern England, Wire in the Blood elevates the standard police procedural with a combination of sharp direction, superb acting and a willingness to show what other crime shows only suggest – the tightly wound scripts don’t hurt either.

Show producer Phil Leach said on the BBC Web site in advance of the second series’ debut: “We are building on the strength of a hugely successful series. The new episodes stay true to the shock value and terror that we established first time around, and take Tony Hill and Carol Jordan into bigger investigations and ever more dangerous territory.” Indeed, the grisly setpieces are even more so and the tension thickens considerably during the course of these four 90-minute episodes.

The episodes that comprise Wire in the Blood: The Complete Second Season are each contained on their own discs, with the bonus features accessible on each DVD. The series is housed in a fold-out digipak that slides into a handsome, if unremarkable, slipcase that features a list of glib summaries of each episode as well as chapter stops.

Stilly She Cries, written by Alan Whiting & dir. Andrew Weep
A case hits a little too close to deeply when a student from Dr. Hill’s university is kidnapped; the doctor further complicates the investigation when he encourages one of his more attractive female pupils (Amber Batty) to abet him. In addition, Dr. Hill persuades the the cops to re-open a child-killing holder in order to pull through bodies for the grieving families. When the police are distracted by the abduction case, the recently released child-killer is suddenly free to resume her previous sanguinary activities.

The Darkness of Light, written by Alan Whiting & dir. Nicholas Laughland
As the Norton Hotel digs a new foundation, a 500 year-old body is discovered, which results in Carol being called in to investigate. When two more bodies are uncovered and the inn is burned to the ground, the regulate conceive of they’ve got a case on their hands. Dr. Hill, who’s called in to help solve how these victims were slain, is faked to challenge his trial and beliefs in the masquerade of substantial opponent.

Right To Silence, written by Jeff Povey & dir. Andrew Grieve
After fingering one man as a replacement for a pair of murders, Dr. Hill and the recently promoted Detective Chief Inspector Carol into they’ve scored a major victory – until they achieve the gentleman’s gentleman responsible is already in choky. A high-altitude figure in the Bradfield gang (Christopher Fulford) is incarcerated but apparently but committing crimes and it’s up to Dr. Hill and Carol to puzzle excuse how that’s possible. Dr. Hill’s dupe to disadvantage the killer requires a raffle of faith on Carol’s part – but will she trust him?

Sharp Compassion, written by Niall Leonard & dir. Terry McDonough
A mysterious slayer is targeting Bradfield’s vulnerable hospital patients – Carol is stuck between word to the wise the public and fending turned MI-5. In appendage, a domestic murder case that Carol’s working takes a strange watch when the victim, recovering in the facility, is murdered. Dr. Hill, who has cheap to go on, suggests that the killer is a religious nut “healing” his victims; the edgy hospital alpenstock turns more suspects and MI-5 does become Byzantine when Islamic terror becomes a line of questioning – things become dicey when Carol’s boss falls unpromising and her colleagues evolve into less than tried and true.

Review:
½ * (out of ****)
Starring:
Taylor Cole, Josh Henderson, Scout Taylor-Compton, Joe Egender, Jennifer Siebel, Samuel Child, Joseph McKelheer, Guileless Aard, Sabrina Aldridge
Number one:
The Killer Brothers
Screenplay:
Mikey Wigart, Danilo Bach
Length:
91 min.
MPAA Rating:
R

It goes without saying that remaking well liked films is an ill-advised idea, but some filmmakers still believe it's worth attempting. Case in point is the update of the cult horror classic

April Fool's Day

.

Bringing the story into a modern setting, Desiree Cartier (Taylor Cole) and her brother Blaine (Josh Henderson) have decided to play an April Fool's joke on one of their socialite friends Milan Hastings (Sabrina Aldridge). When the joke goes horribly awry and she topples over the balcony and dies in a headlong collision with a buffet table, the incident is ruled an accident and the teens move on with their lives.

One year later, those present for the incident are being killed off one-by-one by a killer whom Desiree believes to be Milan's ghost. The story revolves around the attempt to solve the crime and bring the murderer to justice.

If you're already familiar with the original 1986 version, you may early on expect there to be a twist at the end wherein all those who were killed on Milan's death anniversary are actually alive and it's all an elaborate April Fool's Day joke on one of the main characters. There is a twist, but it's not exactly what you're expecting.

When I first saw

April Fool's Day

, I had an immensely entertaining time. It was the late 1980s and I was getting my hands on all manners of horror flicks (

A Nightmare on Elm Street

,

Friday the 13th

and others). It was a shock for a horror fan as most films of the era were generally thought of as cautionary tales against the youthful indulgences of the characters. In this case, that premise is amplified in the nature of the killings, but when the twist comes to reveal the, all the joy and purpose of the holiday bursts forth.

This new update, however, fails in every way to recapture that idea. Focused more on the grizzly nature of the killings and the moral bankruptcy of the leads, directors The Butcher Brothers live up to their names by destroying what wasn't even a decent concept in the first place. The acting is atrocious, the plotting horrible (further shame goes to original screenwriter Danilo Bach who contributed to this mess) and the effects more lame than the ham-fisted ones displayed during the g(l)ory days of the eighties. And when your most famous star is the guy in the bizarre-law Diet Mountain Dew commercials (Joe Egender), you know you've got problems.

Worse still is the absence of any vestige of its predecessor. The 1986 feature was about a well-liked rich kid who sets up an elaborate scheme to kill off her friends. This new feature is still about a rich kid, but this one not-so-well-liked, and the scheme has absolutely nothing to do with the original's murder mystery theme and more to do with revenge killings (like other 80s cult classics like

Prom Night

and

Friday the 13th

).

With all the series reboots coming out for the genre (

Halloween

is already completed and both

Friday the 13th

and

A Nightmare on Elm Street

are on their way), it's not unexpected for a film of this notoriety to earn its re-development. But there are limits to this kind of action and thankfully the studio pulled the plug and pushed this stinker directly to video where it hopefully won't develop the cult following of the original film. And perhaps studio executives will look at this as a sign that not all that glittered will become gold again.

-Wesley Lovell (August 6, 2008)

• ©1996-2010 - Written content and Logos are copyrighted by Wesley Lovell
• © ® ™ Academy Award(s), Oscar(s) and the Oscar statuette are registered trademarks and service marks of
  
  A.M.P.A.S.
  
• © Film images are copyrighted by the individual studios
• 

GAMES PEOPLE TREAT CAVALIERLY: REMODELLED YORK
April 16, 2004

As themselves, more or less:

Joshua Coleman, Sarah Smith, Scott Ryan, Dani Marco, David Maynard, Elisha Imani Wilson, Dr. Gilda Carle and Jim Caruso.

Be suspended Island Films presents a take written and directed by James Ronald Whitney. Running time: 96 minutes. No

MPAA

rating (intended concerning adults; contains well-stacked nudity, libidinous behavior and vulgar language).

"Games People Play: New York" plays most of its games with the audience. It pretends to be a documentary about the filming of a pilot for a TV reality program, but it contains so much full frontal nudity, semi-explicit sex and general raunchiness that it's impossible to imagine it anywhere on TV except pay-for-view adult cable. As a viewer, we intuit that it is more, or less, than it seems: That in some sense, the whole project is a scam.

Yes, but a scam that involves real actors doing real things while they're really in front of the camera. The premise: Auditions are held to select six finalists for a game-show pilot. The winner of the contest will be paid $10,000. The actors are asked to be attractive and "completely uninhibited," and so they are.

They're awarded points for their success at such events as: (1) Asking complete strangers for a urine sample; (2) Having men enact casting-couch seductions with would-be actresses not in on the gag; (3) Having women seduce a delivery man by dropping a towel and standing there naked; (4), persuading strangers to join a man and woman in a "naked trio" in a nearby hotel room, and (5) persuading a stranger in the next toilet stall to join them in the reading of a scene they're rehearsing.

Amazingly (or maybe not, given the times we live in), the movie not only finds actors willing to play these roles, but men and women off the street who volunteer (in the case of the urine and naked trio gags) or are at least good sports (as in the dropped towel routine). After having been tricked into appearing in the film, they actually sign releases allowing their footage to be used.

These episodes are intercut with sessions where a psychologist named Dr. Gilda Carle and a publicist named Jim Caruso interview the finalists. I have no idea if these people are real, but their cross-examinations elicit harrowing confessions: One woman was raped at age 4 and then beaten by her father, another saw her father murdered, a third is bulimic, a man is a male prostitute, and so on.

The uncanny thing about the revelations at the end of the movie is that we cannot be absolutely sure if this is all fiction, or only some of it.

The film was made by James Ronald Whitney, whose "Just, Melvin" is one of the most powerful documentaries I've seen, about a man who abused and molested many members of Whitney's extended family and is finally confronted on screen. What's odd about "Games People Play" is that Whitney seems to have set up the film and offered the $10,000 prize in order to manipulate his actors and their victims into abusing themselves.

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Although acting is a noble profession, there is little nobility in being an out-of-work actor, and the ambience at a lot of auditions resembles the desperation of a soup line. "Games People Play" proves, if nothing else, that there are actors who will do almost anything to get in a movie. The actors here (Joshua Coleman, Sarah Smith, Scott Ryan, Dani Marco, David Maynard, Elisha Imani Wilson) are all effective in their scenes, sometimes moving, sometimes more convincing than they have a right to be. But we cringe at how the movie uses them.

How do you rate a movie like this? Star ratings seem irrelevant. It is either a brilliant example of an experiment in psychological manipulation (four stars) or a reprehensible exploitation of the ambitions and vulnerabilities of actors and others who did the director no harm (zero stars). Because it evokes a strange and horrible fascination, I suppose the stars must fall in the middle (two), but your reaction will swing all the way to one side or the other. I felt creepy afterward.

With Tracy heading the cast and a host of great character actors in support, it’s seldom surprising that the performances are the most memorable aspect of Zinnemann’s to begin significant main attraction. Tracy pulls all the stops out as one of seven anti-Nazi Germans escaping from a concentration camp in 1936, and heading (with the Gestapo in pursuit) object of Holland and freedom; en route, his bitterness dissipates and his faith in human nature is restored. Superior professionalism all round, in fact, with the odyssey tensely evoked in the studio by ace cameraman Karl Freund.

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Fabulous fabulist Tim Burton has made one of the best movies of
his career - right up there with “Ed Wood'' and “The Nightmare
Before Christmas'' - and definitely more richly textured than both.

“Big Fish'' is a whopper of a movie about the importance of
whoppers in our lives. It's about how tall tales and fish stories
do more than enchant, amaze and amuse. They remind us that the mere
facts of something are not always the truth of something. As John
Ford said, when the legend becomes truth, print the legend.

In Burton's picture, fish gotta swim and Ed Bloom's gotta lie.
Or enhance. That's how Will Bloom (Billy Crudup) sees his father
(Albert Finney), a boisterous traveling salesman who prefers to
tell his son that the day Will was born, ol' dad was catching the
biggest catfish in Alabama, instead of selling novelty products in
Wichita. Now an Associated Press reporter in Paris, Will returns to
Alabama because Ed is dying of cancer and his mother, Sandra
(Jessica Lange), needs him. He hopes that, with time running out,
his father will at last be straight with him.

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Will wants facts. Ed gives him fancies. A phantasmagoria of
fantastic tales, connected by gossamer threads. Stories of witches,
giants, werewolves and Auburn University. Of a phantom town called
Spectre, where the streets are paved with grass and no one ever
leaves. Of a witch's (Helena Bonham Carter) glass eye that shows
you how you will die.

Danny DeVito shows up as a circus ringmaster with a secret.
Steve Buscemi is a poet who's been working on the same poem for 12
years (he's three lines in). Alison Lohman, so very good in
“Matchstick Men,'' is lovely and appropriately fairy tale-ish as
the young Sandra. (She looks like Lange, too.)

For that matter, Ewan McGregor, who plays Ed in his youth, not
only looks like Finney but shares the older actor's insistent
charisma and larger-than-life presence. There's a taste of Finney's
“Tom Jones'' swagger in McGregor's cocky belief in himself and his
ability to remain unrattled no matter what astonishment comes his
way.

Like Ed, Burton is a whimsical romantic. There are echoes of
“The Princess Bride,'' “The Circus of Dr. Lao'' (aka “The Seven
Faces of Dr. Lao''), a benign episode of “The Twilight Zone'' -
and even “Forrest Gump'' in that it's a picaresque journey set in
the South (but without that film's smugness).

Burton remains, first and foremost, a visual director. Some of
his visions are magical- a college campus transformed into an
endless field of daffodils. Some are bizarre - McGregor scrubbing
down an impassive circus fat man, like something out of Diane
Arbus. Some are merely funny, like the juxtaposition of a giant
with a flock of Shriners in their teeny-tiny cars.

But wrapped inside all the fantastical vignettes is a poignant
father-son story. In the end, Will tells the best story of all.

For all the strange and wondrous things Burton shows us, “Big
Fish'' is still an actor's movie. In an ineffable expression of
love beyond time, life or death, Lange gently climbs into a tub
with the ailing Finney. Crudup brings subtlety and wariness to a
difficult role, while McGregor shines with exuberance and flashes a
grin worthy of that other tall-tale connoisseur, Davy Crockett.

Finally, there's Finney, who last week was nominated for a
Golden Globe as best supporting actor (the film was nominated as
well). If there's any grace and generosity left in Hollywood, he
may finally win an Oscar for his sublime performance. Mostly
confined to a bed throughout the film, Finney pulls us to him with
a flawless combination of theatrical skill and movie-star radiance.

“A man tells a story so many times, he becomes the story,'' Ed
tells Will. “It lives on after him. That way he becomes
immortal.'' Finney has told us so many different stories and told
them so well, it would be nice to see him get some mortal
recognition, like a long overdue Oscar.