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"In other words, it’s pretty shallow stuff." (Pretty Bad)

(SCREENED AT THE 2003 CHICAGO INTERNATIONAL FILM FESTIVAL) This review goes to all the men out there who have significant others. Guys, I?m here to pass down to you a vital piece of advice that could save your soul from eternal damnation, so LISTEN UP! With a heavy heart, I feel I must warn you?cheating is bad. No, really, I?ve seen it. Cheating on your significant other is bad. For real. Since seeing the movie ?Skin Deep? (and I don?t mean the John Ritter comedy), I have come to the conclusion that it is best not to have sex with a neighbor. Granted, I live next door to the Bumpusses and their smelly hound dogs, so I wouldn?t consider it anyway, but after what I saw in ?Skin Deep,? my conscience tells me to spread its gospel across the land. Don?t cheat. Here?s why:Okay, say you?re an African-American named Anthony (Mailon Rivera) living in the ?burbs with a white wife named Victoria (Kristin Shaw) and you stray from the marriage to sleep with a woman of your race. She?s named Alex (Debra Wilson) and she might be a little mentally unstable and possessive (Remind you of another Alex? I thought so). She wants you to leave your wife NOW! But, of course, you feel hesitant and it may be time to sever ties with this desperate, lonely (albeit hot) woman. You break it off. Good for you. So, you go home and you complain to your wife that you two never have sex anymore. She decides to indulge you, but only until the doorbell rings and it?s your African American best friend, Michael (Steve White) and his wife Sarah (A.J. Johnson). You have all decided to get together for lunch and hot tubbing. Michael has severe money problems and he does not want to tell his wife about it. You jokingly suggest murdering his wife in order to collect some cash to pay it off. He almost takes you seriously. Meanwhile, your best friend?s wife, Sarah, hits on your wife in the other room. Later, after many labored and overacted discussions on race relations in America and after Sarah gives Michael head in the hot tub WHILE YOU WATCH uncomfortably, you decide to go inside with your wife for a talk. Michael joins you leaving Sarah in the hot tub by herself. You all come back and find Sarah DEAD! She floats facedown in the tub. You wonder? Could my wife have murdered her? Could Michael have murdered her? Oh, no, you think. It was Alex! Maybe. Maybe not. You investigate. Alex could have her motives for murdering this stranger, but you remember that Michael seriously considered murdering his wife just a few minutes ago. Still, Alex uses the murder as blackmail against you. If you don?t tell your wife that you want a divorce, Alex will tell the cops everything! And you have to do it while Alex watches from afar. She wants to see the look on your wife?s face when you tell her the bad news. For the most part, you spend the afternoon doing the usual ?What are we gonna tell the cops?? schpiel. Your best friend, meanwhile, realizes that because it was his wife, because he has debts and because he is black and sees conspiracy against his race in every aspect of society, he feels he will go to jail no matter what. So he grabs a shotgun and threatens you and your wife. You talk him down. Your wife does something vaguely drastic and Michael freaks out and shoots her. Now, you have two dead bodies to worry about. Oh, wait, three! I almost forgot. See, Michael went over to Alex?s to try and talk sense into her. A struggle ensued and Michael hit Alex across the mouth, thereby killing her. Really. Apparently, her skeletal structure is made of toothpicks and her heart is on loan from Radio Shack. So, she?s corpse # 3. Or is she? You and your friend hatch a lame burning-car-off-a-cliff scenario to cover this mess, but suddenly Alex?s dead body has gone missing! Ooooooooooo, the twists! Okay, so the body count slowly rises over the course of the day and you slowly begin to realize that you have been better off summoning the vomiting cobra on your own instead of obtaining the assistance from an outside source. In other words, YOU SHOULDN?T HAVE CHEATED! Don?t be a playuh, play! That?s the moral of the story behind ?Skin Deep,? a film by Sacha Parisot, who clearly borrows a page or two from ?Very Bad Things,? ?Blood Simple? and ?Rope.? Too bad she couldn?t borrow the same acting coach for her cast, all of whom deliver alternately wooden and over-the-top performances.Not that the script could demand anything more, mind you. This ridiculous movie does remain compulsively watchable in a so-bad-it?s-good sort of way. You will want to see how it all pans out in the end, even though you don?t buy a word of it. But when all is said and done, ?Skin Deep? tries way too hard to be a serious and shocking morality play about race relations and the consequences of cheating. The equation goes like this: If you cheat, everyone around you will be shot at, strangled or slapped really, really hard and you will end up alone and in jail. So, guys, don?t cheat. Very Dumb Things could happen.
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DOWNLOAD MOVIE Slip Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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While he's not a great performer, Charley is a winning presence in his
own films. The key-note of his character is enthusiasm: he's constantly
bounding and hopping around in excitement over his inventions. He
always plays an inventor (at least in every film I've seen), a guy with
a one-track mind, calmly monomaniacal, unquenchably visionary. He
invents a process that renders egg-shells unbreakable, grafts a
pussy-willow bush that grows live cats, builds a fully-automated
restaurant kitchen and constructs a pair of shoes that dance by
themselves. As a friend of mine pointed out, Charley was an early type
of the "techno-geek," a technically brilliant guy who is weak in social
skills. His off-beat behavior often sabotages his success; a lot of the
time, he doesn't get the girl. Many of his films follow the downbeat
pattern of THE MAN IN THE WHITE SUIT: violent hostility overtakes the
well-meaning inventor when his inventions go awry or threaten the
status quo.

Charley Bowers' films are usually more mind-boggling than
laugh-out-loud funny, but MANY A SLIP is simply hilarious. It starts
with a delicious premise: Charley the inventor sets out to develop a
formula for non-slippery banana peels. (Has he considered how many
slapstick comedians this would throw out of work?) He hides out in a
basement workshop, avoiding the interference of his battle-ax
mother-in-law, and he goes about his work with methodical zeal. He has
a spidery multi-armed machine that dunks peels in experimental
solutions (everything in his workshop is labeled "patent applied for")
and he tests the treated peels himself, trudging heroically up a
staircase and letting himself skid to the bottom. When he gets tired of
that he starts planting them for others to slip on, popping out of trap
doors and poking a fishing-rod out of a hidden window. A montage of
pratfalls follows, until he finally achieves a peel with good traction.
It's not too surprising when the man who offers him $50,000 for the
invention turns out to be an escaped lunatic.

Believe it or not, this is one of the less weird Bowers films I've
seen. It contains only a small segment of animation, when Charley looks
through a kind of microscope (it looks like a giant, inverted
telescope) and discovers the germ that's responsible for making banana
peels slippery, a little critter that skates and slithers around
woozily. This is scientific progress, silent comedy style.

NOTE: When I watched this film on the excellent Lobster Films DVD
"Charley Bowers: the Rediscovery of an American Comic Genius," I didn't
realize that I was seeing only the second half of a two-reel film, all
that survived at the time. Then, at a screening presented by Serge
Bromberg, the head of Lobster Films, I got to see the whole thing, a
complete print having recently turned up. Most of the best stuff is in
the latter half anyway, but the first reel shows the arrival of
Charley's mother-in-law and her two dreadful sons for a visit, and some
of Charley's other inventions, including a bicycle-powered player-piano
and a self-feeding coal boiler that causes the radiator to melt into a
puddle. We also see a man (who returns at the end) offer Charley a
reward for the invention of a non-skid banana skin. Enraged by
Charley's erratic inventions, his mother-in-law storms off to the
police station—and that's where the version on the DVD picks up. Here's
hoping that more lost Charley Bowers work will be discovered—there's
nothing else like it.

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Now it’s 2007, and John McClane is a changed man. Trapped in a cinematic world that’s reliant on CG ephemera and a backed by a studio wary of excluding youngsters (the new film is rated, ahem, PG-13!), our fatigued hero returns to the big screen, and it just isn’t the same.

Thomas Gabriel (Timothy Olyphant) is a computer mastermind who wants to bring America to its knees. Using his hacking skills, Gabriel slowly shuts down the country while trying to exterminate the competition. On that list is Matt Farrell (Justin Long, in what amounts to a co-starring role), a pasty, Red Bull-swilling nerd who is now a major target for assassination. Sent to retrieve Matt is Detective John McClane (Bruce Willis), who becomes the hacker’s protector when all hell breaks loose. In an effort to save the world, Matt and McClane travel all over Washington D.C. and surrounding network hot spots to stop Gabriel and prevent the financial structure of America from being wiped out.

So, the film stars Bruce Willis, features multiple objects and buildings going kablooey, and has “Die Hard” in the title. However, I couldn’t detect much “Die Hard” in this mediocre picture. Instead of pulse-pounding excitement, a sense of claustrophobia and threat, and carefully portioned violence, we have a distressingly one-note creation that doesn’t take many artistic gambles and lacks even the most fundamental imagination for two-fisted mayhem. It’s a Michael Bay-lite version of a cinematic cornerstone, and it’s one of the bigger disappointments of this year.

A majority of the poison invading “Live Free” stems from a lack of McClane in the film’s diet. Sure, Willis is all over this baby, but the presence, the sheer balls of the character has trouble finding a spot inside all the technological gobbledygook and director Len Wiseman’s insistence on a stunt sequence every 15 minutes (you could set your watch to it). Instead of McClane in over his bloodied head, praying for a miracle, we have the character on the fringe of all the excitement, balancing between his confused Luddite charms and his classic Jersey attitude. McClane almost feels like the bouncer of the film, called in to provide the combat while the rest of the actors get to play a more important role in the plot.

The beauty of the “Die Hard” franchise was that it put McClane first, and built a world of hurt around him. “Live Free” uses the character simply as an exclamation point, pulling out the one-liners and tough guy touchstones to please the faithful, but adding no sense of purpose. “Live Free” comes dangerously close to self-parody at too many junctures, even pushing McClane’s daughter (Mary Elizabeth Winstead) into the mix for cheap laughs. By the time the battered cop throws down his signature “Yippee Ki-Yay” line (neutered in the film by a gunshot sound effect), it all has the cultural and bruiser appeal of hearing Gary Coleman bust out “Wat’choo Talkin’ ‘Bout, Willis!” for the millionth time.

Wiseman may claim to have “Die Hard” in his blood, but he misinterprets the franchise with “Live Free.” His foot is constantly on the accelerator in a bid to please the action fans with robust scenes of destruction and hand-to-hand combat. “Live Free” is a massive film in scale, but it soon resorts to noise to hoist its energy up. There’s no rolling sense of danger in the film, and Wiseman could learn a thing or two from John McTiernan on the power of creating desperation. “Live Free” is easily the most coldly calculated film of the series, reducing the bloated plot to fragmented pieces of exposition and our beloved hero to a cameo amidst all the fireballs and carefully arranged disaster areas.

Also of some concern is the lack of a genuine villain. I have no idea what gave the producers the idea of bringing Olyphant on as the heavy, but he predictably drops the ball in such a critical role. He’s a kitten rolling around with a lion, playing constipated aggravation badly when he should be create a bigger dent in the threat factor. We know McClane is going to save the day, but it shouldn’t be a forgone conclusion the minute Olyphant shows up looking like a Starbucks manager on a particularly itchy morning shift. McClane deserves a more powerful and charismatic foe than this.

Wiseman redeems this issue with one bit of inspired casting. Putting French actor Cyril Raffaelli in a supporting role as McClane’s most nimble nemesis, the “District B13″ star gets to strut some terrific, gravity-defying moves that confuses our hero, and throws in something vaguely resembling creativity and invention in a very leaden film.

As for the rating issue, it’s a bigger deal than Fox and Willis would like you to believe. While the PG-13 allows for head-bashings and gunplay, it robs the film of the visceral agony that defined the earlier installments. In “Live Free” the bad guys expire off screen or they bleed black blood (or no blood at all). Also pushed out of the script is the language. If you ask me, a potty mouth is what gave McClane his spark; he was a cursing machine, giving smirking focus to his frustrations and spicing up his comebacks. There’s little of that in “Live Free,” which feels alien to a series of films that were defined by their profane brutality and careless misbehavior.

Perhaps “Live Free” will please the average audience member looking for cheap thrills to beat the summer heat. I respect that, and I wish them well. However, I fear the more hardcore followers of the series will have a harder time swallowing this troubling sequel. At the very least, “Live Free or Die Hard” will have the viewer looking back fondly at the three previous movies (not a bad batting average). You’d think with 12 years to cook something up, they could do better than this.
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The Hulk (2003)

FILM REVIEW; Tall and Green, But No ‘Ho, Ho, Ho’

If memory serves, the angry green Marvel Comics superhero who is the subject of Ang Lee’s new movie used to be known as the Incredible Hulk. At some point, though, he shed that defining adjective, and the film, which opens today nationwide, is just called ”The Hulk.” It might be described, in any case, as incredible, but only in a negative sense: incredibly long, incredibly tedious, incredibly turgid. As for the grumpy green giant himself, I’m sorry to say that he is not very credible at all.

This is especially unfortunate because ”The Hulk” arguably brings to comic-book material an arsenal of directorial and screenwriting intelligence unequaled since Tim Burton and Sam Hamm began the Batman franchise back in 1989. Mr. Lee and his frequent collaborator, the screenwriter and producer James Schamus, have an impressive and eclectic track record (including ”Eat Drink Man Woman,” ”The Ice Storm” and of course ”Crouching Tiger, Hidden Dragon”). They deserve some credit (along with John Turman and Michael France, who worked with Mr. Schamus on the screenplay) for trying to push the musclebound superhero genre in new directions.

The problem is that they seem to be pushing it in about 10 different directions at once, and in the process they lose sight of the basic requirements of visual clarity, narrative momentum and emotional impact, without which this kind of thing quickly lapses into cultishness or mythomaniacal pretension. Like the raging Hulk himself, a computer-generated Gumby on steroids who comes into full daylight view only after what feels like a whole mini-series’ worth of earnest exposition, the movie is bulky and inarticulate, leaving behind a trail of wreckage and incoherence.

The first episode in any superhero franchise is burdened, and sometimes hobbled, by the matter of origins. The audience needs to be told what operations of accident, fate and Promethean technological hubris caused a given mild-mannered misfit to acquire his monstrous and misunderstood gifts. In this case the more the Hulk’s background story is explored, the more obscure it becomes.

I’m far from an expert in such matters, but I would have thought that a combination of nanomeds and gamma radiation would be sufficient to make a nerdy researcher burst out of his clothes, turn green and start smashing things. I have now learned that this will occur only if there is a pre-existing genetic anomaly compounded by a history of parental abuse and repressed memories. This would be a fascinating paper in The New England Journal of Medicine, but it makes a supremely irritating — and borderline nonsensical — premise for a movie.

In disclosing its diagnosis, ”The Hulk” begins with a flurry of oblique, overlapping scenes detailing the unhappy career of a scientist named David Banner, who was engaged in some kind of genetic research for the United States military in the 1960’s, and who quickly went crazy and did something terrible. (Exactly what will be revealed, at least partially, in one of many subsequent flashbacks.)

Thirty years later David’s son, Bruce (Eric Bana), having been reared by adoptive parents, has followed in his father’s professional footsteps. Now a brilliant scientist in his own right, Bruce is haunted by nightmares and bedeviled by a smooth-talking corporate rival (Josh Lucas). Bruce’s girlfriend, Betty (Jennifer Connelly), has broken up with him because he’s too cut off from his own emotions.

As if this were not trouble enough, his crazy old dad shows up in the shaggy person of Nick Nolte, accompanied by three equally shaggy dogs, one of them a monstrous French poodle. The elder Banner either wants to reconcile with his son or to complete the experiment he began years earlier, before he was sacked by an irascible officer (Sam Elliott) who just happens to be Betty’s father.

All of this takes a very long time to explain, usually in choked-up, half-whispered dialogue or by means of flashbacks inside flashbacks. Themes and emotions that should stand out in relief are muddied and cancel one another out, so that no central crisis or relationship emerges.

Mr. Lee tries desperately to compensate for the flat-footedness of the story with a chaotic array of editing and camera tricks. Among his favorites are close-ups of eyeballs, which serve as literal and metaphorical mirrors, and screens that split into multiple panels. These moments — and there are more and more of them as the movie flails into its middle section — are perhaps intended to evoke the pages of a comic book, but in nearly every case the effect is to dilute the action rather than intensify it. When there is nothing very interesting to look at, shooting it from a lot of angles at once is not very helpful.

”Crouching Tiger” was embraced for its brilliant, high-flying effects, but the deeper magic was in its mood; it had a melancholy lyricism, an ability to be both playful and sorrowful, that is rare in action movies. The greatest failure of ”The Hulk” is not the clumsy, ugly special effects. (As the Hulk hops through the desert, pursued by fighter jets, he seems more like clay animation than the computer-generated kind; you half expect to see Wallace and Gromit manning the cockpits.)

Nor is it the witless writing or the hectic, inconsistent acting. These lapses would be forgivable if the filmmakers had found the right tone of pop seriousness to bring the hero and his story into focus. They seem at once to be taking the material too seriously and condescending to it, and they are too busy marveling at their own technique to make us care about the sufferings of their hero.

Comic-book superheroes may be larger than life (quite a bit larger, in the Hulk’s case), but they survive as mythical beings because we can identify with them. The Hulk’s disfiguring fury is something we recognize, but its vehicle, in this case, is not. Mr. Bana is so mopey and indistinct that it is hard to remember him from one scene to the next. His lack of emotional presence is overcompensated by Ms. Connelly’s weepiness, Mr. Elliott’s brush-cut grouching and Mr. Nolte’s maniacal fulminations. Near the end, in a fit of paternal mad-scientist fury, he chews through the rubber insulation on a thick electrical cable. By that point you may be tempted to do the same thing.

”The Hulk” is rated PG-13 (Parents strongly cautioned). A lot of property is destroyed, a few people (and those shaggy dogs) are blown up or smacked around, and the hero’s feelings are frequently hurt.

THE HULK

Directed by Ang Lee; written by John Turman, Michael France and James Schamus, based on a story by Mr. Schamus and the Marvel comic book caracter created by Stan Lee and Jack Kirby; director of photography, Frederick Elmes; edited by Tim Squyres; music by Danny Elfman; production designer, Rick Heinrichs; produced by Gale Anne Hurd, Avi Arad, Mr. Schamus and Larry Franco; released by Universal Pictures. Running time: 137 minutes. This film is rated PG-13.

WITH: Eric Bana (Bruce Banner), Jennifer Connelly (Betty Ross), Sam Elliott (Ross), Josh Lucas (Talbot) and Nick Nolte (Father).

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DOWNLOAD MOVIE Eight Below Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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I must admit, a heartwarming Disney film starring Paul Walker and a bunch of dogs isn’t the kind of thing that typically ranks high on my list of movies to see, so it comes with great surprise for me to state that I actually enjoyed Eight Below considerably.  Despite its tendency to occasionally be cutesy and manipulative, which is basically a given in live-action family films, it still works, and works quite well, as a fun-for-all-ages adventure.  Director Frank Marshall is certainly no stranger when it comes to these sorts of films, with the thrills of Arachnophobia and the survival adventure Alive. So, yeah, he did also make Congo, but two out of three isn’t bad, right? Like many movies about personal triumph, it is "inspired by" a true story, which in most cases means 95% fictionalized.  Given the fact that it is essentially a semi-remake of the Japanese film Antarctica (or Nankyoku monogatari), which was set in the late 1950s, you can see just how far astray the writers of this one have traveled to concoct their story.  Essentially, it is the story of how eight sled dogs struggle for survival after being left behind during one of the worst snowstorms to hit that area.  Paul Walker (Running Scared, Into the Blue) plays Gerry Shepherd, the dog guide there, journeying during the thin ice days of summer in order to transport a scientist (Greenwood, Capote) looking for a fallen meteorite.  The mission proves a success (sort of), but evacuation is paramount.  They don’t have room for the dogs and are forced to leave them chained temporarily.  However, returning becomes impossible, leaving the dogs to fend for themselves during the cold, desolate climate, as Gerry explores any avenue he can to return to the friends he’s left behind.

Live-action Disney is usually a spotty affair, but Eight Below ranks as one of their better ones.  It doesn’t really pander to the children in the audience, letting the adults be adults when they can.  Jason Biggs provides the obligatory comic relief to ease the tension of Walker’s guilt and resolve, and there is even a romance brewing underneath the surface of the adventure.  With adventure, action, intrigue, and drama in the mix, Eight Below has a little something for just about everyone that isn’t completely jaded against standard commercial feel-good major studio releases.

The Antarctic scenery, shot mostly in Arctic regions in Canada and Greenland, is quite beautiful, and the direction by Marshall keeps the action brisk.  Clocking in at just a smidgeon over two hours, it doesn’t feel long at all, with good use of character development, not only for the human characters, but also for the dogs, who all have varying personalities that make them easy to distinguish once you get to know them.  The actors perform well, with an especially solid performance by Paul Walker, who shows that he can actually be good in a role if he chooses ones that complement his average-joe personality.

If there were one aspect of the film overall that could have been handled better, it would have been in the scenes where the dogs take center stage.  Certainly, it is difficult to convey a story with non-human actors with no dialogue, but Marshall makes the decision to give the dogs almost human-like qualities in their actions, to the detriment of the story’s believability.  They bark at each other, as if they have acutely nuanced conversations, and the militaristic strategizing in order to secure food and shelter becomes a bit too hard to swallow at times.  However, by the time these things occur, we have already invested so much into the story and characters, the drama of it allows us to forgive such contrived storytelling.  We like these dogs.

Eight Below may not win over the stubborn or hard-hearted, but for families, and those that enjoy well-made tales of adventure and survival, this is a solid and entertaining release for all ages.  It’s nothing revolutionary, but for a fun film for the entire family to enjoy, it’s one of the better releases this year.

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At the risk of raising the ire of thousands of Lord of the Rings fans hoping Peter Jackson’s final chapter in the trilogy will claim Oscar gold, or the fury of horse fans hoping that Seabiscuit will enter the winner’s circle, let me be perfectly clear: Mystic River is the best movie of 2003, Sean Penn is the top choice for Best Actor and our ol’ pal Dirty Harry?yes, Mr. Clint Eastwood himself… is about to win his second Oscar for Best Director.

Sure, it may not happen that way, but it should happen, as Eastwood has given us the shining jewel in his directorial career ? a movie that explores friendships that are thicker than blood, with secrets that are deeper than the river from which the movie takes its name.

Mystic River opens in the past, as three young boys ? Jimmy, Sean and Dave ? who, like most young boys their ages, are looking to get into a little trouble on an overcast afternoon in Boston. Jimmy gets the idea of stealing a car, but the boys are soon distracted by some fresh cement drying on the sidewalk and decide to write their names in it. Sure enough, a pair of men claiming to be the police start yelling at the boys and make Dave get in their car, saying they’re taking him back home to tell his mother what he has done. But the two guys aren’t cops?and they kidnap Dave and sexually abuse him for four days, before Dave is finally able to make his escape.

Flash forward to the present day, and we find that the three boys all still live in the neighborhood, although they are no longer as close as they once were. Jimmy (Sean Penn) runs a local convenience store, but also has a criminal past and connections with local thugs; Dave (Tim Robbins) now has a wife (Marcia Gay Harden) and son, but has never gotten over what happened to him as a boy; and Sean (Kevin Bacon) has become a police detective, but finds himself in a broken marriage, with a wife who calls him on the phone but doesn’t speak, and a new daughter whom he has never seen.

The three men suddenly find their lives thrown back together when Jimmy’s oldest daughter disappears one night. Sean is called in on the case and is the one who discovers the body of Jimmy’s girl. The mystery thickens, because Dave was one of the last people to see Jimmy’s daughter alive, and he came home that night injured, with blood all over his hands.

What’s great about Mystic River is that it’s such an involving character study of these three men. Most movies would just revolve around the murder-mystery, but Eastwood takes his characters deeper ? having them ask themselves questions like if, as boys, another one of them had gotten in the car with those child molesters, would their lives have been totally different?

Penn plays his father figure role with such genuine compassion and grief that the audience is stunned to find out he has a darker side when it’s revealed early in the film. Robbins is so good at playing a haunted man, that we never quite know until the end whether his character is guilty, emotionally scarred, or both. Even Bacon is superb ? a man who handles his police work almost flawlessly, but has a personal life that is in shambles.

About 20 minutes into Mystic River, I realized I was watching much more than the best movie I’ve seen this year?I was watching a classic. This is a film that not only stays with you long after you leave the theater, but should be staying with us for a long time as one of the best films of the new century.

Oscars or no Oscars, Mystic River sweeps you up in its powerful current and carries you into a story you’ll never forget.
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DOWNLOAD MOVIE Mad City Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Wait til it’s a weekly rental video." (Pretty Bad)

To think that director Costa Gavras (Z) could make such an average film in the company of actors like Dustin Hoffman and John Travolta is a sad indictment on the lack of artistry in comtemporary Hollywood.Kind of like an American Mr Reliable, Mad City centres on a heist by a disgruntled museum employee (Travolta doing white trash) which is captured by a TV reporter (Hoffman) who just happens to be in the museum as the time.Grand themes of unemployment and media manipulation don’t rise above a whimper.Also stars Mia Kershner, Blythe Danner and Alan Alda.
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Young Guns – ** (out of 5)   (1988)

Cast: Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Jack Palance

Directed By Christopher Cain

Those who think YOUNG GUNS one of the best Westerns ever made must either not have seen many or have incredibly short term memories.  I would not even claim that YOUNG GUNS is a good film at all, especially when compared to other Westerns in the last 20 years like SILVERADO, DANCES WITH WOLVES and UNFORGIVEN.  The only thing YOUNG GUNS has going for it is star power, although even that has dwindled to almost nothing nowadays when most of these once hot young actors are doing b-movies and television shows to try to make ends meet.  Trying to make a rock ‘n roll Western to appeal to the kids who probably can’t stand them would seem like a nifty idea, yet after seeing the results, I’m amazed someone thought we’d need a sequel because people clamored for more.

Most of the action takes place in New Mexico in 1878, where a group of troubles young outlaws have been gathered together by an educated British man to work, and also to learn how to read and write, and hopefully become productive citizens.  However, anothe much more powerful rancher names Lawrence G. Murphy (Palance) doesn’t take well to competition, and does everything he can to try to drive him out of the area, eventually finding it better to just kill him in cold blood.  The young pupils form themselves into the Regulators, having been deputized by the cowardly local sheriff to fight back against Murphy’s tyranny, including the infamous Billy the Kid, who thinks it better to gun the men down than arrest them for trial.

YOUNG GUNS stars the Frat pack of the Brat pack, and appears mostly like a group of guys getting together to play dress up.  Filming a group of young boys playing "cowboys and Indians" would probably deliver a plot just as elaborate, and maybe a higher level of believability.  Although the cast seems to be having a good time, they still manage to take their roles with some seriousness, although the terrible accents and dialogue they throw about (like the word "geek") make you realize the level of effort that is mostly lacking throughout most of the movie.

YOUNG GUNS was written by John Fusco, who has done some quality writing with other films like CROSSROADS and THUNDERHEART, and should get credit for much of the reason the film has even a smidge of credibility.  Some of the plotline and turns of events within the movie do manage to keep a viewer’s interest even if the level of intellectual stimulation is mostly vacant.  Other than the hunky but miscast stars, the main reason why YOUNG GUNS ultimately fails is due to some bland direction by Christopher Cain, director of such cinematic gems as THE PRINCIPAL and THE NEXT KARATE KID.  It feels like a rather lackadaisical effort, with a particularly bad finale that defies logic, reason and even a sense of style. 

YOUNG GUNS is of interest only to fans of the stars who are nostalgic to see their Eighties faves together having a grand old time yukking it up on horses.  Fans of Westerns will probably also have a good time laughing at how dumb it is, and how wussy the cast is compared to the strong presence of The Duke or Clint.  Resurrecting the Western is a noble undertaking, and later films like UNFORGIVEN and DANCES WITH WOLVES proved there was still gold to be mined from the long dormant genre.  YOUNG GUNS may have gotten to that mine first but didn’t bother bringing the pick-axes or shovels.   

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"Every layer in this cake is sinfully delicious!" (Awesome)

SCREENED AT THE 48th SAN FRANCISCO INTERNATIONAL FILM FESTIVAL- As a huge fan of the Guy Ritchie films SNATCH and LOCK STOCK AND TWO SMOKING BARRELS, there was no way in hell I was going to miss LAYER CAKE, another gritty, funny, and exceptional British gangland tale. This time the director at the helm is Matthew Vaughn, who produced both of Ritchie?s pre-Madonna (i.e. ?good?) films. But while LAYER CAKE bears plenty of stylistic resemblances to its predecessors, it goes about things with a bit more of a reserved and tightly focused approach.Daniel Craig is the unnamed narrator and anti-hero of the piece (his character is designated as ?XXXX?, but I?ll be damned if I can bring myself to refer to him as that for the remainder of this review, as if he were the successor to Vin Diesel and Ice Cube, so let?s just refer to him ?Craig? ? shall we?). Craig is a rather successful drug dealer who hates guns and prefers to keep himself and his business safe by playing it smart. His plan is to sock away enough British sterling to see him off to a happy early retirement, but getting out of the game isn?t going to be as easy as he thought (but then, is it ever?). As his boss, big-shot gangster Jimmy Price (Kenneth Cranham) says, ?The reason people like you can never quit is that you make far too much money for people like me?. As bad luck would have it, Price has a couple of troublesome tasks for Craig on the eve of his planned ?retirement?. The first is to meet with a group of amateurish thieves led by the unstable Duke (Jamie Foreman), who have a staggering load of ecstasy that they want to sell to Price (one million tabs ? that would make for a rave of apocalyptic proportions). Craig is merely supposed to meet with the Duke and his boys, examine some samples of the goods, and make an offer on Price?s behalf. But things start to go very wrong when he learns that the Duke et al robbed their cargo from a group of particularly nasty Austrian drug dealers, and now they want their product back. Unfortunately, once they learn of Craig?s involvement in matters, they send a notorious and mysterious thug named Dragan (Dragan Micanovic) around to harass him. Either unaware or uncaring of Dragan?s almost Kayser Soze-sized reputation, Craig tries to get the upper hand on him with less than desired results.The other task Craig is saddled with is to find the missing drug-addict daughter of Price?s fellow mob kingpin, Eddie Temple (Michael Gambon, who manages to nearly steal the movie in his handful of scenes). Price claims this is a favor for Temple, but Craig soon finds out that his boss has some pretty sneaky ulterior motives (big surprise there, eh mate?). Like Ritchie?s films, LAYER CAKE gives us a rich palette of shady characters, all brought to life by a group of talented actors with the likes of such always-dependable standouts as Colm Meany and Dexter Fletcher. It?s often just as funny as SNATCH or LOCK STOCK, without the near excesses of humor and self-indulgence that occasionally threatened to derail those films. The plot, while certainly nothing earth-shaking in terms of originality, is nevertheless flawlessly executed with plenty of twists and turns. It?s got every last double, triple, and quadruple-cross you?d expect ? and even some that you wouldn?t. Craig?s performance is a suitable glue to bring all the elements together, and he plays it straight while still managing to throw in a knowing wink and nudge every now and again. Visually, the film is equally impressive, and scenes like Craig walking through an imaginary store full of currently illegal designer drugs, or Duke and his crew driving through an immense greenhouse full of flowers that is practically exploding with color, give the proceedings a slightly off-kilter and surreal sensation. This isn?t the real British underworld, and it?s not supposed to be. This is a highly stylized and ultra-hip British underworld, where everyone always says something that?s funny or smart, and everyone?s got their fingers in someone else?s pie ? and it?s entertaining as hell.Detractors will probably paint LAYER CAKE as a mere knockoff of Ritchie?s films, and they may even be right. But in many aspects, LAYER CAKE is equal, if not superior to, its stylistic predecessors, and that?s a rare thing for a mere copycat to achieve. Only the greatest of malcontents would complain about wanting a Rolex but getting stuck with a Tag Heuer.
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In the fighting/war scenes, it plays a perfect balance between hidden
action
and open action, never overselling the gore nor underselling the
violence.

The plot is an excuse to have a long highway battle, but I’m not
complaining. It’s vaguely feasible enough that you don’t worry much about
it, just accept it as a needed background to hang the fun stuff on. Oh, to
be a stunt driver in this movie! Or even to be a mechanic! That would be a
story to tell your children.

This is every driving fantasy I’ve ever had, and played perfectly. I know
that certainly flavors my review, but tell me that movies which are
cathartic for you haven’t affected YOU that way?

Bottom line: thin plot, heavy action, decent characterization. Symbolism
absent, directness the rule of the day. Jump on this bandwagon and ram
something. Fun all the way.

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