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Reviews
A Few Good Men (1992)
A powerful movie with a timeless message
I viewed this movie the day that it opened in December, 1992, and immediately felt what director Rob Reiner was going for. The story itself has many of my favorite elements in film: something new for me (The JAG Corps), a compelling story (The Code Red), and a great cast from top to bottom. I was also pleased that Demi Moore (JoAnne Galloway), and Tom Cruise (Daniel Kaffee) were not written into an unneccessary (and unrealistic) love plot, either. The dialogue between the two of them was, at times, however, as simmering as between Kaffee and Lt. Col Nathan R. Jessup (Jack Nicholson), but for different reasons. Jo was looking for the truth, and Jessup was trying to cover it up. And even though his (Jessup's) character is only on the screen for something like 12 minutes, his presence is far reaching. He represents to me the arrogance of some military officers who are appalled that they even have to cover anything up. Kevin Pollack (Lt. Weinberg) does a good job as the other of Kaffee's sidekicks, Kevin Bacon plays against type with his portrayal of the USMC prosecutor, and Keifer Sutherland is chilling as a Marine loyal to Jessup (even more than to his God and to his Marine Corps guidebook). Interestingly, even the minor roles are played well by a combination of experienced and some then new faces, Noah Wyle (ER) as another Marine in Cuba, Cuba Gooding, Jr. (Marine), J.T. Walsh (Markinson), Christopher Guest (Doctor Stone), Wolfgang Bodison (Lance Cpl. Dawson), and James Marshall (Pfc. Downey). With the cast, the direction, and most of all the story (I saw the play and it is just as dramatic--but without the scenes of Cuba and D.C.), I felt than and I feel now that "A Few Good Men" deserves its place near the top of the decade, if not the half-century. Rarely have I walked out of a theatre with a feeling that I've experienced "something" than when I walked out that night. I'd like Reiner to direct something similar so I can have that feeling again.
54 (1998)
The beautiful people...the beautiful...
Admittedly, I rented this movie to get a glimpse of Neve Campbell and Selma Hayek doing their stuff, and of course, I was disappointed. While interesting from a sociological standpoint, this movie never really seemed to get going. The narration that helped so much at the beginning mysteriously disappeared, and the only sense of closure was the death at the end. This movie was pure eye candy, and not much of that. I would have to agree also, with the other critics, that Neve Campbell is lucky if she didn't do her career a major disservice with this part. She was stiff, which is partly due to the writing, but I saw nothing more than "Party of Five" with a somewhat better cast (although I'm not sure). Enjoy the music and the dance, because there ain't much more to this movie.
Cop Land (1997)
Hey, we are the law
As a person who once had police officers as roommates, I am not new to the concept of the "thin blue line" or the "blue wall" that has been so popular a concept in the media recently. From movies like "Serpico" to tv shows like "NYPD Blue", this theme of cops protecting other cops has been a popular storyline. But with "Cop Land" we get a unique twist on the subject. Imagine an entire town populated largely with cops, all out out of the jurisdiction of New York City Internal Affairs, and the possibilities for abuse of power are seemingly limitless. Add the twist of a wannabe New York cop who has a hearing disability because of an earlier heroic action, and you've got yourself a movie. I had heard that Sylvester Stallone had gained a substantial amount of weight to do his part of the local sheriff, and the added weight seemed to help his believability. His tormented character admirably tries to "watch" the cops, all the while wishing that he was one of them. To complicate matters, one of the dirty cops is married to the woman he covets. Although the movie dragged at times, fine, quiet performances by Robert DeNiro and Ray Liotta, along with Harvey Keitel, bridged the gaps with their combination of cool calculation and fiery action. Also look for Jeanine Garafolo in a minor role as a sheriff's deputy who has a difficult time policing the police. Overall, it was entertaining, and thankfully, though we see the "dirty cop" headline too frequently, most of the men in blue are more Stallone and less Keitel, at least in this film.
Rounders (1998)
Too many questions unanswered
I've always been a Matt Damon fan, and Edward Norton is obviously an impressive actor, but even they could not carry this film about a retired pro card player forced to get back into the game to clear his debt. In short, the writing was an admirable try, but for me, it flopped. The only things that made this movie somewhat entertaining were the performances of Damon, Norton, John Malkovich, John Turturo, and Martin Landau. But now some of my questions: 1.) When exactly does Damon's character sleep? When we first meet him, he is going to law school during the day, driving a truck at night, and then repeating the same cycle; 2.) When does Michael (Damon) study? Law school is certainly more than going to classes, and we're led to believe that he is moderately successful in school until the end. Can't do that without studying a whole lot; 3.) Why does Gretchen Mol stick around as long as she did? 4.) Why can't I have friends like Michael as the worm did? This guy took advantage like no one should have, from borrowing Michael's money to forcing him back into the card games; 5.) Speaking of worm (an aptly named character), what happened to him? No one ever says, as far as I could tell; 6.) And finally, how was Michael paying for rent and a car after his girlfriend has had enough? 7.) Finally, part two: Why can't I have acquaintances like the professor who will write me a check for $10,000 to repay a gambling debt? Now, I more than understand the "willing suspension of disbelief", but with this many questions, it was tough to enjoy the plot. Again, it overshadowed some good performances, especially noteworthy was a chilling performance by Malkovich (KGB). I would not want to be on the other end of a card game, golf match, pool game, or even a chess match with this guy. He could have done without the oreos, though. Overall, this movie was interesting, but not believable enough.
A Perfect Murder (1998)
Just Desserts
It's refreshing to see a movie that has very little sentimental value, but where the villains get exactly what they deserve. Gwyneth Paltrow is outstanding as the heroine who has an affair with an ill-advised lover. Michael Douglas, trying to avoid being typecast as the rich business tycoon he has played a lot of recently, is now a rich business tycoon who tries to kill his wife. The plot, though not entirely believable, at least made some sense, no small triumph in today's mystery/thriller genre. I understand that this film is a re-make of a Hitchcock movie, but unlike many, this one was a worthwhile effort.
The Waterboy (1998)
Good entertainment, if only for the hits
I hope no one watches this movie thinking that it will rival "The English Patient" for writing and acting, but it is a heck of a lot more entertaining. Adam Sandler acts out most boys' (and mens') college football fantasy. This 31 year old mama's boy delights locals and wins over the nation by making vicious, violent hits against major college players. I especially liked how his character is a linebacker, instead of an offensive player, because it provides an even more unrealistic twist. It also allows Sandler to make unbelievable tackles that would have to involve defense, obviously. Notable performances by Henry Winkler (Coach) and Kathy Bates (Mama) along with the ESPN crew at the "Bourbon Bowl" rounded out this appropriately screwy spoof.
Twilight (1998)
I cared more for the actors, not the characters
In renting this movie, I was sucked in by the cast, and after viewing it, it is clear that was the best thing going for the film. I was impressed with Newman's performance, and by the fact that he appears in nearly every scene. But I really never was interested in the plot, which was revealed somewhat clumsily, I thought. Actually, I found it quite boring. James Garner and Reese Witherspoon both added believable touches in relatively minor roles, but I still don't understand how the main story is supposed to be compelling. And while it's nice to see Newman, Sarandon, and Witherspoon in (separate) love scenes, it didn't take the tedium out of this picture.
American Gigolo (1980)
An example of 80's style
This is one of Richard Gere's first lead roles in Hollywood, and he doesn't disappoint. The film gives a little insight, a preview even, of the seamier side of the 1980's. Beginning with the shots of Julian Kaye's (Gere) Mercedes convertible, glimpses of Rodeo Drives and Malibu (all with Blondie screaming "Call Me"!), the film manages to be more than just a whodunit. Perhaps the charm of the film for me is that we're never quite sure what to think of Kaye and his married lover (Lauren Hutton), but their quest for happiness with each other is believable. And though the detective plot-line of the movie is a little contrived, Detective Sunday and Leon provide good opposite poles of this Sodom and Gommarah-like portrayal of life in L.A. In fact, Julian's verbal sparring with Detective Sunday provide a light contrast with the realistic portrayal of a gigolo on the run.
A River Runs Through It (1992)
It's more than just fly fishing
I was first made aware of this movie just before its release in 1992. I had read in a magazine that Robert Redford was directing a movie based on a book about a family who enjoyed fly-fishing in Montana. A virtually unknown actor (except for fans of "Thelma and Louise") named Brad Pitt would have one of the principal roles, and it was certain to be a worthwhile venture. Fortunately, I read the book by Norman Maclean first. I read it on a rainy summer afternoon, and was stunned by it, partially because I could relate to it, and also because of the predictable, yet shocking conclusion. After reading the book, I was even more impressed by Pitt (Paul Maclean), Craig Sheffer (Norman Maclean), and Tom Skerritt (Reverend Maclean). If nothing else, I felt that they, as well as the entire cast at least remained true to book's portrayal of character traits. From the first scenes of the movie with Redford's voice narrating the past of this little Montana town inhabited by the Maclean's, one has the feeling that although one of the principal vehicles of Maclean telling the story is fly fishing, there is going to be much more to the story. As a family, Brenda Blethyn (Mrs. Maclean) and Skerritt do a more than admirable job portraying turn of the century parents trying to battle even a young Paul, and teach a young Norman to be a good big brother. As the years go by, Norman and Paul go their separate ways, but not before they have an adventure in the river, and Paul takes responsibility for it. Similar scenes where Paul takes the fall for Norman are throughout the movie. Perhaps the most dramatic scenes occur with Norman trying to help pull Paul away from his drinking and gambling, which turns out to be futile, and one can sense this throughout, both by the narrator's comments and the action of the movie. Besides the acting and directing, the award winning cimematography was outstanding (Philippe Rousselot). It gave me the feeling more than once that I was in the Big Blackfoot River with the Maclean's. The music (Elmer Bernstein, Mark Isham) was also appropriate and even helped the story in the many dramatic moments. To be honest, the plot-line concerning Jessie (Emily Loyd) and Norman was somewhat tedious, even though this is based on true life. Funny, but also kind of unnecessary, was the plot that concerned Neal (Stephen Shellen) as Jessie's irrascable brother. Redford almost tried to portray him as Paul's foil, but at least Paul had some admirable traits. Overall, I will remember this movie with Norman trying to convince Paul to come with him and Jesse to Chicago, and Paul's response: "Oh, I'll never leave Montana, brother." It was prophetic for many reasons. And few lines are as chilling as the narrator's "I'm haunted by waters." Metaphorically, most of us are, or will be.
Jackie Brown (1997)
Tarantino leaves his calling card with Elmore Leonard
"Jackie Brown" was pretty much what I expected, with a few notable exceptions. First of all Pam Grier did an outstanding job as the hard on her luck stewardess. In a film as filled with cinema giants as this one (Deniro, Jackson, and Keaton) is, she more than held her own. And although it is getting tiresome to see Samuel L. Jackson in foul-mouthed, "heavy", violent roles, he does do it very well. The bail-bondsman who becomes a very integral part in the film can attest to that. Many of their scenes together showed that Jackson can quite easily intimidate almost anybody.
As far as the story, it was mildly interesting, though I'm not sure if the constant flashback/different points of view really worked for me after awhile. To be fair, I did not read local favorite Leonard's novel, but the plot seemed a little disjointed to me. One thing I did like, however, were the extended scenes with good dialogue, mostly with Grier, Jackson, and the bondsman. It was an intriguing idea, a well-made movie, but it lacked something that would have made it a favorite.
Red Corner (1997)
Suspense and culture lesson uneven but entertaining
Originally, I had wanted to see "Red Corner" at the movies, but I'm kind of glad that I waited until I rented the video. It had its moments, with Jack (Richard Gere) having a real big lesson in Beijing culture, sex, and law, all in one night. Probably the most interesting and suspenseful parts of this film were Jack's initial experiences with the Chinese prison system.
We learn much of the legal system, however, through Jack's Chinese court-appointed attorney, who is smart and beautiful (a combination that has kept her single for some time). She is involved in the other extremely suspenseful sequence when Jack is chased through the crowded streets (a scene very reminiscent of Elizabeth Shue's dash to an embassy in "The Saint"). But, to be honest, the movie seemed to slow to a grinding halt after that. After a while, I saw very little difference between the American and the Chinese court practices, and the thought of his attorney trying to explain that China actually does have an effective (albeit harsh) form of justice is nauseating--in light of the obvious human rights violations that have taken place in the Republic for many years.
Like many American movies that try to capture culture, it pretty much plays to stereotypes. However, it does something that Hollywood does best: Take a story, make it suspenseful, inject some love, a couple of courtroom scenes....and of course get an actor like Richard Gere to pull it off.
Sliding Doors (1998)
Can't make your own destiny
Sliding Doors takes a neat concept of film making that could have been botched, but wasn't, because of some good writing mainly. Gwyneth Paltrow continues to impress as the main character (s), which is no small feat, because though parallel, they are not exactly the same. The thing that makes this film go, though, seems to be the audience's intense hatred (or at least strong distaste) for Gerry, Paltrow's original love interest. Also good were Gerry and Sarah's respective best friends, who portrayed realism as modern love sages. Overall, I was impressed, and glad that I saw this supposed "chick flick" with a surprise twist.
Shakespeare in Love (1998)
The young bard gets inspiration
This movie was definitely one of the top films for capturing the elements of a young Shakespeare in the Elizabethan age, all the while managing to entertain us. Joseph Fiennes definitely establishes himself as a rising star in this one, and Gwyneth Paltrow portrays her character in a way I've never seen her do before. Geoffrey Rush, as well as other more minor characters (such as Ben Affleck) round out a superb cast. The story itself is somewhat, but not altogether predictable, too. It was interesting to see young Will visiting a crude psychologist, for example, because his quill would not write. In addition, the inclusion of such literary/historical figures as Richard Burbage and Christopher Marlowe makes this movie somewhat educational as well. Unfortunately, school classrooms will not be able to view this because of some sexual content that does, in fact, move the plot forward. That is unfortunate because Fiennes' portrayal definitely breaks the stereotype of Shakespeare as boring.
Elizabeth (1998)
Riveting, but excessively brutal for most audiences.
Knowing some background of the Elizabethan age did not prepare me for the realistic portrayal of life in and around her court. The film was well-done (though the Godfather-like climax was not as well done as Coppola) and well-cast, but it seemed somewhat unfocused to me at times. The 27 year old main character conveys a great presence, as do Geoffrey Rush and Joseph Fiennes. Unfortunately, we did not get to see enough of Elizabeth and her advisors in the "war room" preparing to plot strategy, and I'm convinced that had I not taught this age many times, I would have been thoroughly lost. An "A" for effort, but definitely an "E" for editing.