Reviews

The gay issue premise of this dismal failure is only slightly better than its offensive execution. If this movie had been made twenty-five years ago, it could have had an Archie Bunker kind of appeal, but in the more accepting 21st century world (and in live and let live NYC of all places), the characters' initial attitudes are jaw-droppingly offensive. The inappropriate humor is not limited to alternative lifestyles either, as it flirts with racism and cruel weight jokes. All of this might have been easier to handle if the jokes were funny, but most are not. All that is left is a story that is disturbing in so many ways, I will not be able to tell them all to you.

Sandler is super-stud fireman, Chuck Levine (pretty hard to buy, but what the hell, it's a comedy) whose life is saved by his fellow fire-eater and best friend, Larry Valentine (Kevin James). Larry has lost his wife and somehow his option to change the beneficiaries of his pension to his kids has elapsed (ridiculous, I know, but it's a comedy premise, what can you do). To solve this, Larry has to re-marry, but he is nowhere close to ready, so he proposes (literally) that he and Chuck pose as a same sex couple to assure his kids are taken care of. The city, apparently fooling with class action human rights' lawsuits is cracking down on fraud among purported same sex unions and sends out Clinton Fitzer (Steve Buscemi in a funny role) to investigate. Meanwhile, Chuck and Larry, frightened by potential jail terms, get a lawyer, played by the lovely Jessica Biel. Chuck falls for her, and the two become friends, but he can't let on that he is actually straight. The only thing that could make this part of the story worse be if Chuck somehow got a date with two women at once, as well (the old sit com stand-by plot). Or I guess they could have a zany KKK member around too. That would be worse. From the protesters at a gay gathering, to the city persecution of a lifestyle, and the 1950s reaction of their co-workers, this story is disturbingly distasteful and everyone's act three conversion is just not enough.

As you may have guessed, I didn't like this movie and it got more grimaces than giggles out of me. It is as offensive as films from past generations, but those we can dismiss with a 'well, it was a different time, wasn't it?' excuse. I can't see this being enjoyed by anyone besides homophobic idiots and adolescent boys goggling Jessica Biel (true, she looks fantastic. I kinda liked that part, too). Adam Sandler always seems to dance on the line of appropriate humor and I often enjoy his efforts even when they are not politically correct, but this time out he has stumbled completely over that line and he is unlikely to generate enough smiles from most viewers to make it OK. As for Kevin James, if he wants to make the jump from the small screen to something larger with individual seats and public restrooms, he is going to have to choose better projects than this.

(This work was first posted on realmoviereview.com)

In a tepid summer of tired sequels and action orgies this film is a breath of fresh air. I am not usually a big fan of musicals, but this one won me over! The young cast seems to be bursting with joy and the experienced performers are clearly having a ball, as well. The songs are exuberant and the story, well-known to many because of its long run as a stage show (based on a 80's flick and starring Ricki Lake at one point), is very good for a musical and even addresses the civil rights' issues of the 60s.

Teenage newcomer, Nikki Blonsky, won the celebrity lottery and landed the lead role of Tracy Turnblad, a Baltimore high school student who is obsessed with becoming one of the dancers on the local Corny Collins Show and stealing the heart of the lead dancer, Link Larkin (Zac Efron). Tracy's mother, Edna Turnblad, played frighteningly well in drag by John Travolta, is worried that Tracy will get hurt. This role has traditionally been played in drag going back to the 1988 feature with the famous transvestite, Divine. Christopher Walken is great as Tracy's dad, who supports her dream. Look for a funny cameo by original writer, John Waters as a neighborhood flasher. Michelle Pfeifer and Brittany Snow star as the nasty mother/daughter team of Velma and Amber Von Tussle who are determined to prevent any changes to lily white, homogeneous look of the show. Queen Latifah and Elijah Kelley's characters of Motormouth Maybelle and Seaweed, performers on the show's 'Negro Day' march to fight for the rights of all, when even that tiny representation on the air is threatened. Tracy disregards the risk and marches with them.

Well, I don't want to start gushing, but this is the most appealing and energetic musical since Grease and if you liked that wonderful fifties romp, then this should be a can't-miss movie for you. The performances and charming cast combine with a strong story, along with catchy tunes and nifty dance numbers, to create a winner that will be remembered long after the summer and all of its mediocre films have been forgotten.

(This work was first posted on realmoviereview.com)

The Last Mimzy is a slow moving, overly complex attempt at an E.T. style family drama that somehow ended up with a PG rating. The acting is fine, with the two young leads doing a good job, but the story unfolds slowly and never manages to generate enough tension or humor (there is really no humor that I recall) to hold the viewer's attention as it does so. There is nothing to draw this effort out of the crowd of films striving for the family film buck Noah and Emma Wilder are a young brother and sister (Neil and Wryn) who find a mysterious box during a family beach outing. Items in the box soon show themselves to have (and give) abilities to the youngsters, as their parents (Richardson and Hutton) gradually grow concerned. They are not alone in taking note of these changes. Noah's science teacher, (Wilson) along with his Tibetan Buddhist fiancée (Hahn) get involved, as well as government forces led by Nathaniel Broadman (Clarke). As you may have guessed, having this many characters any real character development and focusing on fewer characters with better dialog would have improved this film.

If you took Phenomenon and crossed it with E.T., that would give you some idea what to expect here, but without a tighter script it is not worth renting unless one of your kids is holding the box and looking at you like the waterworks are about to start. This movie is so mediocre that I had to struggle to remember it long enough to write a review.

(This work was first posted on realmoviereview.com)

This is another entry into the education section of the cinematic library, but it is a worthy addition. The young, ensemble cast does an excellent job with Alan Bennett's screenplay based upon his own play. The story does find some new angles to address in this tired genre. It doesn't all fit in with my taste and moves forward too slowly, but it is original and very well written with some excellent dialogue (including a particular strong scene where a couple of the boys compare teenage groping with their girlfriends to military action) and features superior performances throughout.

Stephen Campbell Moore is Mr. Irwin, the brash new teacher with original ideas thrust into a class of gifted, but spirited, British school boys looking for positions at prestigious British colleges. Irwin helps the group to see history in a different light and they help him to see some things about himself, as well. Richard Griffiths, best known as Uncle Vernon in the Harry Potter series, gives a strong performance as the boys' literature teacher.

This is a quality project, but moves a little too slowly for me to give it a strong recommendation. It is best compared with past releases such as Dead Poets' Society and Mona Lisa Smile, so if these two features appealed to you, then this may be a good Friday night movie choice.

(This work was first posted on realmoviereview.com)

Every year or two, Hollywood gives us one of these depressing films about a character's painful descent into addiction. They are difficult to watch, particularly when they are based on a true story. There is some interesting interplay between the rich and artists and their relationship. I didn't really like any of the characters and, though I didn't know this story, I knew where the movie was going as sure as if the finish line was waving a big red flag. There are no surprises, except the nasty portrayal of the deceased rich and famous.

This is a bio pic about Edie Sedgwick, (played magnificently by Sienna Miller) a waif-like rich girl who found favor with the celebrity media (hmmm, who does that sound like in today's culture?) in the 1960s through her association with pop artist, Andy Warhol (another great performance, this time by Guy Pearce). The pair of them form the core of a bunch of self-indulgent, unfettered sixties socialites that cling to Warhol, as he holds court at his studio (known as the factory, hence the title) as they live lives of excess and denial. Sedgwick's family is shown in a horrible light and Warhol is portrayed as an immature, narcissistic leech, constantly looking for rich people to exploit. Christensen plays folk singer, Billy Quinn, a fictional character rumored to be taking the place of Bob Dylan, who apparently had a relationship with Sedgwick.

Drugs are bad. I get it. Most of us in the non-celeb world are pretty much in touch with that message, so I'm not sure I needed it again. The acting performances are strong, but the story is simple and predictable, so I can only recommend this film to those with an interest in the true story or those who, for some reason, enjoy drug culture flicks like Requiem for a Dream or Bright Lights, Big City, Less Than Zero, etc.. For me these films are all the same and hold little entertainment value. Neither did Factory Girl.

(This work was first posted on realmoviereview.com)

This was a best picture winner, which was most likely repayment of an 'I owe you' to Scorsese for all of his great work over the last thirty years. Don't get me wrong. This is a very good movie with excellent dialogue delivered by a top-notch cast. The basic idea of the story is good and based on a Japanese film, but a couple of the characters presented in this version, just don't work for me and hurt the movie's credibility. Still a very good film with four more Oscars than I have.

Leonardo DiCaprio is great as Billy Costigan, a bad tempered trainee for the Boston State Police, with an attitude problem, when he is pulled out to go undercover in the Irish mob of Frank Costello, played by the master, Jack Nicholson. Now, Frankie Costello doesn't just count on all the blessed saints to keep his Irish ass safe. Just to be sure, he has his 'Statie's' detective in the form of the ambitious Colin Sullivan (Matt Damon proving himself as an excellent actor once again), who has been in Costello's pocket since he was old enough to take comic books as payment. Costigan's handlers are Capt. Queenan (Sheen) and Sgt Dingnam (Walhberg), whose character has the personality that would make it impossible to hold a job as anything, but a doorman at a skid row bar. Soon, both Costigan and Sullivan are getting pressured to find out who is giving info from the inside. They must both be idiots, however, since this doesn't seem like it should be that big of a challenge; particularly with Costigan. Let's see if I were a gangster who just found out that he has a cop in the pack and I have just recruited an ex-cop trainee, I don't think I'd be scratching my head for too long, before I shot the new guy to see if he bleeds blue. If this were not enough, they both end up chasing the same girl, Madeline (Farmiga), whose character also doesn't make sense. I don't buy her unfaithful psychiatrist role and find her relationship with the volatile Costigan without sufficient basis. Anyway, all this keeps the tension level high and is backed up by a great soundtrack.

So, maybe I have to stand alone on this one (what else is new?), but I say this is an enjoyable, but flawed movie, that got 'Best Picture' as a sympathy award for the great Scorsese. Its still worth seeing, and maybe even owning, but weren't they any good pictures that years that didn't have any 'what the hell?' moments?' (This work was first posted on realmoviereview.com)

Everyone needs a hobby. Mine is watching every crazy movie that gets released and telling all of you about each and every one of them. That is an unusual hobby, but not quite as unusual as a rancher who decided to build a rocket in his barn and launch himself into space. I guess that's why that hobby is featured in a movie while mine is not. The result is an interesting and moving drama about pursuing your dreams and never giving up.

Charles Farmer, played by Billy Bob Thornton, is a soft-spoken, well–liked, small town family man who has spent years building a rocket ship in his barn. As he nears completion of his project, however, several complications appear in his trajectory in the form of government interference and economic problems. Once the media got a hold of the story, the money woes seemed to make less sense to me. Look for Bruce Willis as a former astronaut, who visits Farmer. We spend the film watching and wondering whether these issues can be overcome and allow him to launch, and whether or not he should even try. Virginia Madsen stars as his supportive wife and Max Thieriot is his fifteen-year old son and assistant.

This is a well-made small-scale drama that is somewhat reminiscent of Field of Dreams in that it fills the viewer with a sense of wonder about what is really possible from those who believe and never quit. The cast was good and the story was engaging, if somewhat far-fetched. But then again, I have never tried to build a rocket ship in a barn, so how do I know how difficult it is. I spend all my time writing these damn reviews.

(This work was first posted on realmoviereview.com)

This action/espionage thriller is based on master spy writer Robert Ludlum's work and it is a top rate effort. Director Doug Liman gives us a good balance of explosive, taut action scenes, that are not overly long as is common in action movies, and engaging story that is carefully revealed, as it is given to us. The cast is strong, from Matt Damon's wonderfully natural acting style to Chris Cooper's no-nonsense espionage boss. Look for Clive Owen in an small early role.

Damon is Jason Bourne, but he doesn't even know that much when he is scooped out of the Mediterranean by a passing fishing boat. At this point, Damon's character has two bullet holes in his back and no memory of who he is or how he came to his current situation. Confused and lost, he soon finds himself on the wrong side of the French police and quickly discovers that he has deadly skills and is soon being mysteriously pursued by more than the French police. A secret arm of the U.S. Government, lead by Conklin (Cooper) is after Bourne and his newly met running mate, Marie (Potente). The action heats up as Bourne slowly discovers how he is and why he is being pursued.

This is a great action movie, particularly those who like the European spy vs spy genre. This has since turned into a franchise for Bourne and if y0ou have somehow missed the first in the series, then you should add it to your 'to see' list.

(This review was first posted on realmoviereview.com)

Rocky and Karate Kid director, John Avildsen takes his stand-up-and-cheer style from the ring and the dojo to the halls of New Jersey's Eastside High School in this true story of the mercurial, and controversial, principal, Joe Clark. Morgan Freeman shines and has a strong supporting cast in this loud and manipulative, but nonetheless effective entry into the educator-hero genre. The story strains credibility and often goes over the top, but the fast pace and great Freeman performance allow this to still be an entertaining film.

Freeman's Joe Clark is recruited by Superintendent, Frank Napier (Robert Guillaume) for the seemingly impossible task of turning around the violent and out of control Eastside High School School and somehow motivating the staff and students to improve their results on the State Literacy Exam, or else see the school fall under state control. Clark uses a bullhorn, a baseball bat and a confrontational style with his staff and combines it with a tough, nurturing relationship with his students to try to bring this about, while battling alienated staff and angry parents, led by Ms. Levias (Lynne Thigpen) to try to bring about the desired changes.

Sure, this film is far-fetched and overblown and even has a couple scenes that approach unintentional humor, but it has enough strengths to compensate and make it worthwhile viewing for those who enjoy the true story school genre that Hollywood loves so much. Morgan Freeman is always a pleasure to watch and he is very strong here. So get ready to stand up and cheer!

(This review was first posted on realmoviereview.com)

It's here! It's here! With the long awaited book #7 on the verge of release, Harry Potter mania is at frenzy level and this has transferred over to the newest movie, which is based on book #5. It may be the adolescent girl in me, but I am a Potter fan. I have read all the books (okay, okay, yes, more than once) and book 5 is my favorite so far, so my expectations may have been a tad high going into this one, but this is the worst Potter movie effort thus far. Although, still an enjoyable film, the editor's knife was a little sharp here. Although, it is already just over two hours, this is the longest Potter book and has been made into the shortest Potter movie. The result is short, almost choppy scenes that seem more suited to the trailer than the main feature. If Yates had put in another half hour or so, this effect may have been eliminated. The story is good, however, and the young cast is improving. The effects are good but also missing are the slow tacking shots that gave Hogwarts much of its wonder.

Harry, Hermione and Ron are all back and times at Hogwarts are hard. The Ministry For Magic is denying the return of evil incarnate, Lord Voldemort, and is out to discredit both Harry and Dumbledore who is played rather emotionally by Michael Gambon, who plays him like he has never read the Potter books. The Adult characters have formed a secret society (The Order of The Phoenix) to combat the Death Eaters, while Harry and friends prepare to defend themselves in these dangerous times and battle against the new ministry-approved Hogwarts presence, Delores Umbridge (played very well by Staunton), by forming a secret defense against the dark arts club. The characters are getting older and teenage romance is here, as well. Yates tries to make up for compressing a long novel into a movie through use of montages and short, quickly cut scenes. This hurts the end product, but it is difficult for me to gage how this affects non-Potter readers' ability to follow the story.

Potter fans will flock to this film, of course, and enjoy seeing the book brought to life on the big screen. The story here is darker and more about conflict than mystery. The growing numbers of characters compete for screen time, but it's still an entry in a top-notch fantasy adventure series. I'm sure that many of the legions of Potter fans will take issue with any criticism and I certainly have been critical here. Perhaps, this review has turned out harsher than I intended. This is still a good movie, I just can't help thinking how much better it could have been.

(This work first posted on realmoviereview.com)

Sequels are a dicey business, even if you do manage to bring back all the old cast, writer, director, etc. which didn't happen here. Writer Steve Oedekerk (who shared credit on Bruce Almighty) returns, as does director Tom Shadyac. The cast is largely new except for Morgan Freeman who shines again as God and Carell, who moves from a bit part into the starring role this time out. Carell is still a bit new to this leading man thing, so I will offer a little un-requested advice. When they offer you the most money, make sure they are also offering most of funny lines, too. Freeman has the best written role here and it is was so much better that I started to feel a sense of relief anytime I saw his character return. Carell spends too much of the movie gasping in shock, surprise, or dismay. In Bruce Almighty, Carrey's comedic talents drove the movie, but Carell is more of a straight man and doesn't have that one-man-show talent. There are a few laughs but not enough and the story is OK, but nowhere near enough to make up for the lack of chuckles.

Carell plays TV anchorman, Evan Baxter, who has just been elected to Congress, where the environmentally, self-absorbed, oblivious Washington rookie is quickly sucked into the sphere of the powerful Congressman Long, played masterfully by veteran actor, John Goodman. Everything seems to be looking rosy for the Baxter clan, when God (Freeman) shows up to tell Evan Baxter to forget all this and build an Ark. Evan is understandably reluctant to do this, but God can be quite persuasive and soon Evan begins the project as stunned staffers and family members look on. For humor, we are fed a steady diet of slapstick building mishaps, animal schtick and a Santa Clause-like transformation. It's not much, but that's what we've got. There are a few laughs, a somewhat suspenseful ending and some good effects.

This is a safe, bland, family viewing choice that is unlikely to be either hated or loved, although it had one scene that offered far more nasal care coverage than any movie needs. In this flick, God appears to have pretty low expectations for behavior compared to how things seemed to have worked in the Bible days. There is some kind of goofy message about the importance of family and God giving opportunities for us to help ourselves and make good choices, but God-Freeman pretty much only offers one choice then rewards his followers for making that choice. There was probably more to the message, but I've already forgotten it, just as I will soon do with the rest of this movie.

(This original ManhattanMovieManiac work first appeared on realmoviereview)

Pixar (The Toy Story people, for you cave dwellers out there) has scored another animation hit with this uneven, but still enjoyable feature about a rat who dreams of becoming a chef. Well, safe to say that we have an original idea there. The animation is, of course, superb, regardless of whether we are watching a surging storm drain, precise human hand dexterity or the Paris cityscape. There are several sub-plots going on and a little more focus would have been of some help here. There are also several overly long scenes of rats scurrying away from dangers that get a little wearisome, but a fairly charming story does emerge soon enough.

This movie surprised me with a funny, little, seven-minute short feature, called Lifted, which was about an inept alien screwing up an apparent human abduction test. This was a nice start and lead up to the main feature, in which Patton Oswalt reads the part of Remi, a very bright rat, who is also gifted with a very powerful sense of smell. This prevents him from enjoying the usual rat fare of, well, mainly garbage. Remi, who also knows how to read (this really is one talented rat!), learns about cooking from the book of the late, great, French Chef Gusteau. After escaping a shotgun swinging senior, as well as other dangers, Remi finds himself teaming up with a lowly, clean-up guy, Linguini (read by Lou Romano). With Remi's talent and Linguini's more acceptable kitchen presence, the two soon form a team that takes the French restaurant team by storm. Linguini finds love, while Remi finds a perfect soup, but there are complications aplenty, including evil Head Chef Skinner (well read by Ian Holm), who has an interest in seeing the young boy fail. Peter O'Toole, as well, does a great job reading the small, but important part of the feared restaurant critic, Anton Ego. The story, which takes a little time to get rolling, is quite warm and enjoyable, is capped off with, of course, a nice feel-good finish.

Well, if nothing else, this film could be used as a recruiting tool for culinary school, but that shouldn't be necessary, since, besides glorifying the art of cooking, it should be enjoyed by all ages. I found issue with a very brief scene that showed a gun being used in anger in a domestic setting (besides our Shotgun Sally senior mentioned above). I found this scene to be completely out of place and inappropriate. I don't understand why it was included. Ratatouille also has few less giggles than I hope to see in a feature of this type, but does serve up a very heart-warming story with a tiny, side dish scene about critics (like me), who create nothing and only attack those who do create. On behalf of critics everywhere, I take issue with this completely unfair assessment of the critic's place in society! Let me just make a few points in our defense. First of all, I'd like to say....ummm…well; I guess I don't have any points to raise. It's pretty much true.

(This ManhattanMovieManiac work was first featured on realmoviereview)

It's clobbering time! Or is it? I thought I was watching Dr. Richard's Fun with Physics! Where is the action? Where is The Thing busting stuff? Well, in all fairness, I often complain that action movies do not have enough story. This one does, but goes a bit overboard with all the wedding drama and the comic book science. Maybe four heroes are too many to try to do the Spider-man soap opera thing. Still, it isn't a bad movie. The effects are great, the story is okay and the Surfer has potential as a tragic villain and these things make the sequel a little better than the original, which only had the great effects and the endless action scenes.

Well, the fab four are back. Rex (Ioan Gruffudd) and Susan (Jessica Alba) are still trying to get married, and Johnny Storm (Chris Evans) is still trying to meet chicks and celebrating the joys of being a celebrity. A threat to destroy the planet starts to interfere with the wedding plans (can anything EVER interfere with ANY all-important wedding plans?) and only the Fantastic Four can step up. There is lots of silly science and logic gaps big enough for the Earth to escape through. Stan Lee has a great cameo and the effects are worth the price of admission.

Hard to call! Those who love super-hero action flicks will probably find it a suitable, but less entertaining sequel, as they squirm and wonder where the rest of the action is. Those who are less enthralled with the Marvel movie universe should pass on this one. As for me, it wasn't painful or unpleasant, but it won't be added to my movie library.

(this work first appeared at realmoviereview.com)

In order to compose these words of wit to inform, entertain and advise all of my loyal readers, I have to see almost every movie that comes out. This means I have to sniff a lot of crap, but the payoff comes when I find a gem that I would have surely missed, otherwise. This is such a movie. This is a fast-paced clever and amusing little family film with neat characters; some good understated humor, and an acceptable story.

Andrew Fleming wastes no time here, rocketing out of the gate with a fast-paced opening. Emma Roberts shines in the title role, who is an 'everyone loves her' kinda girl with a sixties wardrobe to go with her fifties mindset. This makes this a Pleasantville reversed movie when she moves to LA with her dad (allowing for yet another Bruce Willis cameo). She also has to promise her dad that she will give up sleuthing, but when they move into the haunted house of a murdered movie star, she doesn't keep this promise for long.

Nancy Drew is a surprisingly amusing comedy that should be a good choice for family entertainment. The ending gets a little silly, but this is pretty standard for comedies. Its worth seeing if you were already interested, have some bored munchkins, or if there is nothing else of interest to choose.

(this work first appeared on realmoviereview.com)

Good horrors are like good women (or men depending, on your point of view). They are damn hard to find, but I hit pay dirt today with 1408. Its the John Cusack Actors' Workshop, here. He still plays John Cusack, as he always does, but this is a challenging script to perform, not only because of the wide range of extreme emotions required, but also because he is usually acting alone. To make this work, Cusack has to sell us with his performance. Wrap it, bag it and ship it C.O.D., because I bought it. I am a Cusack fan, but this is the most challenging role of his career. There is a strong, suspenseful story that manages to change gears whenever it is in danger of becoming mired down in repeat material. Finish it off with a pretty good ending (always the most challenging part of any screenplay, particularly suspense features) and the result is a tense, clever thriller.

John Cusack is Mike Enslin, a cynical, but determined horror writer who gets wind of a particularly haunted suite at an exclusive NYC hotel. Hotel manager, Gerald Olin (Samuel L. Jackson), does his best to dissuade Enslin from staying in the room with tales of strange occurrences and the countless guests who really did 'check out', but to no avail. Enslin is determined to stay the night and debunk the supernatural reputation of room 1408. Sounds simple enough.

Imagine Castaway crossed with The Shining and you will have some idea of what to expect from this film. Horror fans will like it's shock-and-jump scenes and thriller fans will enjoy the persistent tension. Cusack fans will be glad to see him stretching himself. This is a quality feature that should please most of its genre fans.

(this work first appeared on realmoviereview.com)

Michael Moore is at it again. Thus far, on the big screen, Moore had tackled GM, gun laws and George Bush. This time out his opponent is the American medical system, which seems like a pretty big easy target. This feature follows the Moore formula by combining humor with stories and interviews that range from heartbreaking to outrageous. His pace is fast and entertaining, though some of the stories are truly heart wrenching, so be prepared.

Michael Moore is never afraid to tackle the most powerful institutions in America and this outing is no exception. This time the controversial filmmaker climbs into the ring with the American medical system and sends it down the canvas with a series of international comparison roundhouses and interview uppercuts with those who have suffered in the 37th best health care system in the world and the worst of any industrialized country if his facts are to be taken at face value. With Moore, that is a big 'if'. In my opinion,his heart is always in the right place, but his numbers often are not.

Make no mistake. This is propaganda. Moore's point may be valid and the issues he tackles are always deserving of a hard look, but he does not present a balanced view. Any case that his detractors may present is glossed over or not mentioned at all. This doesn't make them right, but remember that his opinion is what gets airtime, here. Some question his facts and some even question his motives, but at least he makes people think about issues that politicians get paid to keep Americans from thinking about. This is an issue that the American people need to take a long hard look at, but don't take Moore's word for it, or even mine. Look at both sides and decide for yourself.

(This work first appeared on realmoviereview.com)

Well, Bruce Willis is back as the wise-cracking energizer bunny of action movies, John Mclane. Eighties heroes are back in vogue in Tinseltown and the Die Hard franchise is the second to cash in (following Rocky Balbo duhhh). They really stuck to the formula and managed to make a decent action pic that is high-energy, fast-paced and far-fetched (but to quote Meatloaf, "Two out of three ain't bad"). The whole effort has a slight tongue-in-cheek tone, so it is easier to laugh with the ridiculous parts rather than at them. Willis is good and, as in #3, he has a buddy in this one, played by Justin "Hi, I'm a Mac" Long to help with the humor and techno jargon.

The Die Hards have always had high tech master villains and this continues with #4 which could have been called Die Hard 4: When Good Geeks Go Bad! Mclane's personal life is its usual mess when he is asked to pick up a computer hacker, Matt Farrell (Long) for questioning. He gets there just in time to save Farrell's life from some really serious dudes and the chase is on. Now Mclane has to keep Farrell alive while foiling the bad guys from taking control of all the communications and utilities on the east coast.

"When Hackers Attack" is a popular Hollywood theme and we have seen similar stuff in movies like Enemy Of The State and, more recently, "Déjà Vu". Still this movie is not bad and the explosion junkies will main vein it for a satisfying action fix. I am going to tie it with #2 for second place in the Die Hard series. Just don't expect everything to make sense and know that it has a believability rating 'that's frigging impossible'. Art it ain't, but lively it is. Yippee Ki Yay! (this synopsis first appeared on realmoviewreview.com)