Posted in: Disc Reviews by Archive Authors on June 26th, 2006
Jack Nicholson can make a convincing case for being one of the greatest actors of all time. He's had his share of memorable moments in movies, with quoted lines etched in our brains. It took a while for me to get "You can't handle the truth!" out of my head. He has also turned in outstanding performances in lesser known movies that have shown his range and dramatic ability. Alternate viewing recommendations to see Jack in action include Hoffa and The Pledge, among a variety of others....In About Schmidt, the follow-up effort by Alexander Payne (Election), Jack strips away the sunglasses, the eyebrow and the devilish grin, puts on 20 pounds, and gives us a performance that some have labeled as career defining.
Warren Schmidt (Nicholson) has recently retired from his job at Woodman of the World Insurance, in Omaha, Nebraska. While he has put his time and energy into the job, is it of no significance. Warren stops by the office shortly after retiring, to perhaps answer any questions his replacement may have, and he has none. His place in the world almost reflects this insignificance, as he is unable to complete a sentence around his wife Helen (June Squibb, Far From Heaven), and their marriage has emasculated him to the point where he finds himself sitting down in order to urinate. In order to pass the time in retirement, he decides to donate money to a "Save the Children"-type organization, and becomes the foster parent of a 6-year Tanzanian boy named Ndugu. He does have a daughter Jeannie (Hope Davis, Hearts in Atlantis) who is living in Denver, about to be married to Randall (Dermot Mulroney, Point of No Return), a waterbed salesman with a mullet, who also happens to be a fan of pyramid schemes. After Helen dies suddenly from a blood clot, Warren (with the help of a recently purchased Winnebago) heads out to Denver in an attempt to stop Jeannie from making a mistake that she may regret. Not only do we see Warren's adventures in getting to Denver, but he meets Randall's mother Roberta (Kathy Bates, Misery), where the events pick up at a hilarious pace.
Posted in: Disc Reviews by Archive Authors on June 26th, 2006
Let’s face it. Movies released in January usually aren’t very good. Yes, some of these movies are Oscar hopefuls that are released nation-wide, but only after being released in selected cities to quality for those Oscars. No, we’re talking about stinking piles of crap like Uwe Boll’s Bloodrayne here. Being that January is Hollywood’s cinematic dumping ground, it comes as no surprise that Tristan & Isolde was released during this very same month in 2006.
Delayed for nearly a year, Tristan & ...solde follows a slew of disappointing historical epics, so common sense would tell you that the studio heads looked at this film and dubbed it a risk, with no bankable stars attached. What the studio heads seemed to forget (or miss, because let’s face it -- they’re more concerned with target audiences and opening weekends than quality) Tristan & Isolde is not half bad. In fact, it’s rather good.
Posted in: Disc Reviews by Archive Authors on June 26th, 2006
Let’s face it. Movies released in January usually aren’t very good. Yes, some of these movies are Oscar hopefuls that are released nation-wide, but only after being released in selected cities to quality for those Oscars. No, we’re talking about stinking piles of crap like Uwe Boll’s Bloodrayne here. Being that January is Hollywood’s cinematic dumping ground, it comes as no surprise that Tristan & Isolde was released during this very same month in 2006.
Delayed for nearly a year, Tristan & ...solde follows a slew of disappointing historical epics, so common sense would tell you that the studio heads looked at this film and dubbed it a risk, with no bankable stars attached. What the studio heads seemed to forget (or miss, because let’s face it -- they’re more concerned with target audiences and opening weekends than quality) Tristan & Isolde is not half bad. In fact, it’s rather good.
Posted in: Disc Reviews by Archive Authors on June 25th, 2006
For better or worse, Hugh Grant has carved out a niche in Hollywood as the nervous, awkward, charming, British romantic leading man. He's tried doing other things, paired with Gene Hackman as the protagonist in the thriller Extreme Measures. But attempts such as these are few and far between, and haven't seemed to work. For better or worse, he'll always be the stodgy British guy trying to bed an American chick over the objection of her parents, or some other convoluted romantic comedy plot. To his credit, he has been playing against that stereotype lately, to a lesser degree in Bridget Jones's Diary, but to a larger scale in About a Boy, recently nominated for a Golden Globe in Comedy.
Will (Grant) is the son of a man who recorded a famous, but fictional, Christmas song in the late 1950's, and literally does nothing all day, living off of the royalties of that song. He's a bachelor who likes to avoid any responsibility or relationships, and has an epiphany: relationships with single mothers. He believes that they'll jump on top of you, but they'll always compare you to the guy who gave her the kid/kids that she's trying to raise, and they'll end the relationship first, so Will avoids any unpleasantness in breaking up now. He becomes such a firm believer in this theory, he creates an imaginary son, going as far as buying a childseat to put in his silver Audi sportscar, and uses this to attend support group meetings of other single parents, looking to hook up, and finds success.
Posted in: Disc Reviews by Archive Authors on June 25th, 2006
I watched Ryna while my wife watched Shopgirl on the TV. And aside from watching Ryna because I thought it was going to be a film about a DVD reviewer whose name is misspelled, there were a lot more differences between the two films. As far as I could tell, Shopirl appeared to be about a girl with Down�s Syndrome who falls in love with her Dad but reconsiders at the end (whoops, my wife tells me that I�ve got it wrong), Ryna is about a girl who tries to rise above being repressed because of her gender.
Ryna is the title character of a 16 year old girl (played by Doroteea Petre) who lives with her parents in a small Romanian town. Her father Biri (Valentin Popescu) has raised her as a boy with short hair, because he's disappointed that his only child was not born a male. Together they run an auto repair service that does price gouge foreign travelers from time to time. When a French anthropologist comes into town, he tells her about the world outside of her small town, and she wants to break out and enjoy life, despite her father's wishes.
Posted in: Disc Reviews by Archive Authors on June 24th, 2006
The irreverant, politically incorrect Married With Children returns to DVD, this time in its fifth season, and I first want to say, "It's about time." How long has it been? I've lost count. All I know is, I better not have to wait this long again. Al, Peg, Kelly, and Bud, return to torment the newly divorced Marcy Rhoades and any other poor sap, who gets in their way. In contrast, life dishes out enough misery to the Bundys to keep us all happy for a very long time. It's a funny dynamic, which the show plays t... the extreme... Bundys hate life, and life hates Bundys. I could watch the two struggle all day (with the Bundys always... well, nearly always... coming out on bottom), and never get tired of it. In this particular collection, we get more of the tragedy and the triumph with some of the greatest episodes heaped atop each other, one after another.
Follow a disgraced Al Bundy as he steps into the role of softball hero and gives one of the most stirring speeches of the series in "Unnatural" (Highlight: "In closing, I just want to say, 'I hate you all... and I thank only me for this accomplishment.") Join Kelly as she moves in to her first apartment and kindles Al and Peg's love in "One Down, Two to Go." Tia Carrere also finds out how painful it can be to cross a Bundy in "Kelly Bounces Back." And Al must face the demons of his football past in the classic "All Night Security Dude." We also get the first appearance of Weenie Tots and Jefferson D'Arcy. With 25 episodes of Bundy classics, being miserable has never been this fun.
Posted in: Disc Reviews by Archive Authors on June 24th, 2006
The sad thing about building a strong acting career is one usually has to take on roles better forgotten to get to the pinnacle of success. I'm sure Johnny Depp still has the occasional nightmare of being associated with Private Resort (on an artistic level anyway); and he is about to be reminded of this forgotten-with-good-reason teen sex comedy as Sony debuts it in the digital format just in time for summer. The release Sony offers bills Depp as the main star, and while his role is substantial, the film is m...re of a vehicle for Rob Morrow, and a paycheck for Hector Elizondo. You even get to see a pre-"Diceman" Andrew Clay playing his typical Brooklyn street tough self. I will say this: next time you feel the need to attack abysmal teen sex comedies of today, take this as Exhibit A that these foul, odorous wastes of celluloid are actually getting better... even at their worst.
Private Resort takes place in Florida during Spring Break. There are enough misunderstandings and ambiguous hijinx to fuel an entire season of Three's Company, but none are as well executed in the environment of this film. Depp and Morrow are "two sex-starved teens" spending their spring break at a posh Florida resort, where there is but one order of business... getting laid. Unfortunately (for them and us), they must contend with a ruthless jewel thief (Elizondo), an eccentric barber, a villainous security guard, and a stereotypically obnoxious jock before that can happen. Will they or won't they? It doesn't matter. I guarantee you it will not be a concern as this 82-minute crap fest drones on. Follow Depp's career post-superstardom. This work from his early days has nothing to offer in comparison.
Posted in: Disc Reviews by Archive Authors on June 24th, 2006
War movies, in my opinion, are one of the rarities in film, where the most recent pics are usually the best ones. I need only cite films such as Full Metal Jacket, We Were Soldiers, and Saving Private Ryan to argue my cause effectively. But that doesn't mean all of the older ones were bad. Most were because they took more of a silly ra-ra viewpoint in relation to the reality of war. They didn't show the nasty details because, in many ways, they were recruiting tools. But Decision Before Dawn> was one earlier work, which took chances with its dramatization. This 1951 film refuses to jump on any bandwagons, instead telling a captivating, and sometimes tragic, story about a strange kind of hero... one that comes not from within our own ranks, but from those of our World War II enemies. In fact, the main character of Decision Before Dawn is a captured Nazi soldier, who makes the decision to spy for the U.S. army - not for freedom, but redemption.
It's no wonder a film such as this was nominated for the 1951 Best Picture - and it's also no surprise it didn't win. This type of subject matter has never been able to avoid controversy, and the Academy hates to honor controversy. However, director Anatole Litvak's handling of the George Howe novel Call It Treason makes for an exciting and tasteful motion picture that was sure to win over audiences - even in its time - with the tale of Lieutenant Rennick, a German POW, who has agreed to go back to his home country and betray his old side to the Allies. Tension builds as Litvak plays with the possibilities of trust. Neither the Allies nor the Nazis know what to think of Rennick, and for a time, neither do we. But as the film progresses, Rennick shows there may be more to his decision of assisting the Allies than simply the proverbial "get out of jail free" card. He's one well-drawn character at the center of an important motion picture, which dared to paint an uglier face on war, and call in to question the line between treason and heroism.
Posted in: Disc Reviews by Archive Authors on June 24th, 2006
At the end of the day, The Cavern is an old-school monster movie (of sorts) with some really annoying habits. The shaky camera technique can only take one so far. When a filmmaker tries to use it in place of suspense, it grows old very fast. And when this crew of cave divers enter the mysterious crawlspace of the film's title, writer-director Olatunde Osunsanmi goes hog wild with every gimmick angle he can think of. The result of such activity is the remnant of a good horror film, which builds mood nicely with...some gritty settings, but quickly descends into shoddiness rather than terror. The plot centers on a cave in the deserts of Central Asia, where a team of explorers coping with a tragedy have reunited to explore a neglected passage deep in the earth's crust. Little do they know, someone - or something - has beaten them to the site, and is now intent on keeping the finding for itself in any violent way possible.
Some of the best films are spawned from the simplest of ideas. And The Cavern has a cast, which does its best to capitalize on such simplicity. Despite the film's budget and obscurity, these performers give it their all, and have nothing to be ashamed of; because, for all the film's failures, they keep it from turning into a laughable college film class production from some obscure midwestern university. They do so by actually knowing how to act, and taking the content seriously... even if it doesn't return the favor. Osunsanmi is the real blame for this missed opportunity. He tries so hard to flex his directorial muscles the entire 81 minutes comes across as numbing and disorienting. And while 81 minutes isn't very long in normal film terms, it seems like a lifetime when you are using every moment to try and figure out what the heck is going on.
Posted in: Disc Reviews by Archive Authors on June 23rd, 2006
Synopsis
The Waodani tribe of the Amazon is, we are told, so violent that they have almost hunted each other to extinction. Oops. Anyway, in 1956 a group of missionaries and their families arrive to live with the Waodani and do the missionary thing. A misunderstanding leads to the missionaries being slaughtered, but their wives decide to stay. The film follows the journey of the son of one of the five men, and the whole thing is all about forgiveness.
