Posted in: Disc Reviews by Archive Authors on November 21st, 2005
Synopsis
During the crippling drought of the 1930s, con man Burt Lancaster arrives in a small town, promising to make it rain (for, of course, a small remuneration). Present here too is Katharine Hepburn, apparently doomed to spinsterhood. She will blossom under the care of Lancaster’s charming rogue.
Posted in: Disc Reviews by Archive Authors on November 21st, 2005
The year is 1976. Buenos Aires, Argentina. A ruthless dictatorship has just begun, where people who speak out against the government are “disappeared.”
One of the “disappeared” is newspaper columnist, Cecilia Rueda (Emma Thompson). Her recent column denounces the government for kidnapping some young men who were in a disagreement over a bus fare. When her husband Carlos (Antonio Banderas) returns home and can’t find her, he goes to the police only to receive little help.
Posted in: Disc Reviews by Archive Authors on November 20th, 2005
If your first introduction to William L. Petersen is through CSI, then you’re missing some real treats with his short-lived film career, which burned brightest about fifteen years before he ever became Gil Grissom and investigated his way onto our small screens and, subsequently, into our hearts. Both of his cinematic outings never got the respect due them until after Petersen reminded us he was still alive, still well, and still acting. His best effort was Manhunter, Michael Mann’s adaptation of the Th...mas Harris novel Red Dragon. While the most recent effort stuck more to the letter of Harris’s novel, Manhunter proved the superior film through Mann’s unmistakable style, and the straight-laced, troubled, and obsessive portrayal of Agent Graham by Petersen.
In To Live and Die in L.A., Petersen again dons a badge, this time as Federal Agent Richard Chance for the U.S. Treasury Department. He’s after a murderous counterfeiter (Willem Dafoe), and he has zero qualms about cracking heads and breaking rules to bring down his adversary. As the film progresses, director William Friedkin throws us quite a few surprises, and yet another breathless car chase. It’s too bad Friedkin’s career is remembered for only two films: The Exorcist and The French Connection. Because his courtroom-serial killer thriller Rampage, and this 1985 action-drama are solid efforts, and much better deserving of success than most anything Hollywood puts out today.
Posted in: Disc Reviews by Archive Authors on November 19th, 2005
Phone director Byeong-ki Ahn admits he wanted to take the premise of Ringu and incorporate cell phones as the primary transmitter of terror instead of VHS tapes. (Just when these vengeful spirits will make the jump to DVD is uncertain -- and when they do, will it be Blu-Ray or… oh, I’ll save it for another time.) Anyway, he puts together an impressive-looking package with this horror tale, but unfortunately, the film itself falls flat on the wings of derivative, copycat storytelling.
Ji-Won H... is a hard-nosed journalist, who, we soon learn, has blown a sex scandal wide open and made a slew of enemies in the process. Does she care? Of course not. But someone has a mind to make her, as a series of harassing phone calls from a deep-voiced male leads her to believe someone wants her real dead, real soon.
Posted in: Disc Reviews by Archive Authors on November 19th, 2005
Ray Ferrier (Tom Cruise) is a middle-aged divorcee with a blue-collar job and a rundown home in the New Jersey suburbs. When his ex-wife unexpectedly drops his estranged kids—ten year old Rachel (Dakota Fanning) and sixteen year old Robbie (Justin Chatwin)—off for the weekend, Ray is less than pleased. He’s always struggled with his parental duties, but now finds it increasingly difficult to communicate with his children. However, events beyond his control are about to force Ray to come to terms with his responsibili...ies. Bizarre lighting storms herald the arrival of alien tripods, which explode from beneath the Earth’s surface and begin dispensing death and destruction on the surrounding countryside. Narrowly avoiding the first attack, Ray returns home, grabs his kids and embarks on a frantic journey across country to find their mother in Boston.
Tom Cruise is likeable in the lead role, and manages to pull off the everyman act fairly convincingly for someone as famous as he is. He’s definitely grown as an actor in recent years—starting with his turn in Paul Thomas Anderson’s Magnolia—and I am becoming increasingly interested in his work. Of the rest of the cast, only Dakota Fanning and Justin Chatwin have any real screen time. In this movie Fanning isn’t really required to do much beyond acting like a terrified ten year old girl, which she does with her usual brilliance. I’m constantly amazed by how self-assured and composed she remains in the presence of superstars such as Cruise and De Niro (not to mention a director like Spielberg). Chatwin also puts in a decent performance as Ray’s moody teenaged son, accurately portraying the kind of sullen resentment that many children of broken marriages harbor towards their ‘unfit’ parents.
Posted in: Disc Reviews by Archive Authors on November 19th, 2005
Dear Chris Farley, we har'ley knew ye.
What is it with SNL and untimely death? I am pretty surprised that I have never seen a "conspiracy theory" written out about this, like the Wheaties curse or the curse of the Sports Illustrated cover. Jim Belushi, Phil Hartman, Gilda Radner and even the lovable Chris Farley died way before their time.
Posted in: Disc Reviews by Archive Authors on November 18th, 2005
In the poor area of Richmond, California, Ken Carter takes charge as a basketball coach, and fights his way to transform a team of rowdy boys into a team of accomplished men. Based on a true story.
There are way too many problems with COACH CARTER to call it great, but it certainly has its heart in the right place at the right time. The very first immediate problem is the script of the film. A lot of the dialogue feels like it has been overly simplified for its audience. Almost all of the actors play stock...characters, and that includes Jackson. Carter is extremely “in your face” and actually a bit obnoxious at times with all his yelling and screaming. However, with Jackson’s charisma, Jackson is able to pull it off. Unfortunately, I can’t say the same thing for the other actors. Even though most of them try to act in a respectable manner, I felt like I had met the character already each time another new character was introduced. They are fairly good actors (except for the irritating Ashanti), so that helps the process, but they do not make enough of an effort to make the audience feel for them.
Posted in: Disc Reviews by Archive Authors on November 18th, 2005
Synopsis
Operation Market Garden is the most famous Allied defeat in the Second World War. An audacious plan scuppered by bad luck and worse decisions, it is recounted in this visually spectacular film. The goal is to seize a group of bridges across Holland, culminating in the brdge at Arnhem. Everything imaginable goes wrong. Richard Attenborough’s film stars just about every big name actor under the sun, and his re-enactment has so many extras and so much hardware that one feels he could have convi...cingly remounted the entire operation. The stellar cast isn’t required to do very much other than be manly, but the battle staging is undeniably spectacular.
Posted in: Disc Reviews by Archive Authors on November 18th, 2005
The next time you’re at the neighborhood Best Buy, find the packaging for The Grudge. Then, seek out an obscure new release of an old catalog favorite named The House Where Evil Dwells, and line up the boxes. You’ll be struck by how eerily similar the packaging is. Struck enough to turn them over and compare synopses. After doing so, you will notice not only is the packaging similar, but also the plotlines themselves.
Add to the mix the fact House is an early eighties horror film, and...you just might think you’ve discovered yet another rare gem ripped off by today’s horror surge… you could not be more wrong.
Posted in: Disc Reviews by David Annandale on November 17th, 2005
Synopsis
Subtitled “The Best of the Tony Awards,” this is a collection of 23 performances from the Awards show broadcasts. The net is cast pretty wide here as far as the years are concerned, so you get to see a young Jerry Orbach (for instance) performing “Promise, Promises” from 42nd Street. Carol Channing, Robert Goulet, Tommy Tune and Harvey Fierstein are the hosts. Fans of musical theatre should expect miracles here, but this is of considerable archival interest.
