Posted in: Disc Reviews by David Annandale on March 30th, 2004
Synopsis
Posted in: Disc Reviews by Gino Sassani on March 29th, 2004
Hot on the heels of The Great Race, Those Magnificent Men In Their Flying Machines was a bit of silliness and fun for 20th Century Fox. The Monty Python-styled opening credits set the tone for this British humor film, also known as How I Flew From London To Paris in 25 Hours and 11 Minutes. If the film suffers at all, it is the length. At almost 2 1/2 hours, it takes quite a while to get to the race. It’s almost 2 hours before the meat of the film begins. While there are many clever and memorable...scenes, mostly involving a certain sewer farm, the joke gets stale and begins to wear thin. The highlight of the film is of course the vintage planes built with the same materials as the originals they were modeled from.
Audio
Posted in: Disc Reviews by Archive Authors on March 29th, 2004
Following closely on the heels of Doug Liman’s swift and engaging Go, of which director Mazzei must be a huge fan, Devious Beings follows Jackson (Andre B. Blake), Arrow (Patrick Van Horn), and Casey (Kevin Connolly), three childhood friends who push X for their supplier, Leo (Joseph Sicari). When their buyer, Tiny (Andre Rosey Brown) unexpectedly dies, they make off with the money and the product. However, dealer Damone (Robert Gossett), who was expecting to get the drugs in the deal, decides to get ev...n with the three friends when he learns that he has been cheated. Throw in a rogue cop (Jerry Doyle) who is blackmailing Jackson by threatening to send his junkie mother to jail if he’s not included in the action, and you have one convoluted plot where tension is always at a high.
Devious Beings has some things working for it. Mazzei seems to have modeled his cast around that of Go, and several actors here will remind you of those from Liman’s film. Andre Blake is strong in the lead, resembling Taye Diggs, while Patrick Van Horn from Swingers (another Liman film) acts and looks like Timothy Olyphant. While the actors may not play characters that mirror those from Go, you will definitely find the cast oddly similar. The same can be said about the writing, which has the action take place at Christmastime, just like Go! Scenes with violence and tragedy are played for humor, and most of the time they work, especially in one particular scene that had me doubling over in laughter. Of all the scenes in this film, this one works to the point of black humor perfection. It is worth the price of rental alone.
Posted in: Disc Reviews by David Annandale on March 29th, 2004
Synopsis
Posted in: Disc Reviews by Archive Authors on March 29th, 2004
The 100 Mile Rule, as a corny salesman puts it, means that when you are more than 100 miles from your wife, cheating doesn’t count. It is some kind of moral loophole used by salesmen who travel frequently, allowing them to be unfaithful to their wives. While the phrase is quite original, the film is made up of parts belonging to other movies, a kind of Frankenstein if you will. Not to say that 100 Mile Rule resembles that monster, because it is actually quite enjoyable. However, you will need to get past the m...ny references and duplications of other movies to enjoy it.
Bobby (Jake Weber) is a married salesman who is attending a sales convention in Los Angeles with colleagues Jerry (David Thornton) and Howard (Michael McKean). Jerry and Howard are oversexed and desperate older men while Bobby loves his wife and kids and misses them while he is away. However, when Monica (Maria Bello), a beautiful cocktail waitress and struggling actress starts pursuing him, Bobby can’t fight the attraction. After a one night stand, Bobby finds himself in a blackmail plot, needing to come up with 60,000 dollars to prevent a tape of the affair from being sent home to his wife.
Posted in: Disc Reviews by Gino Sassani on March 28th, 2004
Gothika starts out with tremendous promise. The story appears that it will be more original and rewarding than most horror/thrillers. Halle Berry certainly rises above the usual B-list acting. Even Downey, Jr. seems suspiciously at home in the film’s prison setting. The trouble begins for the audience shortly after it does for Berry. Soon the film begins to get predictable and ordinary. Only the terrific cinematography and convincing atmosphere save the film from sinking to the depths of the many who have gone before...
Synopsis
Posted in: Disc Reviews by Archive Authors on March 28th, 2004
Often, the success of one film in theaters will bring on a wave of classics on DVD with a similar theme. In this case, the new films are Pirates of the Caribbean and Master and Commander. These modern box office successes have prompted 20th Century Fox to release some classic films about the high seas onto DVD. One such film is A High Wind in Jamaica.
There are quite a few problems with this film, but most of them lie within the narrative. The technical aspects are all handled well, wit... good lighting, and some pretty inventive camera work from time to time. Unfortunately, no matter how well a film is made, if the script is dull, so shall the film be. That seems to be the case here, as it appears that the director felt that the exotic peoples, places and locations would be interesting enough to cover for the fact that there really isn’t that much to do at sea. Well, they aren’t, and I was bored.
Posted in: Disc Reviews by David Annandale on March 28th, 2004
Synopsis
Posted in: Disc Reviews by David Annandale on March 28th, 2004
Synopsis
Posted in: Disc Reviews by David Annandale on March 26th, 2004
Hayden Christensen is the very incarnation of smarm as Stephen Glass, hot-shot writer for The New Republic. His stories are all fabulous, seemingly too good to be true. Which is, in fact, the problem. His tissue of lies begins to unravel when Steve Zahn, reporter for Forbes Digital, tries to follow up one of Christensen’s articles, and can’t find a single legitimate fact. Peter Sarsgaard is Chuck Lane, Christensen’s editor, and he begins to smell a very big rat.
Utterly absorbing stuff. The fall from grace has the structure of a tragedy, but Christensen’s Glass is such a skin-crawling phony that his destruction carries the deep satisfaction of black comedy. Christensen’s oil is perfectly foiled by Sarsgaard, who has the dead-eyed, exhausted integrity of the honest man who has already seen it all far too many times. This is a film is small details and quiet conversations, and it flies by with the pace of an action thriller.
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