Niceguy Reviews

Darkness Falls (2003)

BE AFRAID OF THE DARK

[21 January 2003]

***SPOILERS*** ***SPOILERS*** As kids we most likely never feared the concept of the Tooth Fairy. But in the new movie DARKNESS FALLS, losing a tooth could be enough to scare you to death. The film opens with the old legend of a Darkness Falls resident named Matilda Dixon, a kind old woman who falls victim to a house fire that horribly disfigures her face. She apparently walked around with a porcelain mask to hide her features, but in an effort to continue her kind ways would place a coin under the pillow of local children who lost their last tooth. When two kids disappeared from the town, Dixon was immediately accused, and burned at the stake. Before dying, she cursed the town saying that which she did in life will be her revenge in death, and that all who look upon her face will suffer. All of this is explained in the first few minutes of the movie, so don't walk in late! Several years later the legend Matilda Dixon, a.k.a. the Tooth Fairy, haunts the minds of children in Darkness Falls, but is believed to be nothing more than a fable. One night after talking to his girlfriend Caitlin, a young boy named Kyle is visited by the Tooth Fairy, and despite knowing not to peek he looks into the eyes of the unspeakable horror that appears to be all too real. Young Kyle runs to his mom for comfort, but unfortunately she falls victim in his place. The one thing that keeps him safe is the light of the bathroom he hides in. The boy is blamed for the mysterious murder, but his girlfriend Caitlin feels he may actually be innocent. Cut to twelve years later. Caitlin (Emma Caulfield) is grown up, and her younger brother Michael now suffers from sleep depravation, and is constantly scared of something he can't explain. Not knowing who to turn to, she looks up Kyle (Chaney Kley, who looks so much like VAN WILDER star Ryan Reynolds he could probably sign the guy's checks), who now lives away from Darkness Falls in paranoid solitude. He surrounds himself with bright lamps and flashlights galore, while constantly looking over his shoulder in dark spaces. Kyle reluctantly returns to his hometown, hoping to help Michael, but his infamous legend follows him home. The people of the town don't trust him, though Caitlin seems to still feel a strong attachment to her childhood sweetheart. It quickly becomes apparent that Kyle's fears and Michael's problems have a definite connection The Tooth Fairy is obviously determined to get both of them, and she's more than happy to take out anyone who gets in the way. Can Caitlin, Kyle and Michael stay in the light long enough to find a way to defeat this monstrous evil?

DARKNESS FALLS is perhaps one of the scariest movies I've ever seen. There are more jumpy moments than I could keep track of. The film follows the basic rules of it's genre, and handles them well. All the elements of a good horror film are here. The antagonist is very creepy, and the filmmakers aren't shy about including her in the scene as often as possible. Emma Caulfield, who many know from the BUFFY THE VAMPIRE SLAYER series, spends most of her time just looking worried. Chaney Kley is the only one who knows what's going on, and continually tells everyone to stay in the light, though few seem to listen. He does a fine job of playing the hero, but there is little emotion to his character, which is probably the biggest mistake of the film. The rest of the cast his little to do, and seem like nothing more than Fairy fodder. Hey, did I just coin a phrase? The movie basically says "here's the evil, now let's watch the good guys run away from it" for 90 minutes. The PG-13 rating mean the gore never gets too gory, but it's okay, cause the scare factor is still there. I've honestly never heard that many gasps during a movie. The title went through multiple changes before DARKNESS FALLS was decided on. At one point the film was going to simply be called THE TOOTH FAIRY. I kinda liked the sound of that better. It feels more like a horror franchise name that DARKNESS FALLS. Where do they go from here, RETURN TO DARKNESS FALLS? DARKNESS FALLS AGAIN? Considering the modest names in the cast, and the low-budget clues you might catch here and there (at one point you can hear a somewhat amusing sound-alike Johnny Cash song in the background), I think all in all the film is pretty impressive. As far as horror films go, it does a fine job, and I can honestly say I wouldn't mind seeing more done with those characters. Director Jonathan Liebesman knows how to frighten us, but might want to watch the use of shaky cam shots. What's most impressive is the use of sound. It's amazing how scary the moan of an old woman can be in the dark. There's nothing too new here, but what we get is still good. If you see it in a crowded theater, you're in for a fun experience.

On a scale of ONE to TEN, 10 being the best, I give DARKNESS FALLS a 8.

Catch Me If You Can (2002)

WORTH CATCHING

[21 January 2003]

Crime doesn't pay... or does it? Either way, Leonardo DiCaprio looks like he's having quite a bit of fun in the new Steven Spielberg film CATCH ME IF YOU CAN. Based on the true events of con-artist extraordinaire Frank Abagnale Jr., CATCH tells the story of a boy from a broken home who dealt with his problems by pretending to be someone else, and cashing in by doing so. The movie opens with FBI agent Carl Hanratty (Tom Hanks) transferring a sickly and slightly older version of Frank Jr. from a French prison to America. We then flashback to six years prior. Frank Jr. is living with with his seemingly happy parents, and all feels right with the world. Things quickly change. His father (Christopher Walken) is having serious IRS problems, resulting in a major downgrade in the family lifestyle. Frank Jr. goes to a new high school, where he finds enjoyment fooling his classmates into thinking he's a substitute teacher. Thus begins his obsession with trickery. Back at home, his mom appears to be cheating with Frank Sr.'s wealthy friend, played quietly by a somewhat pudgy James Brolin. Divorce soon follows, and Frank Jr. can't handle it. He runs away, immediately bouncing checks in an effort to live on his own. After seeing the unusual amount of high respect received by airline pilots, he concocts a plan to pose as one. His new look allows him to cash "payroll" checks easily, and he begins raking in the dough. Taking things one step further, Frank Jr. even uses his persona to fly all over the world for free. It isn't long before the FBI gets wind of what's going on, and agent Hanratty becomes determined to stop the thief behind it all. And so the chase begins. Frank Jr. manages to stay one step ahead of his pursuer, eventually posing as a doctor and even a lawyer, all the while never realizing what he really needs to be content. Women find him charming, and the newspapers practically glorify his actions. He finds time to communicate with his father, who surprisingly never disagrees with Frank Jr.'s methods, though it's obvious he feels his son is going to lose control. Meanwhile Hanratty is risking his own career by repeatedly letting the thief slip through his fingers.

CATCH is an engaging film to say the least. One can only wonder how a person was cunning enough to pull all these acts off. Spielberg directs with fairly minimalist style. There's not many fancy shots here, but rather several moments of subtle humor. One James Bond-related gag helps make the movie shine, and generates some great laughs. DiCaprio and Hanks handle their roles well. Leo can still make us believe he's young, and it's hard to not like him in this role. Hanks is fun to watch, and his rather thick accent makes up for his otherwise nerdy character traits. We know he's the good guy, but almost view him as that strict librarian type who just doesn't know how to have fun. He's by the book, and Leo isn't, which creates a terrific character contrast. Walken turns in a fairly good performance as well, playing the tortured father figure who only wants the best for his son. Jennifer Garner fans can look for her to pop in and out as a former model turned prostitute. Unfortunately it's a "blink and you'll miss her" role. Other actors appearing here include Martin Sheen as the wealthy father of an innocent girl Frank Jr. proposes to, and Amy Adams as the girl in question. Also take time to appreciate the smooth score composed by the one and only John Williams.

If there's any negative points here, one could easily say that the film runs rather long at 140 minutes. The opening of the picture also gives away the fact that Frank gets caught, which might have been better left until the end. There is a very unusual solution to all the problems he causes, making the film particularly unique. Spielberg has crafted an enjoyable flick that brings back the feeling of the late sixties, and appropriately tells the story of a truly interesting man... er... kid..

On a scale of ONE to TEN, 10 being the best, I give CATCH ME IF YOU CAN a 8.

Hearts in Atlantis (2001)

A nice study of character...

[21 January 2003]

Stephen King seems to work well with movies. HEARTS IN ATLANTIS represents the latest adaptation from one of King's novels. Actually borrowing from two stories, it introduces us to a young boy named Bobby Garfield who seems to be living a semi-normal, although simple life. His day consists of playing with his two best friends, Sully and Carol. His relationship with Carol is on the fence of being romantic. Bobby's widowed mother is too focused on her career to notice what's going on with her son. A strange man named Ted Brautigan (Hopkins) comes to their small town looking for a place to stay, and finds a vacant room within Bobby's house. Brautigan almost immediately intrigues Bobby, offering the young boy a job simply reading the newspaper out loud. As these two bond, Bobby notices his new friend has some strange traits. Ted fears that mysterious men are looking for him. It's not long before Bobby realizes that his new friend has some unique capabilities, and begins to understand why others would be looking for him. In the meantime, Bobby deals with his own desire for a dream bike, his need to protect Carol from neighborhood bullies, and his confusion about his mother's lack of finances despite her fancy dress collection. No one is perfect in this story, just like in real life. Even the oddly endearing Brautigan seems reluctant to expose his true roots.

HEARTS IN ATLANTIS is a simple tale that offers nothing new to audiences. It doesn't have the magic exhibited in THE GREEN MILE, or the emotional importance of THE SHAWSHANK REDEMPTION, and although it's similar in feel to STAND BY ME, it doesn't seem to match the quaint aspects of that tale either. Where it succeeds is in it's ability to present the familiar aspects of the youth we've all experienced. Childhood memories are what make us who we are. This film helps us to remember those special times. While not all of us met a Ted Brautigan in our lives, we can all relate to the troubles Bobby faces, or even the victimization Carol endures by bullies. There are several familiar elements here, and that's why it works. Hopkins is appealing, as one would expect, but the film as a whole plays out in a very tame fashion. Scott Hicks (SHINE) has directed HEARTS with simplistic and appropriate fashion. He never assumes too much from the audience, which is an admirable quality for a director. What you walk away with is a understanding that youth can define you future, and memories can have a profound effect toward your outlook on life. Never judge a book by it's cover.

Die Another Day (2002)

BOND IS BACK... OR IS HE?

[21 January 2003]

DIE ANOTHER DAY is the 20th Bond film to hit the big screen, and it does so just in time to celebrate the 40th Anniversary of everyone's favorite secret agent. This outing features Pierce Brosnan once again, making his fourth appearance as the intrepid hero. The film opens with Bond on a seemingly routine mission in Korea. He goes to make a trade of diamonds for weapons. The Korean army leader, Colonel Moon (played by WITCHBLADE's Will Yun Lee), is clearly established as a ruthless man. His main henchman Zao (Rick Yune) realizes who Bond is, and before we know it all hell breaks loose. During an explosion, Zao's face becomes violently encrusted with diamond shards. The thrilling pre-credit sequence has everything we've come to expect, but holds a dramatically different finale. Bond is captured by the Korean army, and is sent to prison! The opening credits flash images of Bond being tortured and beaten in jail. Several months later he is released, but only as a trade for the aforementioned Zao, who was being held by the British government. Through this opening we get to see a side of Bond unlike anything that has come before. There's a vulnerability here and sense of danger that feels radically different from the 007 we're so used to. This opening series of events is believed to be the result of someone setting Bond up. He swears revenge, but his boss M (Judi Dench) tries to keep him away from active duty. Needless to say that doesn't last long. 007 soon finds himself in Cuba looking for Zao. There he meets the beautiful Jinx (Halle Berry), and they wind up in bed together immediately. Bond soon learns that he and Jinx are after the same man. Another subplot develops when 007 finds some diamonds on Zao that are linked to a man named Gustav Graves. The filthy rich Graves (Toby Stephens) then becomes the focus of Bond's mission, leading our hero to an ice palace, where things get hectic for everyone involved.

As a Bond film, DIE ANOTHER DAY works on several levels, but like many of the outings it falls short of it's potential. There are numerous elements in this installment that just don't seem to belong. For example, the use a a holographic training program (not unlike the STAR TREK: NEXT GENERATION holodeck) seems just weird. The new Bond car, the Aston Martin Vanquish, has an invisibility feature that is used numerous times. Though it's explained well, it just doesn't feel like it should be in a Bond movie. John Cleese has successfully taken the role of Q from the late Desmond Llewellyn. His scene with Bond is great, albeit a bit quick for my taste. The film really pushes our suspension of disbelief. Once scene involving Bond swimming in freezing water wearing normal clothing, and coming out just fine, is hard to accept. The action is plentiful, but the plot seems like an afterthought. There are a few interesting twists, however the villain's threat feels second rate next to previous Bond adventures. Rosamund Pike appears as the appropriately named Miranda Frost, Graves' publicity agent, who Bond quickly takes interest in. Madonna sings the title song, and shows up briefly as a fencing instructor. Perhaps you'll notice the soft lens in her scenes. New Zealand director Lee Tamahori (ONCE WERE WARRIORS, THE EDGE) does a fine job of directing the film with fast and teched out style. There's been talk of Halle Berry possibly starring as Jinx again in her own movie. The producers apparently liked her so much they felt it might be a good idea. Personally, I don't see why. In Jinx I didn't see much different from other Bond girls that have come before. In my opinion she's nothing more than an American version of the same character played by Michelle Yeoh in TOMORROW NEVER DIES. Though Toby Stephens is the main baddie, Rick Yune looks and feels more interesting in many ways. Unfortunately he doesn't have all that much to do, other than chase after Bond. Brosnan does just fine, though he walks a fine line between acting suave and becoming an overdone caricature of himself. This film isn't one of the best Bonds, but it works well with the formula. It's definitely obvious that pressure from films like XXX and THE MATRIX is affecting the Bond franchise. The look has changed, along with the scenarios. What we have here is still Bond, but it looks like lots of other things too. Brosnan has stated that he will most likely do at least two more films. I look forward to them, though I hope the producers can figure out a definitive game plan before it's over.

On a scale of ONE to TEN, 10 being the best, I give DIE ANOTHER DAY a 7.

40 Days and 40 Nights (2002)

Will anyone get what they deserve?

[21 January 2003]

I really worry about Josh Hartnett. Becoming a dreamy idol of lust for young women across the world in such a short time must be tough. I'm guessing it was PEARL HARBOR that sealed the deal. Affleck is beginning to show his age, and with young chiseled Hartnett standing beside him, the girls in the audience found a terrific relief pitcher. Going from one Bruckheimer film to the next (BLACK HAWK DOWN) made me wonder if young Josh was already solidifying himself as an action star. Guess I assumed too much. In 40 DAY AND 40 NIGHTS, Hartnett plays the humble Matt Sullivan. A devoted boyfriend to a woman he's romantically dedicated his mind to. The film opens with a montage of home movie footage showing Matt and Nicole (played by Vinessa Shaw) in what appears to be some happy and loving moments. These precious memories were filmed by Matt's roommate Ryan, played by ROAD TRIP's Paulo Costanzo. But we quickly learn that Matt and Nicole are no more, and our hero is doing his best to move forward sexually, only without the best results. As Matt continues to accompany Ryan on chick hunts night after night, he comes to the realization that Nicole has ruined him for other women. Sex doesn't work anymore, and he has constant nightmares to remind him of what's happened. Things get worse when he finds out Nicole is now engaged to someone else. After consulting with his priestly brother John, played by Adam Trese, Matt has an epiphany. He decides to give up sex and any type of sexual conduct for 40 days and 40 nights. His brother warns him of the difficulty and actually tries to dissuade Matt from the attempt. Despite the odds, our hero begins his valiant mission, and at first things look rather good. His friends at work soon catch wind of what's going on, and even start a betting pool on when Matt will falter. His boss, played by a semi-manic Griffin Dunne, finds the act to be somewhat inspiring. Unfortunately for Matt, it isn't long before EVERYONE finds out what's going on, thanks to his untrustworthy friends. To make things more difficult, a casual night at the local Laundromat leads to a romantic meeting with a beautiful girl named Erica, played by Shannyn (A KNIGHT'S TALE) Sossomon. Matt falls madly in love with her, making his mission next to impossible. She also falls madly in love with him, and can't understand why he refuses to get close. Erica's roommate Samantha is concerned that she'll wind up hurt in similar fashion to her previous relationships. Problems build as all of Matt's co-workers begin taking highly unfair steps to try and thwart his objective, and his former love tries to rekindle their now dead relationship. Can Matt make it? Will he find true love in the process? Will someone give me a break?

40 DAYS AND 40 NIGHTS isn't a bad movie, but we've seen this kind of thing before. Hartnett plays the earnest hero in appropriate form, but exhibits one major flaw. His emotions seem unaffected for the most part. Oh sure, he frets and sweats and even gives us that shocked look time after time when he's tested. But in the face of his supposed friends and their cruel attempts to screw him up, he does nothing. No shouting, no angry looks, not even a single punch. There lies the biggest problem. The film has no payoff for the characters that deserve it. We wait for it, but it never comes. The humor, which is mature humor, works fairly well. There are several moments of uproarious laughter, but most come with a "that's so wrong" mentality. Most audiences might expect this to be a chick flick, and to some extent it is. Surprisingly enough, there are PLENTY of hot women, bare boobs, and guy humor to make the unwilling boyfriends a bit more comfortable in the theater. One scene involving a copier is worth the ticket alone. The movie is funny, though not consistently enough. Hartnett proves his comedic ability, which is good, as he'll most likely get a wider range of scripts offered to him after this. Director Michael Lehmann, who's helmed everything from HEATHERS to HUDSON HAWK, shows a subtle comedic touch here. There are no over the top camera shots, and no need for there to be. Sossamon has a sexy yet demure look to her, which must be her obvious appeal. She's that cool chick we all know, and wouldn't mind getting to know better. Paulo Costanzo seemed underplayed for some reason, never really doing the funny things we'd expect him to in this role. Vinessa Shaw is sexy and manipulative as Nicole, providing the antagonist character nicely, but like many of the characters in this flick does not get what she deserves. Perhaps this was the film's way of saying real life isn't always fair, but you should still do the right thing. Good guys must endure, in order for the rewards to feel deserved. Either that or I'm just too darn old to get it.

On a scale of ONE to TEN, 10 being the best, I give 40 DAYS AND 40 NIGHTS a 7.

Queen of the Damned (2002)

Disappointed...

[21 January 2003]

Aaliyah's passing was sudden and tragic, leaving us to wonder what she was capable of doing had things been different. Trailers and TV spots for QUEEN OF THE DAMNED spotlight Aaliyah's performance, and give us the impression that the movie is all about her. Truth be told, it's not. The beautiful singer takes up a mere 20 minutes or so of footage, in a film that focuses primarily on Lestat, played by Stuart Townsend. Now that you know not to expect too much from Aaliyah, let's discuss what we're given. Townsend's Lestat character, as we learn in a series of flashbacks, was once a noble Englishman. He met a man named Marius, played by Vincent Perez, who turned out to be a vampire. Marius chose Lestat as a pupil, hoping to train him as a proper vampire. But Lestat's curiosity and rebellious nature get him into trouble, and Marius soon realizes that his protégé may not be properly prepared for what lies ahead. After discovering a mysterious Egyptian statue, hidden away beneath Marius' castle, Lestat goes through a series of events that leave him passed out. I'm being vague to keep from spoiling it all. Upon waking he finds the statue gone, along with Marius. Thus begins a mystery that will stay with Lestat for hundreds of years, until he wakes from a long sleep, and is now in the present. This is actually where the film opens, and let the silliness begin! Of all the things that could wake Lestat, rock music wins the prize. He comes out of his slumber, quickly meets a Goth garage band, and makes them his children. Lestat becomes their master, and the lead singer of the band, propelling it to superstar status. Ironically he uses his vampire persona as a character for promotional sake. The public eats it up, assuming it's all an act. Through his music and press conferences, Lestat calls out all vampires by divulging secrets, and challenging others to fight him. I'm not making any of this up by the way. Marguerite Moreau plays a humble vampire observer named Jesse, who comes from her own troubled past, and becomes intrigued with Lestat. Her fascination leads her toward him, and conveniently allows her to get close to this seemingly untouchable rock star. As the other vampires of the world grow angry, Queen Akasha (the mysterious statue from Marius' castle) returns to earth, letting all know she's a force to be reckoned with.

QUEEN OF THE DAMNED is a disjointed stylish mess. It's pretty enough to appreciate on some level, but silly enough to make you laugh at it's mediocrity. The biggest problem lies in it's all too serious tone. The heavy handed dialogue and over-dramatic posturing ultimately lead to it's defeat. Even Aaliyah, who shines with her sexy performance, can't hope to save this. Stewart Townsend plays Lestat gracefully enough, but doesn't seen to have the kind of emotion we would expect from someone with his past. Moreau's Jesse character is just plain boring, and makes me wonder why her fellow vampire observers don't seem to do anything aside from observing. The other actors here don't really seem to know quite what to do, not that they're given much to work with. FARSCAPE fans may notice Claudia Black as a background vampire, who has no character development whatsoever. This film is obviously a vampire flick for the MTV generation, which makes me wonder even more why there's so few laughs and so little action. Their target audience doesn't want this, though it's a small step in the right direction. What QUEEN needs most is a sense of humor. Horror films these days can't take themselves too serious without the chance of becoming a joke. Aaliyah's limited screen time is very disappointing, and it's a shame this had to be her final performance. Vampire fans and Goth folk will find a few perks here, but can ultimately expect to be let down by the overall result. In this day of high expectations from filmgoers, it's surprising that studios won't put more thought into what works and why. QUEEN OF THE DAMNED falls very short of it's potential. The more I think about it, the less I like it. To each his own I guess.

On a scale of ONE to TEN, 10 being the best, I give QUEEN OF THE DAMNED a 5.

Star Wars: Episode II - Attack of the Clones (2002)

Sensory Overload

[21 January 2003]

I used to believe that you couldn't have too much of a good thing. Now I'm not so sure. In the latest installment of the STAR WARS saga, creator George Lucas does his best to raise the bar yet again in the area of special effects. While his technical accomplishments here are undeniably impressive, the film falls short of being perfect. I've seen this film twice now, and given a considerable amount of thought to what sort of opinions I'd express about it. I'm not looking to upset anyone with my statements, so please consider this as nothing more than one person's perspective. That said, our story opens with Senator Padme Amidala (Natalie Portman), formerly Queen Amidala, arriving on the giant city-planet of Coruscant. After an attempt is made on her life, it is deemed necessary by the powers that be to have Jedi protection assigned to her. The Senator's old friend Jedi Master Obi-Wan Kenobi (Ewan McGregor) is called upon, escorted by his student Anakin (Hayden Christensen), who is all grown up and eager to see Padme after so many years apart. Their arrival to assist the Senator is met with pleasure, but Anakin quickly realizes his feelings for Padme are stronger than expected. After a second attempt on her life, members of the Jedi council decide to begin an investigation to find those responsible. Anakin is told to protect Padme, while Obi-Wan searches for some answers elsewhere. Thus begins two journeys, and two continuing storylines that will carry us through the rest of the film. Anakin must deal with his love for Padme, which is forbidden by his beliefs, and unacceptable for a woman in her position. During his quest for the Senator's assassin, Obi-Wan discovers a plot much more complicated than anyone imagined. A clone army is being created under the supposed authorization of the Jedi council. As the events unfold, we find out there are more key players involved than originally expected.

Attack of the Clones attempts to tie together some of the subplots established in STAR WARS EPISODE I: The Phantom Menace, and hopefully provide some lead-in elements for STAR WARS EPISODE IV: A New Hope. While is succeeds on many levels, the film unfortunately drops the ball with plot and pacing. The story feels very disjointed. For a majority of the time our lead characters are simply planet-hopping, and find themselves in totally random situations for no reason other than to keep us awake. Many people are comparing this film to The Empire Strikes Back. Personally I don't see that, and would push the point that it doesn't really feel like a STAR WARS film at all. Oh sure, there's lightsabers and starships, but the mood and depiction of characters here seems foreign to the expected formula. While Lucas pushes the forbidden love story between Anakin and Padme, he lacks the tension necessary to make it work. Hayden Chistensen, who I must admit surprised me with his acting ability, is actually best when portraying elements of self-conflict. Those scenes are far more effective than the romance we're supposed to be fascinated with. This movie suffers from many of the same problems exhibited in other STAR WARS films, particularly with poor pacing and wooden dialogue. Many of the characters are nothing more than set dressing, and several are downplayed, some to the point of being annoying. For those of you wanting to see action, you'll definitely get it. The sad part is you'll have to sit through 90 minutes of jumbled story before it happens. There are sporadically placed action scenes throughout, but they usually seem more obligatory than important. The final series of battles are phenomenal, but also very lengthy. One would think these moments would seem more acceptable if spread out. Therein lies the main problem with EPISODE II. We wait patiently for a payoff, and it finally comes only to be experienced in excess. I never thought I'd complain about too much going on in a battle scene during a STAR WARS film, but the sheer amount of action overload during the final moments almost becomes disorienting. It was as if George was sitting there saying "Look what all I can do!", and REALLY rubbing it in. I'm almost scared to see where it goes from here.

On the positive end, this is a visually stunning film. Lucas has crafted a work of art, albeit somewhat faulted, that we simply can't look away from. We can see a progression, not only with the lead character's personalities, but also with their environments. This is all heading somewhere, and George is making that clear. If he can calm down on the effects just a tad, and concentrate more on the story and pacing of events, then the next installment should be a terrific end to a great idea. Jedi Master Yoda, now fully computer generated, is given a considerable amount of screen time. The mysterious bounty hunter Jango Fett, not unlike Darth Maul in EPISODE I, is used a bit too sparingly for my taste. While EPISODE II is flawed, it's fairly more entertaining than it's predecessor, and will leave many fans feeling quite satisfied. But is that enough? I for one want to be more than satisfied. When it comes to a George Lucas product, I expect to be overwhelmed. That statement refers to the overall product, not just a select portion. Maybe the problem is I'm not a kid anymore. Back when the original trilogy came out, I didn't find myself complaining about things like script errors and pacing of scenes. I guess I just grew up, much like Anakin in the new film, and now I want more for my money. In conclusion, I must admit that I'll always be a sucker for a good lightsaber fight, and that's one thing that thankfully we get plenty of here.

The Score (2001)

A good movie with a familiar formula that works on many levels.

[14 July 2001]

Frank Oz truly intrigues me. The man has done numerous Muppet voices and even provided vocals for Yoda in the Star Wars films. His talents extend past the obvious voice-over ability, as he has directed some terrific comedies in recent years. When I think of Oz, films like BOWFINGER and WHAT ABOUT BOB? come to mind. About a month ago I watched the trailer for THE SCORE. It looked like a gritty crime drama, and featured some very serious actors in what seemed like a very serious story. I was shocked to see "Directed by Frank Oz" at the end of the trailer, and have been wondering ever since just what exactly to expect from this film. THE SCORE begins with our protagonist Nick Wells (De Niro) pulling off a seemingly typical robbery from a posh estate, while the owners are holding a loud and lively party just a room away. We follow him through his numerous drop off points, and eventually into his decorative home, all the while getting the impression that this man is obviously a seasoned professional. A few minutes later Nick walks into a fancy restaurant, which just so happens to be his, and is quickly met by Max Baron (Brando) who offers him a rather big job. At this point we can tell that Nick wants out, but the payoff involved with this latest gig creates quite a temptation. There's a woman named Diane in the mix, played by the lovely Angela Bassett, who really likes the idea of our hero leaving his "second" line of work. Nick begins to realize that by pulling this last job he can not only retire to a life of normalcy, but also satisfy the desired wishes of the woman he loves. One major obstacle stands in the way. Max informs Nick that in order to pull this gig off he must work side-by-side with the very man who lined it all up. Enter Jackie Teller, played by the unbelievably talented Edward Norton. Jackie is everything Nick isn't. He's impulsive, hot tempered, hasty and new to the game. But Jackie has all the keys to making things work. His mentally challenged alter ego named Brian just so happens to work in the facility housing the precious prize. Everyone there trusts Brian, and nobody considers him a threat, which makes him the perfect inside man. Just when it seems everything is coming together, our buddy Nick begins to have second thoughts. The whole thing seems like too big of a risk to take. To make matters worse, the job gets more and more complicated with each passing minute. THE SCORE is an effective thriller filled with just the right blend of tension and light comedy. Each character seems good and bad in different ways. We're never really sure who to trust, or how safe anything really is. Frank Oz has constructed a fantastic movie that has everything we could want in a film. The strong cast and solid performances help fuel the story even further, creating an exciting and engaging feel that holds the audience tightly within it's grasp. De Niro is and always will be the man who can play any role and be convincing. Brando is used sparingly, which is good since he is apparently way past the days of oscar-caliber acting. Max is a background character plain and simple. What the enormous Brando does with it is just enough, and that suited me just fine. Angela Bassett, looking incredible as always, plays the troubled love interest with simple yet effective form. This wasn't a big role, nor was it all that important, but it serves the character of Nick and she makes it work. The standout performance here comes from Edward Norton, and for those of you familiar with his work, that should come as no surprise. Watching Norton seamlessly transform from Jackie into Brian is impressive, funny and almost disturbing to a degree. You have to wonder if he's pulled this act before, because it would almost certainly work in the real world. Having the two lead characters as opposites of one another is nothing new for movies, but witnessing two acting greats like these is always fun. I'm very impressed with Frank Oz. He had already proven himself as a capable comedy director. Now he can add the successful ability for drama and thriller to his merit, thanks to this very well-made film. There's isn't anything too terribly surprising in THE SCORE as far a story goes. What you get is a good movie with good acting. That's something that seems hard to find these days.

Unbreakable (2000)

If you haven't seen this movie, drop everything, go rent or buy it, DO NOT let anyone tell you ANYTHING about it, just sit down and watch it straight through.

[14 July 2001]

UNBREAKABLE is without a doubt one of the best comic book movies ever made, which is interesting since it's not based on an existing comic. Bruce Willis plays David Dunn, a man who literally walks away from a horrific train wreck only to find he's the sole survivor. Samuel Jackson plays Elijah Price, a tortured man whose permanent condition causes him great pain, and forces him to question his role in life. Elijah approaches David promising answers, and inadvertently causes our hero to realize some very miraculous things about himself. David Dunn has his own share of problems already dealing with a troubled household. Can these two very different people form very different live find a way to help each other? Director M. Night Shyamalan (THE SIXTH SENSE) has constructed yet another mind-blowing film, filled with shocks and surprises while mercilessly holding our attention. This is a movie you must appreciate, for the simple fact that it works so well.

Snatch (2000)

Funny follow-up to Ritchie's impressive debut, full of fun and nifty camerawork.

[14 July 2001]

SNATCH is a film, not unlike PULP FICTION, that blends together the lives of several colorful characters in unusual and entertaining ways. The film focuses mainly on a rather large diamond, which is stolen by Franky Four Fingers (Del Toro). This diamond passes from hand to hand in a dramatic series of events. A fight promoter named Turkish (Statham) finds himself forced in league with a sneaky gypsy fighter named Mickey (Pitt). If Turkish and his partner can't convince Mickey to take a dive in a fixed fight, they'll all face certain death at the hands of the sadistic Brick Top played by Alan Ford. When Franky Four Fingers shows up missing, Cousin Avi (Farina) flys to London to bust some heads, along with the help of local tough guy Bullet Tooth Tony (Jones). Two small time jewelry store owners and their portly pal find themselves unwittingly involved after kidnapping Franky, as ordered by a scary Russian arms dealer named Boris the Blade (Sherbedgia). Everyone connects as the story unfolds, and despite how confusing everything gets, the film makes sense of it all within the last 30 minutes. I liked SNATCH, if for no other reason because it plays against typical Hollywood formula. The characters, while exotic and mostly with fancy names, seemed more real than the average movie fella. The film feels a bit long, although it's average in running time. There are great moments, and then there are moments that seem to slow everything down. All in all every scene works together to build toward a collective ending, in which we get to see not necessarily a solution but rather a new beginning for the remaining players. This is truly an ensemble piece. I was surprised at how little Benicio had to do here. He opens the picture, but his character soon fades making way for the numerous others. Perhaps this was appropriate so that he wouldn't seem lost among the events. Brad Pitt is hilarious, yet still finds time to convey emotion in a few select scenes. Dennis Farina is Dennis Farina, and always does a good job. Vinnie Jones plays the tough guy role again, although a bit subdued. He gets a couple great scenes though, and still manages to look scary, even when he's smiling. The performance that truly got me came from Alan Ford as Brick Top. This guy is one mean dude! It's amazing how a man who's older than all of the other cast members can exude so much power and feel so threatening. Every time he showed up I was in fear for the characters around him. SNATCH has it's share of violence, which is only outdone by it's swear count. Fortunately it's all in good fun, and Guy Ritchie's creative directing throws us right in the middle of the action, which turns out to be a rather good time.

Nobody's Baby (2001)

Take two not-so-bright felons, throw in a baby, and bring on the funny!

[3 May 2001]

The film was screened last night at the USA FILM FESTIVAL here in Dallas, TX. Gary Oldman attended the screening, which followed a clip compilation tribute to the great actor. Oldman commented before the film started that he chose to be in it because he was tired of playing villains, and he wanted to do a comedy. NOBODY'S BABY is a comedy, albeit a somewhat disjointed comedy. The film opens by introducing the two main characters to us, Buford Dill played by Oldman, and Billy Raedeen played by Ulrich. We learn that Billy has been in Buford's care since they were kids in an orphanage. Evidently they have lived their lives in and out of jail, and seem very comfortable as long as they're together. When a frustrated judge decides to separate them for their next sentence, they stage a getaway during which Billy is separated from Buford anyway. During his hitching attempts Billy "acquires" a baby. I'll leave it at that so as not to spoil anything. The baby immediately proves to be a challenge causing our hero to seek help in the form of a coffee shop waitress played by Radha Mitchell, who some of you may remember as PITCH BLACK's heroine. She takes Billy to her trailer park in hopes that her friends can provide some assistance as well. Mary Steenburgen gives an unexpected but impressive performance as a bitter woman who recently gave up her own baby using the justification that she had nothing to offer it. At this point the film is now filled with an eclectic group of characters, including the token bad guy played by Peter Greene. Billy gets in touch with Buford, who rushes to the scene thinking the two of them can surely somehow profit from the baby. Things have changed however, as Billy has now grown fond of the little bundle of joy. As if his hands aren't full enough, he also finds himself developing a strong attachment to his coffee shop sweetheart, who belongs to the aforementioned trailer park bully. NOBODY'S BABY shows some obvious similarities to RAISING ARIZONA, but tries to be a bit more serious in parts. That seriousness causes the pacing of the film to seem off. We as the audience quickly miss the comedic moments, and wonder why the film is making such big emotional efforts. Ulrich is fairly good in his performance as the well-meaning Billy. Oldman really gets to ham it up as Buford, the line-dancing butt scratching dumb guy who Billy looks up to, for whatever reason. He plays the comic relief, and plays it to the hilt, and as usual does a terrific job convincing the audience that he's exactly what the character is supposed to be. In the moments when Buford is not in the scene, you'll miss him, and hope that he re-appears soon. This is a fun little film with a strong cast. There's nothing here you haven't seen before, but what is here plays out well. I personally hope this film finds a distributor, as I feel it could please many movie fans during a time where there is so much fluff.

Memento (2000)

You better pay attention!

[28 March 2001]

Imagine what life would be like if you had no short-term memory. You meet someone, introduce yourself, and have a conversation. Ten minutes into that conversation you realize you don't remember meeting this person, or any of what you just talked about. This is the life of Leonard Shelby in MEMENTO. He's a tortured man living in a life without a set direction. Only through a system of writing himself notes on photos, and tattooing special information on his body, can he make it day by day. He knows that his wife was raped and murdered. He remembers everything up until that day... or does he? Now he wants only to find the man responsible, and exact the harshest form of justice. Along the way he's made a couple of friends. Teddy, played by the always engaging Joe Pantoliano, is a confident but shady pal who seems to know a lot more than he lets on. Then there's Natalie, played mysteriously by Carrie-Anne Moss. She seems trustworthy, but may have her own secret agenda. Between these two, Leonard doesn't quite know who to trust, or more importantly how much he's already trusted them. His one saving grace comes in the form of a tattoo on his hand that reads "Sammy Jankis", which is in reference to a man Leonard met some time ago who suffered the same condition. You'll snicker at the way certain people take advantage of Leonard's problem, only to find those actions become more disturbing and very extreme as the story rewinds. The worst part is that he can do nothing about it. MEMENTO is a twisting tale told literally backwards. The first scene in the film is the last thing to happen. Our job as the audience is to slowly step back in time to uncover just how exactly all of this came about. There has been quite a bit of buzz about this movie from numerous film festivals around the world. It's interesting to see how a movie can take such a dramatic step against the norm, and still find new ways to keep you guessing. Guy Pearce, who many of you may remember from L.A. CONFIDENTIAL a couple years back, plays the confused yet highly motivated role of Leonard very well. We feel for him, but wonder just how sane he could be with his condition. The film gets a tad longwinded in some scenes. Overall it's a cinematic experience that has to be seen to be fully understood. The best part about MEMENTO is the fact that what you take away from it will most likely be unique to you. This is not a film for everyone. It seemed that most of the "older" people didn't care for it. I distinctly heard one gentleman tell the poll-taker that he thought it was a "Poor" movie. Others seemed almost giddy with a sense of awe. Some films are more cerebral than others. If you decide to see this, be prepared to think hard about it, both during and after.

On a scale of ONE to TEN, TEN being the best, I give MEMENTO a SEVEN

Charlie's Angels (2000)

Mindless fun that delivers.

[5 November 2000]

Yet another old television show has been updated for the big screen. The new Charlie's Angels movie is cheesy and comical, and it means to be. What we have here is a mindless but fun outing that will have women cheering and guys laughing. Diaz, Liu and Barrymore portray the extraordinarily skilled team of crime-fighters who seem able to do everything except lead a normal life. Bill Murray plays Bosley, their supervisor, and John Forsythe reprises his role as the voice of the team's boss Charlie. Their latest seemingly routine call involves rescuing and protecting a computer genius whose technology is about to fall into the wrong hands. Of course things wind up to be more complicated than expected, and the Angels must use their "talents" to save the day. They quickly cross paths with a creepy individual played by Crispin Glover, who some of you my remember as the nerdy George McFly from Back To The Future. He's changed his look a bit since then, and ends up being one of the coolest big screen villains since Darth Maul in Star Wars: Episode One, which he was surely patterned after. This film is fun, albeit silly fun, and will entertain you on many levels. First time director McG, pronounced Mick-G, borrows shots and styles from many recent films. The most obvious similarities come from The Matrix, allowing our heroes and villains to defy the laws of physics on numerous occasions. All of the fight scenes are spectacular and nicely choreographed, with the exception of one involving Drew Barrymore towards the end. You would think with all of the fancy wirework and effects capability that they could at least give the illusion of Drew's kicks connecting with the bad guys. Bill Murray adds some nice extra comedy to an already funny film. Don't expect any Academy Award nominations, but definitely expect a sequel. Mind-numbing entertainment can be great if you're in the right mood.

Pay It Forward (2000)

A moving depiction of how the lives of others can be changed with the support of a great idea.

[26 October 2000]

Pay It Forward is an engaging film about a young boy's idea and it's effect on the people around him. The young boy is played by the talented Haley Joel Osment, who made a powerful impact on audiences with his role in last year's The Sixth Sense. He plays a rather normal kid here, who's biggest problem lies within the discomfort of his own family life, or lack of it. He meets a somewhat tormented man in the form of a new school teacher, played by the always brilliant Kevin Spacey. His year-long class assignment is to think of idea that will help change the world, and to set that idea in motion. Osment's mother, played by Helen Hunt, is a single mother working two jobs while fighting a drinking problem and her own shortcomings. Needless to say this doesn't allow her much quality time with her son. Osment comes up with a revolutionary idea, in the form of a pyramid scheme, to get ordinary people to go out of their way to help others. Spacey seems to see hope in the concept, but Osment finds that things don't always work out the way they should. In an attempt to improve his own life, he tries to make the scheme work by implementing it on those closest to him. The results are not perfect, but are presented in a very real manner. Pay It Forward is not exactly a feel-good film, but rather an example of how certain events can influence those around us. Osment's idea creates a sense of wonder on how things could be. The performances are strong, as one would expect, and the message is solid. The film uses a Pulp Fiction-esque style of showing events that occur before telling us how they were set in motion. The backtracking can be a bit confusing for some, but it does keep the film interesting. There are some emotional moments, and some very funny ones as well. The supporting cast helps keep the pacing strong, and the writing feels fresh and well thought out. Thomas Newman provides an interesting and moving score, which is important with a film like this. My complements to Mimi Leder, who has sculpted an insightful picture that will at the very least make you think.

X-Men (2000)

Whole lotta Wolverine!

[12 July 2000]

I must admit, I was unsure whether or not I'd enjoy the X-Men movie when I first heard about it. I went into the advance screening of X-Men expecting the worst. I'm happy to say I wasn't disappointed. In fact I was pretty pleased, along with the rest of the audience. Singer's film is not without faults, but it is a highly enjoyable interpretation of one of the biggest comic properties around. The film opens in the 1940's as we see a young Magneto being separated from his parents in the middle of a Nazi concentration camp. We quickly see the awesome power this young man possesses. Jump to the not too distant future, where we meet a confused girl named Rogue, who learns of her power in a frightening way. The film doesn't waste too much time on story, but rather jumps forward with numerous character introductions. We learn that Mutants are the subject of fear within the American public. One man in particular, Senator Kelley, has determined that Mutants must not be tolerated due to their unpredictable nature. Meanwhile, Rogue leaves home only to find another Mutant in the form of the rough and rugged Wolverine. They are attacked in the snow filled woods of Canada by another vicious Mutant named Sabretooth. Just when things start to look really bad, two more mutants show up to save the day. Jump to the Xavier School, where Wolverine and Rogue find safety among others like them. We learn that Professor X, played casually by Patrick Stewart, has assembled a bevy of Mutant youngsters in an attempt to teach them and help them understand their powers. We also find out that Magneto, all grown up and immensely powerful, has devised a lethal plan to get back at his human persecutors. The first thirty to forty minutes of the film simply introduce and explain all of the key characters and plot points to us. We then become aware that Magneto's plan is contingent on acquiring the power of one of our heroes. Then the major action starts, and pretty much doesn't stop for the rest of the film. The movie is paced fairly well. We never really get much of a chance to be bored, and there are plenty of nice effects to gaze at. Singer tries to spend a fair amount of time on each character, but it's obvious he wants to focus on Wolverine. Hugh Jackman does a fantastic job of portraying the popular hero, but I can't help feeling that some of the other characters get neglected. Cyclops, who has always been one of my favorite characters, doesn't really have much to do here. Oh sure, he stands around and looks tough, but I wanted to see more depth from him. He and Storm, played quietly by Halle Berry, are for the most part just set dressing. I really got the sense that we were missing some development scenes here and there. I hate to say this, but I really got the feeling that Wolverine was doing too much. During the film's finale, our rugged hero fights THREE battles, one after the other. Why couldn't Cyclops jump in there? Perhaps if the franchise continues, the sequels will spend more time with the other heroes. All in all the film is pretty well done. We get most of what we want, which is fast-paced action and lots of groovy effects. The film is not without surprises either. Look for cameos by other X-Men, or shall I say soon to be X-Men. Judging by the audience reaction, this film is really going to do well. In my opinion the best thing about the film is the fact that it will open some doors in Hollywood for others like it. Singer has provided a nice template to work from, let's just see which artist uses it next.

Seven Days (1998–2001)

An exciting show that has something for everyone.

[7 November 1999]

Allright, I'll admit that the concept is a bit limited, but if you think about it, every show on television has one repeating theme. So if you can get past that, you'll find Seven Days to be one of the most entertaining shows to hit primetime TV in a long time. Johnathan LaPaglia plays Frank Parker, a former soldier who spent the latter part of his life in the looney bin, until the NSA recruited him for a top secret government project. They've developed a device that can take one man back in time 7 days. As you can probably guess, every week something horrible happens, and Frank must travel back in time to prevent it. What makes Seven Days so good is the characters and their interaction with each other. LaPaglia is very likeable, and plays the hero role very well. He's not perfect, but yet perfect for the job. Justina Vail plays Olga Vukavitch, a sexy russian scientist who quickly becomes the object of Frank's affection. Watching these two flirt back and forth makes us long for the day they actually hook it up and stop kidding themselves. Having that kind of sexual tension is good for any show. The rest of the cast is made up of folks you've seen in other shows and films. Although none of them are famous, they all play their parts with perfection. The plots, while repetitive, are always filled with action and suspense, and occasionally hints of romance. They do a great job of NOT limiting their audience to any particular group. The production values tend to run high in each episode, especially in the first season. I would advise anyone who would like to get into this series to look for the two-hour pilot to be re-run. It's always hard to jump into the middle of a sci-fi series storyline without knowing the facts leading into it. Many people have said that this show doesn't reach it's potential. Just remember, it's still relatively new to television, and like any show will take time to grow. X-Files didn't pick up it's popularity until the third season! I see quite a bit of promise here. After watching a couple of episodes back to back, you'll understand what I mean. If it doesn't last, look for LaPaglia to move on to bigger things. He could be the next Mel Gibson.

The Thomas Crown Affair (1999)

Ah, to be filthy rich, and still feel the urge to steal...

[24 July 1999]

Pierce Brosnan plays Thomas Crown, one of the most smug rich guys you've ever seen in this romantic drama. I attended a sneak preview of The Thomas Crown Affair along with a sold-out crowd, and I'm not sure anyone really knew quite what to expect. I knew this was a remake, and that Pierce was gonna steal something, but aside from that the film was still a mystery to me. Turns out the plot is that rich boy Thomas, who happens to be an avid art collector, decides to steal a $100,000,000 Monet painting from a large New York museum. Although he gets away with it, an insurance investigator played by Rene Russo shows up to hunt down the missing piece, and quickly realizes that Mr. Crown is to blame. Now while she should be working with the New York cops, led here by Denis Leary of all people, she instead pursues Crown independently, and of course falls in love with him. A similar plot was tried earlier this year with the rather bland Entrapment. But where Connery fell flat, Brosnan excels, at least through the aspect of being convincing in his role. Russo also does a good job with her character, and sets a record for showing off her breasts in a film. Denis Leary on the other hand feels somewhat out of place, especially since he's not sporadically cussing and smoking like a chimney. While the events here are entertaining, some of the romantic scenes go on just a bit long, leaving us to wonder if everyone has forgotten all about why they're here to begin with. Unfortunately there aren't many surprises in this film, in fact you could probably guess the outcome of just about every scene. I long for the day when the female law enforcement officer actually arrests the man she's pursuing, at least it would make for a bit of a different story. I never saw the original, so I can't really compare the two, but for the most part I enjoyed this film, even if it made me realize just how far away I am from living the "good" life. While Brosnan's smug character doesn't offer many socially redeeming qualities, you can't help but want to live the way he does, even if just for a day.

Bowfinger (1999)

A sort of sillier modern day version of Ed Wood.

[23 July 1999]

Steve Martin and Eddie Murphy team up to bring us this quirky comedy that's short on story but big on laughs. I attended a press screening of Bowfinger, not quite sure what to expect, and although I was amused by the silly antics, I felt as if the film's main goal was to make a statement or two about Hollywood and what it takes to get a movie made. First of all, while Eddie Murphy is in the film quite a bit, this is definitely Steve Martin's movie. I left the film feeling that Eddie was not much more than funny set dressing rather than being a star. Martin plays Bobby Bowfinger, a washed up film director who gets a script from one of his employees that he feels is great movie material. He soon realizes that the only way anyone will pick this film up is if he gets a big name star for the lead. His focus turns to Kit Ramsey, played by Murphy, who happens to be the hottest star in Hollywood. But Martin fails to get Ramsey behind the film, even though in some ways this is just the kind of script Ramsey wants. So Bowfinger decides he'll shoot the film's scenes with Ramsey, even though Ramsey doesn't realize he's in the shot, by having his actors walk up to him in public and say their lines as if they're playing out the scene. This works for a while, but soon Ramsey gets freaked out by all the strange behavior, and hides with his friends at the manipulative Scientology-like center, which is headed by Terance Stamp. In the meantime, Heather Graham's character, a struggling actress, begins to sleep with every member of Bowfinger's crew, including Bowfinger, in an attempt to increase the length of her scenes. With Ramsey in hiding, Bobby casts a look-alike to fill in for his scenes, only this guy, portrayed as the ultimate nerd by Murphy, can barely stand still much less play his scenes. The movie goes from one silly scenario to another without having much direction with the story, all the while keeping the audience amused. But I got the feeling I had seen all this before, with Tim Burton's Ed Wood, and once I reached the end of the film, I knew I had. So in closing, there's nothing really new here, and not a lot of story to analyze, but plenty of laughs. Bowfinger is an amusing and entertaining comedy, but I can't help but feel that it falls short of it's true potential. Not a bad film, but not a great one either.

American Pie (1999)

A shocking, but entertaining comedy.

[11 June 1999]

American Pie starts right off with shock value, and while the film relies heavily on it, there's plenty of story and exceptional performances to hold your interest. I attended a sneak preview of what I was told was a rough cut of the film, although there was only one scene that looked unfinished. The underlying story here is that of four high school senior buddies who have made a pact with each other to get laid before they graduate, specifically at the prom. The problem is, only one of them has a serious girlfriend, and she can't decide if she's ready for sex. But where the film really makes an impact is in it's numerous masturbation related scenes. There is one scene particularly early in the film that should test your stomach for the rest of the film's humor. Now while the film may not sound like it has good morals, there is one repeated underlying message, and that is to do what you like and not what you feel pressured to do. Unfortunately, this is NOT the kind of film its target audience should be seeing. At times it makes getting laid seem like the most important part of high school. The strength of the film lies in the fact that everyone who went to a public high school can relate to some aspect portayed here, and in the strong and well-timed performances of the talented cast. If you're mature enough to appreciate the film for its sheer comical performances, then you should really enjoy it. But if you don't like "toilet humor", then you might not find anything appealing with this one. Definitely not a date movie.

8MM (1999)

Joel Schumacher continues to disappoint.

[3/10 · 1 March 1999]

This film was promoted as being an intense thriller, but it's not. As a matter of fact, the film is way too slow to allow itself to be intense. Cage plays a boring private detective who stumbles onto a strange case involving what appears to be a murder on film. As he begins to investigate the validity of the film, he finds himself getting deeper and deeper into the world of underground porn. This film has an interesting premise, but just doesn't seem to build on it the way you would expect. The pacing is erratic, and Schumacher relies too much on shock value, and not enough on storytelling. This is however the same man who gave us the fourth, and by far the worst of the Batman films. I also expected more from the writer of Seven. Cage should stick to action, and Schumacher should just stop directing for a while and learn how to light a film. With the exception of an effectively creepy performance by Peter Stormare, there's just not much reason to see this one.