Reviews

Kirk, Spock, and Bones beam down to a planet because it is quite possible that the survivors of a space catastrophe have ended up there. They find that the society of this planet is modeled after ancient Rome - complete with gladiators and slaves - except that it's been given a 20th century twist. (These people are fond of television.) Our trio of heroes are going to end up participating in the "games" before there is any chance of escape.

By this point, it was clear that the series was in something of a rut, with too many stories set in representations of moments in Earth history, and too many stories in which the Prime Directive is broken. A former associate of Kirks' is involved, a man named Merik (William Smithers, "Papillon"), but he's not the true villain; rather he's a weak character dominated by a man named Claudius (Logan Ramsey, "Walking Tall"), who comes to respect Kirk but who is still determined to see him die for his defiance.

I do understand Roddenberry's following of a formula, as it allowed him to examine various social & political facets of our own history through the funnel of a science-fiction series. It just comes as disappointing if one is hoping for more tales of a cosmic nature. Certainly the tales are provocative, however, and do get us talking about them afterwards.

There are pleasures to be had, of course: the ongoing arguments between Spock & Bones (including a dramatic moment where Bones believes he's gotten to the heart of Spocks' character), the sight of Spock & Bones carrying swords & shields, Kirk romancing yet another woman (gorgeous blonde Lois Jewell), and appearances by two other top character actors: Ian Wolfe ("Witness for the Prosecution") and Rhodes Reason ('White Hunter').

Even though these kinds of episodes do tend to get repetitive, they're always "interesting" in the way that they hold a mirror up to our own lives - if not "fascinating".

Seven out of 10.

With his first decisive step away from the ultra-gory and outrageous films with which he'd made his name, Peter Jackson gave us this disturbing, distressing and compelling character study of two unbalanced characters.

Inspired by a true story that took place in New Zealand in the mid-50s, it shows us how bright, imaginative teenagers Juliet (Kate Winslet) and Pauline / "Paul" (Melanie Lynskey) meet and embark on a friendship. Together they create an elaborate fantasy world, exclusive to the two of them, but their friendship proves to be so intense that it causes their parents much worry. This all culminates in an act of murder that was pretty shocking back in its day.

Kudos to Jackson for his excellent visual treatment of the story, with the fantasy sequences containing some creative prosthetics and visual effects. But the style enhances the content rather than overwhelming it, making this a journey worth taking.

Sarah Peirse, Diana Kent, Clive Merrison, and Simon O'Connor are very good as the concerned parents, with Peirse getting the meatiest moments as Paulines' strict mother. But it's Winslet & Lynskey who are truly something to see, giving award-caliber performances as the deeply connected duo at the core of the story.

"Haunting" is indeed an apt word to use to describe "Heavenly Creatures", one of the most memorable depictions of a twisted friendship that I've ever seen.

In real life, Juliet was eventually outed as the real person behind the fictional mystery novel author "Anne Perry", which is certainly one very interesting postscript.

Eight out of 10.

This sequel to the 1998 slasher "Urban Legend" is set in a prestigious film school, where students determinedly vie for the coveted Alfred Hitchcock Award, which practically guarantees them an entry into Hollywood. Could one of these people be insane enough to actually murder for the sake of this award? Young wannabe filmmaker Amy Mayfield (Jennifer Morrison, 'House M. D.'), daughter of a deceased, acclaimed documentarian, finds out that this is indeed the case.

Despite Morrisons' appeal, and sincerity in her performance, and the encore appearance of Loretta Devine, reprising her security guard character, this is all VERY routine and VERY uninspired. The script is bad, the acting nothing special, and the characters pretty inane. These writers even toss in one of the lamest, most over-used twists in the genre, which you'll know when you see it. Hell, this sequel can't even boast creative death scenes, and it doesn't really have much to do with the whole "urban legend" premise.

The cast of familiar faces also includes Matthew Davis ("Legally Blonde"), Hart Bochner ("Die Hard"), Joey Lawrence ("Pulse"), Anson Mount ('Star Trek: Strange New Worlds'), Eva Mendes ("The Other Guys"), Jessica Cauffiel ("Valentine"), Anthony Anderson ("The Departed"), Michael Bacall ("Inglourious Basterds"), Marco Hofschneider ("The Island of Dr. Moreau"), and Jacinda Barrett ("Ladder 49"). But nobody here can really make this something worth watching. Even diehard horror fans may be underwhelmed.

The first film was no classic of the horror genre, but it was an above average entry into the flood of youth-oriented horror flicks post-"Scream". It at least offered more fun in the use of the urban legend gimmick, more style, and more atmosphere.

This marked the feature debut for John Ottman as a director; usually he is a film composer (for pictures such as "The Usual Suspects" and "Kiss Kiss Bang Bang"), and this wasn't exactly an auspicious change of pace.

Followed by "Urban Legends: Bloody Mary".

Five out of 10.

Written & directed by George Tillman, Jr., "Soul Food" is a heartfelt drama about a tight-knit black family that threatens to get torn completely apart after the rock-solid matriarch Mother Joe (Irma P. Hall) slips into a coma. Her daughters (Vanessa L. Williams, Vivica A. Fox, Nia Long) start fighting with each other; the busy plot also encompasses such relatable topics as infidelity, the search for employment and a mans' pride, and the need for self-fulfillment (Miles (Michael Beach) is about to leave his well-paying job as a lawyer for a career in music). As things start to get their worst, Joes' grandson Ahmad (Brandon Hammond) does his best to keep this family together.

Tillmans' film really does make a very strong case for the NEED for family. It's true that family members can drive each other crazy with the problems between them, but deep down, they do love & need each other. In fact, Ahmad points out that this family's traditional Sunday dinners are a time for sharing sorrows as well as joys, like their ancestors before them; cooking became an all-important element in their lives.

A first-rate acting ensemble (also including Mekhi Phifer, Jeffrey D. Sams, and Gina Ravera) brings life to these sometimes flawed but still interesting, compelling, and believable characters. Hall is wonderful in her time on screen, but young Hammond is truly something special as the young man despairing over the friction among his kin; he also does an engaging job of narrating the story.

The presence of sex & profanity might not make this ideal to watch for your youngest family members, but overall this is a potent picture that may make a viewer appreciate their own kin more.

The music score is by Wendy Melvoin & Lisa Coleman; music industry notable Kenneth "Babyface" Edmonds is executive producer and composer of a number of the songs; he also appears on screen briefly.

Followed by a cable TV series three years later.

Eight out of 10.

Story author / producer / director Peter Bogdanovich kept the spirit of 1930s "screwball" comedies - "Bringing Up Baby" in particular - with this riotous farce set in San Francisco. Ryan O'Neal plays Howard Bannister, an uptight, nerdy musicologist in town to apply for a grant, and he gets mixed up in an elaborate plot involving four identical plaid overnight bags - one containing his collection of igneous rocks, one containing valuable jewels belonging to Mrs. Van Hoskins (Mabel Albertson), one containing secret government documents, and one containing the wardrobe of carefree Judy Maxwell (Barbra Streisand), a kooky character who keeps involving herself in Howards' life and causing all sorts of chaos.

The ingenious, cleverly convoluted screenplay is the work of Buck Henry, David Newman, and Robert Benton. It's the kind of story where credibility is gleefully tossed right out the window (nobody ever bothers to check the contents when they first acquire one of the bags). It's all a set-up for some absolutely hilarious gags, and while it would behoove me not to spoil them all, this plot *does* involve one memorable set piece, a masterfully orchestrated vehicle chase through SF locales.

O'Neal is actually very good here, while Streisand is a delight playing her attention-getting, scene-stealing character. They receive *excellent* support from Madeline Kahn (in her film debut), Kenneth Mars, Austin Pendleton, Michael Murphy, Sorrell Booke, Stefan Gierasch, Liam Dunn, John Hillerman, George Morfogen, Graham Jarvis, Randy Quaid, and M. Emmet Walsh.

This is top entertainment with high energy and an impressive amount of genuine belly laughs; it's appropriate that it takes its title from Bugs Bunny's catch phrase, since it has a zany comic sensibility to also match any Looney Tunes short.

Highly recommended.

Eight out of 10.

Gene Hackman plays Harry, a Seattle steel worker whose long-term marriage to wife Kate (Ellen Burstyn) is not what it used to be. He seizes upon a chance for newfound happiness by hooking up with sexy barmaid Audrey (Ann-Margret). Of course, by doing so, he must deal with the consequences, knowing that he has deeply hurt his family, especially his angry daughter Sunny (Amy Madigan).

Produced & directed by Bud Yorkin, and wonderfully written by Colin Welland, "Twice in a Lifetime" is the kind of intelligently done, reasonably realistic adult drama some people say we don't get to see often enough. It feels mostly believable throughout, offering no easy solutions nor any promise of a "fairy-tale" ending. It benefits from showing how these different characters react to the break-up, and allows us to feel the highs and lows experienced by the characters. When we see Harry and Kate in their separate good times, it's all too easy to share in that happiness.

Some people may feel that Madigan is a bit over the top (ex. Acting out in a supermarket), but the passion of the character is impossible to deny. Madigan *was* nominated for the Supporting Actress Oscar, in any event, losing to Anjelica Huston who won for "Prizzi's Honor". But the whole cast is superb, especially Hackman and Burstyn. They receive excellent support from Ally Sheedy (as Harry's younger daughter Helen), Brian Dennehy (as Harry's good pal Nick), Stephen Lang (in his feature film debut, as Harry's son-in-law Keith), Darrell Larson, Chris Parker, and Micole Mercurio.

Nicely scored, by Pat Metheny, and well shot, on location in Washington State, "Twice in a Lifetime" truly does a superb job in engaging viewer emotions.

One irony is that Yorkins' own 30 year marriage broke up during the making of the film.

Eight out of 10.

That icon of Spanish genre cinema, co-writer / director / star Paul Naschy, here plays a guy named Paul, married to a beautiful heiress (Julia Saly) with serious heart problems. It's determined that the best way for him to help her is to take her out of Paris, to his ancestral home in rural France. She *does* get better, for a while, until numerous macabre visions threaten to push her right over the edge.

This effort from Naschy doesn't have that much to do with the traditional horror genre. Although it gets *fabulously* gory, it's more of a crime picture focusing on a truly despicable bunch of self-serving heels. Genevieve is practically the only sympathetic character! That said, once I got over what this movie is not, I really enjoyed it for what it *is*. It's wonderful soap opera style trash, complete with well-appreciated nudity as well as graphic violence. Although the story deals with an old "legend", the supernatural doesn't really figure in until the finale, with the ultimate bit of comeuppance. Granted, some of the writing was predictable - but some of the twists were fun. The young ladies present (also including Frances Ondiviela as Julie and Silvia Miro as Mireille) are real stunners, especially Ondiviela. Naschy himself is in fine form, and Lola Gaos, who plays the maid Mabile, has a great character face.

Well recommended to lovers of cult European cinema, Naschy aficionados in particular.

Seven out of 10.

The great David Hemmings ("Deep Red") stars as John Ebony, a former advertising man who's taken a new job as teacher at a secluded, coastal boys' school. His "form", or class, is Lower 5-B, and they're an unruly lot who don't take kindly to being told what to do. They also all tend to stick together. One of their first orders of business is informing John that they in fact murdered the man whom he replaced. He must "toe the line" regarding his treatment of them, or he WILL be sorry.

This wonderfully sinister, creepy sleeper has languished in obscurity for far too long. Based on a play by Giles Cooper, and directed with style by John Mackenzie ("The Long Good Friday"), it tells a compelling story with a nifty premise. It's easy to get hooked and wonder where it will take you; even though the answer to the burning question facing John is no great surprise, it's still devastating when you think of the reason *why* the murder of Mr. Pelham was proposed in the first place.

"Unman, Wittering and Zigo" (the title refers to the last three names on the roll call, although Zigo is always mysteriously absent) is able to get fairly explicit (there is some sex and nudity, but no real gore) while also not overplaying its hand in the portrayal of these very manipulative, self-serving students.

Well acted by all concerned, and infused with a great rural British atmosphere, this is one film worth checking out for the uninitiated - or re-discovering, if it's been a while since you've seen it.

Eight out of 10.

In this very memorable adaptation of a Stephen King novel (scripted by William Goldman), James Caan plays Paul Sheldon, the author of a series of successful romance novels. After a snowy car crash, he's nursed back to health by local resident Annie Wilkes (Oscar winner Kathy Bates). But her manner is ultimately more akin to that of Nurse Ratched than Florence Nightingale. She's his super-obsessed "number one fan", and intends on keeping him prisoner there so she can have him all to herself.

Bates totally deserved her Oscar in what is a true tour de force performance, as she ably captures all the facets of Annies' personality, from adoring & childlike to absolutely menacing. Caan, who at first seems incredibly miscast, is actually quite good himself, completely selling the frustration of being vulnerable and victimized in an isolated location. Basically, nobody but Annie knows that Paul is still alive.

The film is directed with gusto by Rob Reiner, who does well with his first thriller. It's sometimes tense in a true nail-biting way, and gripping all the way through. The ever-endearing Richard Farnsworth and Frances Sternhagen provide wonderful support as the local sheriff and his sassy wife. Lauren Bacall has what amounts to a "special guest star" appearance as Pauls' agent; J. T. Walsh appears unbilled as a state trooper addressing the press. But the film truly belongs to Caan and especially Bates, as they take us step by step through this complicated relationship between fan & prisoner.

Extremely well scored, by Marc Shaiman, and shot, by Barry Sonnenfeld, "Misery" entered the pop culture in a big way. It might not be THE final word when it comes to stories about obsessed, dangerous fans, but it's certainly right up there. It keeps you right on the edge of your seat, until the rather conventional but effectively visceral finale guaranteed to have some viewers cheering.

Followed years later by a stage version.

Seven out of 10.

Matthew Vaughn (who produced "Lock, Stock and Two Smoking Barrels" and "Snatch" for Guy Ritchie) debuted as director with this ultra-slick British crime thriller starring future 007 Daniel Craig as the nameless cocaine dealer anti-hero of the story. He figures to get out of the business, but longtime associate Jimmy Price (Kenneth Cranham) asks of him two favors first. One is to find a runaway girl, the other is to move a million ecstasy pills - which were actually stolen from a rival drug lord (Marcel Iures) by a lowlife known as Duke (Jamie Foreman).

"Layer Cake" is clearly the kind of movie that commands multiple viewings. It's got such a heavily involved, twisty story (written by J. J. Connolly, based on his novel) that one could easily get lost. It deals with several back stories. But it's fundamentally a good, compelling tale, complete with some effectively brutal violence, a bit of sex (Sienna Miller certainly is one very lovely lady), a top soundtrack (including The Cult, Duran Duran, and Joe Cocker, among other artists), and a *fantastic* British cast. Craig has a great sense of cool here that served him so well that it got him on the map when it came time to recast James Bond. Cranham, and fellow veteran Michael Gambon, are standouts as the crime kingpins, but there's so much other talent here as well: Tom Hardy, Sally Hawkins, Burn Gorman, George Harris, Tamer Hassan, Colm Meaney, Rab Affleck, Dexter Fletcher, Ben Whishaw, et al. Jason Flemyng has a cameo within the flashbacks.

Well-paced and visceral, this has some positively great moments, and works well as a portrait of the whole drug business where you can have shady characters up against even more ruthless and nasty people. Craig & the other actors make the whole journey worthwhile, giving life to these honorable and not so honorable individuals.

Seven out of 10.

An adorable Kristy McNichol is nicely showcased here as a disabled classical musician who wades through a series of losers through the course of her romantic life. For once, she would like to find a guy who won't get awkward when they discover her disability. So, she goes on a vacation to a French ski resort with her leg-brace hidden inside a cast - so she can see, for once, how people will treat her when they don't *know* that she's disabled.

Although burdened by some flaws - a rather conventional, sentimental second half, a protracted dance sequence, an unfortunate personality change in the McNichol character in the second half - this still manages to be interesting and charming, in the hands of director Edouard Molinaro (of "La Cage aux Folles" fame). In the end, the story (written by Allan Burns) *does* have a good message about self-esteem, and benefits from a capable, attractive cast of familiar faces: Michael Ontkean (as a VERY patient love interest, an always on-the-move photographer), Kaki Hunter, Robert Carradine, Lance Guest, Alexandra Paul, Catherine Salviat, Andre Dussollier, Tim Daly, Patrick Cassidy, etc.

This was shot on some extremely scenic locations in Haute-Savoie, has an engaging music score by Vladimir Cosma, and is generally quite pleasant and easy to take. Lovers of the romantic comedy genre are sure to get some entertainment out of it.

Seven out of 10.

Joaquin Phoenix plays Bobby "Green", a successful young man who runs a nightclub in late-80s Brooklyn for a Russian father figure (Moni Moshonov); he's actually estranged from his real dad (Robert Duvall) and brother (Mark Wahlberg), both of them experienced NYPD officers. He has no problem ignoring the shady goings-on at the club, until his Russian associates target his biological family, and he has to decide where his loyalty really lies.

"We Own the Night" may not be rife with surprises, but it's overall a good, solid example of the whole crime-fiction genre, written & directed by James Gray. It tells a compelling, meaty story with the backdrop of the war on drugs making it topical as well. The whole idea of the lead character having to make this choice, and the fact that this guy originally occupies a grey moral area, makes his character flawed, realistic, and believable, and Phoenix (he and Wahlberg were also two of the producers) just knocks this role right out of the park. Two standout sequences are an action scene in the rain (shot on an actual sunny day, with the storm added in digitally), and the tense finale shot among a woodsy area where anybody could sneak up on anybody else.

Phoenix is ably supported by the wonderful Eva Mendes (playing his girlfriend), Wahlberg, Danny Hoch, Alex Veadov (effectively menacing in a great low-key manner), Paul Herman, Duvall (once again, effortlessly authoritative), Antoni Corone, and Tony Musante.

Convincing and potent (without getting too melodramatic), and intelligently handled by filmmaker Gray, "We Own the Night" is a nice slice of "neo noir" for admirers of the genre.

Seven out of 10.

"Ladyhawke" is a solid medieval fantasy taking place in Aquila, where Gaston (Matthew Broderick), a petty thief, escapes from prison. Eventually, he makes the acquaintance of a solitary traveler named Navarre (Rutger Hauer), and a mysterious beauty named Isabeau (Michelle Pfeiffer). He can only be seen during the day, and she only appears at night. The reason for this is that these two romantically entangled souls were cursed once upon a time by a vengeance-crazed bishop (John Wood).

For the most part, this is an engaging example of the genre from director Richard Donner, complete with good swordplay, and impressive widescreen photography. Hauer & Pfeiffer are wonderful as the couple at the core of the story, and they receive excellent support from Wood, Leo McKern (a scene stealer as the helpful Imperius), Ken Hutchison, and Alfred Molina. However, Broderick is not a good fit for this sort of setting, and he just feels out of place throughout. It doesn't help that he can't seem to decide if he wants to attempt an accent or not. Also, the score, composed by Andrew Powell, and overseen by Alan Parsons, likewise feels too contemporary for this sort of thing. A lot of the time, it just doesn't work.

Which is too bad, because this film *had* potential. It's slickly filmed, entirely in Italy with a largely Italian supporting cast. The production & costume design are certainly evocative. All in all, it does manage to be memorable even with its flaws; it's an appealing story from start to finish.

Seven out of 10.

Dixie Peabody ("Night Call Nurses") plays "Dag", a young female biker utterly destroyed by the killing of her brother Dennis. She sets out on the road with two male sidekicks, Bernie (Clyde Ventura, "'Gator Bait") and Jonesy (Terry Mace, "Sixpack Annie"), toting a shotgun and coldly determined to get revenge.

"Bury Me an Angel" is oft-promoted by cult movie aficionados as a rare "feminist biker movie", given that it's written & directed by a woman filmmaker (Barbara Peeters, "Starhops" and "Humanoids from the Deep") and features a strong female character in the lead. Having seen it now, I *can* safely say that the script is actually pretty good, and occasionally insightful. Of course, being a product of Roger Cormans' New World Pictures, it serves as both female empowerment *and* exploitation, with the statuesque Peabody removing her clothes for a skinny-dipping scene. Still ... it sometimes meanders and just marks time, with maybe a little too many shots of the main trio riding down the highway. The big fight scene in the bar comes off as perfunctory and overly silly. (Then again, that may have been Peeters' point: to show how silly she thinks scenes like this are.)

But the cast is good: Peabody leaves a memorable impression in the main role, and she & Mace & Ventura have decent chemistry. The supporting players include Joanne Moore Jordan ("Faces"), Gary Littlejohn ("Badlands"), Beach Dickerson ("Attack of the Crab Monsters"), and Dan "Grizzly Adams" Haggerty in an engaging bit as a struggling artist who takes a liking to Dag. Film director Richard Compton ("Macon County Line") plays one of the pool players.

Overall, "Bury Me an Angel" packs a pretty big punch with its bombshell of an ending, showing just how troubled our anti-heroine was and once again proving that revenge is not what it's cracked up to be.

Seven out of 10.

"Daisy Kenyon" is a fairly powerful romantic melodrama that serves as an effective showcase for Joan Crawford as she plays the title character. Daisy is a NYC artist caught between two men: married attorney Dan O'Mara (Dana Andrews) and WWII veteran Peter Lapham (Henry Fonda). O'Mara is a slick, smarmy type who refuses to divorce his wife - yet he is not irredeemable, as he does exhibit a degree of compassion, and he is also a good father to his two girls (Peggy Ann Garner, Connie Marshall). Lapham is a basically decent, well-intentioned man, yet he is not strictly one-dimensional, either.

Very well directed by Otto Preminger, "Daisy Kenyon" features an appealing performance by Crawford, who later stated that she felt that the reason it worked to any degree was because of Preminger. And yet, Crawford is not the whole show, as both Andrews and Fonda are equally well-utilized. It's especially fun to see Andrews cast against type as this cad who was overdue for some humanity / humility. The strong supporting cast also includes Ruth Warrick as the cuckolded wife, Martha Stewart (no, not THAT Martha Stewart), Nicholas Joy, Art Baker, Mae Marsh, Roy Roberts, and Tito Vuolo. John Garfield, Damon Runyon, and Walter Winchell all make cameo appearances.

Overall, this is an intelligent & sensitive story (scripted by David Hertz from a novel by Elizabeth Janeway) for adults with no easy answers or solutions. The characters are properly fleshed out and not unrealistic; these are real human beings with both assets & flaws. Ultimately, it is up to our female protagonist to reaffirm her independence and admit to her true feelings.

Seven out of 10.