Reviews

I just saw this film on IFC and I was so impressed, I couldn't stop watching it. And I stumbled across it by pure accident. Julia Nickson is stunning as ever and has come along way as an accomplished actress since her interesting turn in "Rambo II". I was not familiar with the other actors but they all did an excellent job in their individual portrayals. Especially the son and daughter. All the characters were pretty well developed.

It was also great to see a contemporary Asian film that was not dubbed. Very well worth seeing. Wonderful and compelling storyline with great dialog you have to pay attention to.

This film falls into the Action Channel late night "guilty Pleasure" zone.

It's derivative in many ways, but I agree with another reviewer here that what made it sort of interesting is that more than half of it was subtitled in Japanese.

What separated it from the norm a little was the impressive screen presence of Kiyoshi Nakajo, as a mysterious Yakuza swordsman, who helps a woman find her sister's killer (played in a nasty but quasi-comical manner by Victor Rivers, the smarmy guy with the thin moustache who was part of Eddie Murphy's con artist posse in "The Distinguished Gentleman"). There's also Martial Artist Gary Daniels, not the best actor around (I sort of lump him into the Daniel Bernhardt category) but has great fight moves. I agree the fight sound was muted for my tastes. I had never heard of or seen Kiyoshi Nakajo prior to this film. He is apparently very popular in Japan. He sort of emanates that conflicted "brooding" Chow Yun Fat thingie (think "The Replacement Killers") which says a lot because his dialogue was all in Japanese. But I found him very intriguing to watch. Think of a Japanese Lee Van Cleef. Stern, quiet, face says it all. Senses his LA Yakuza brother is up to no good.

Kiyoshi is a bit older than the rest of the actors, one who has left a lot of dead bodies in his wake, especially with that sword. You just don't play around with this guy.

Other than Daniel's avenging cop, Kiyoshi and two others, it's hard to tell who is who.

Just get some Kettle Korn, check it out for the fight sequences, don't try to figure it all out. It has a certain style. There's far worse stuff out there than this.

"Set it Off" is another brilliant little B sleeper by the talented F. Gary Gray. What sets this film apart from your routine crime caper/heist flick is that it features some very impressive and strong performances by Jada Pinkett-Smith (one of her very best roles) and Quen Latifah. Vivica Fox, Kimberly Elise and the underrated John C. McGinty were also quite effective in supporting roles. Blair Underwood, who I like, was sort of wasted as reverse eye candy. The love story sub plot was a bit if a distraction, only in a minor way. But at the core of this film was the bond between these ladies, all driven to rob banks for various reasons. What they all shared was their desperation. Instead of cliched cardboard characters, we are served pretty well fleshed out characters with as much depth as time allows. Some have mentioned they didn't like the ending, but I rather did. Queen Latifah was outstanding as a hardened career criminal. There is one scene where Jada's character stands up to her and it's tasty.

All in all, a pretty dang good thriller film that should be seen. The performances are what elevates it above the norm for this genre.

"Set it Off" is another brilliant little B sleeper by the talented F. Gary Gray. What sets this film apart from your routine crime caper/heist flick is that it features some very impressive and strong performances by Jada Pinkett-Smith (one of her very best roles) and Quen Latifah. Vivica Fox, Kimberly Elise and the underrated John C. McGinty were also quite effective in supporting roles. Blair Underwood, who I lilke, was sort of wasted as reverse eye candy. The love story sub plot was a bit if a distraction, only in a minor way. But at the core of this film was the bond between these ladies, all driven to rob banks for various reasons. What they all shared was their desperation. Instead of cliched cardboard characters, we are served pretty well fleshed out characters with as much depth as time allows. Some have mentioned they didn't like the ending, but I rather did. Queen Latifah was outstanding as a hardened career criminal. There is one scene where Jada's character stands up to her and it's tasty.

All in all, a pretty dang good thriller film that should be seen. The performances are what elevates it above the norm for this genre.

In this hoped for "revival" of the Blaxploitation genre, you have the superstars of Black '70s cinema: Jim Brown (always with the biggest gun with the longest barrel), Jim Kelly (who I always thought was a posturing joke), Richard Roundtree (still looking good post-Shaft), and Fred "Da Hammer" Williamson (so cool, he has ice dripping down his back!).

Only Roundtree has kept his actor's dignity of the four. Fred still cranks out his Po Boy Productions straight to video flicks, but I will say he still does well in Europe. These low budget films actually are profitable there. I'll give him that. Brown has had his own share of woes in the press in recent years and just walks through this one. Jim Kelly has to be thee WORST actor of the group. GI Joe (with the Kung-Fu grip) could whoop him easily. (In one scene, his woman is getting gang-banged, and he's getting his KF stance on against one bad guy). And Roundtree didn't embarass himself, and has at least has maintained a long list of character roles, most notably the "Shaft" update with Samual L. Jackson in 2000.

This is one turd of a movie, lovingly directed by Williamson. Bland direction, hokey lines, low budget hoettas, you name it. Yet it's considered a cult favorite, by whom I don't know. I'll skip the plot. It's so banal it doesn't bear repeating. On the level of a Cynthia Rothrock film. But the best scene is at the end when Fred "Hammer" sticks one of his trademark cigars into a pooch's mouth.

So there you have it. Gets a 2 out of 5 from me.

And most of the soundtrack was "moonlighted" by Jazz Fusion keyboardist Rodney Franklin, but credited to others.

Hey, he will never get an Oscar for acting, but Roddy showed some humility, a bit of sensitivity and played a romantically confused boat skipper guy that wasn't the usual killing machine he normally plays.

Best part of this film, besides the nice ocean photography, is my main lunatic/drug dealer (will he EVER escape these kind of parts), the legendary Juan Fernandez. Don't think I have ever seen Juan in a film without an Uzi in one hand. This guy always plays these psycho/GQ smoov ultra violent gangsters. The type that will smile at you while he's sticking a knife in sideways. The idea of he and Kitaen as a married drug-running couple was laughable. The Aussie guy from "JAG" (Trevor something) plays his usual brute (who hated Piper for being with his ex), but chills out at the end. Roddy ends up with no one at the conclusion, except his boat and the water, feeling stupid for having done this drivel of a flick.

Late night C level STV (Straight To Video) erotic thriller. A little action/violence, but mundane for a Piper movie. But Roddy tried. And I will give him Mad props for doing the not so obvious thing...

Just saw this very surprisingly hilarious film and while I won't rehash the plot (several already have so you get the basic premise), the audience (including myself) sure got some gut-busting laughs from it.

Special kudos to Steve Martin (returning to his sillier 'Happy Feets' SNL days and I'm sure glad to see it), the always funny Betty White (playing the ultimate white racist snob neighboor with some great lines and a pasty smile), my main man, Eugene Levy ("Ya got me straight trippin, Boo!") who added SO much to what could have been a ho-hum "best bud" part, the always dignified veteran Joan Plowright, who played her part with a eccentricly looney twist (and had a few great scenes herself), Missi Pyle, portraying a snotty, condescending, man hungry and obnoxious ex sis-in-law who pops up a little TOO frequently (and convienently). All of these players had thier golden moments in this film that (thank GOD) never got over preachy about ethnic relations, divorce, and most of all, the stereotypes we carry within us all.

But I save my greatest praise for Queen Latifah, who certainly shows beyond any doubt that BBWs (Big beautiful Women) can be sexy, funny, intelligent and sensitive. She has really developed noticeably and as another reviewer pointed out, seems much more evolved as an actress. She's got a ton of attitude but you see she's a sweet gal underneath the hard exterior. It's her show here and she displays a lot of natural talent as a comedic actress who has a great career ahead of her. (I have not seen "Chicago" but have read she's up for a Supporting Oscar-hope she gets it). I read many of the other comments here, and I can only say that if you didn't enjoy this film for the hilarious escapist and witty film it is, the way it comically pokes at ALL stereotypes, that's YOUR problem. If you are a prude, stay away from it. Yes the plot was somewhat derivative, there were some holes and predictable parts, but BDTH adds a few interesting and fresh twists that make it truly enjoyable. The "odd couple" paring of Latifah and Martin was inspired casting-they play off each other very well and had some screamingly funny scenes together. $31 million opening weekend says a LOT of folks "got it". And enjoyed it immensely.

I give this an 8 out of 10. If you want to have a good laugh and just be entertained, this is a great flick to see.

I saw this excellent film and was so impressed with the performances. Forrest Whittaker, in one of his strongest roles, proves once again he is one of the most under appreciated actors working today. In a town of Louisiana in 1964, at the dawn of the Civil Rights movement, he portrays a hard working man who, as a spokesperson for the Black workers in a local paper mill, is simply trying to survive in a United States that refuses to recognize a Black man's truth worth and self dignity. This small town in Louisiana of this time period is very oppressed, racism is overt, the Klu Klux Klan is a dominant force, many of the police are in the Klan, and Whittaker's character wearily knows his place, that he and his brethren will never rise above the oppressive segregation that stifles them and their families each and every day. Two things happen to spur action here. When one of his co-worker friends is beaten by the local white powers that be for simply adding his name on a posted list at work for consideration for a promotion to Supervisor, and 2 white Civil Rights workers (one played impressively by Jonathan Silverman) come to town to help raise consciousness and organize the Black locals for non-violent demonstrations, Whittaker-out of necessity-evolves into a man of purpose (and action). He and his friends form a covert group of armed military man called the "Deacons Of Defense" to protect fellow Blacks from the racist police and covert mill workers who are dead set against any integration. What knocked me out at the core of this film was the uneasy alliance/relationship between Silverman, who, as a young idealist, sincerely wished to promote a non-violent agenda, and Whittaker, who knew the only way to preserve and survive was to arm and fight the white power structure on the same terms as they did. When Silverman (and his Civil Rights coworker) get badly beaten as "nig--r lovers" by the racist locals, and the federal government announces that all forms of segregation must be abolished (per Lyndon B. Johnson's mandate), a final confrontation occurs between the white KKK supremists and the Deacons. The law now reads "local law enforcement officials MUST protect Black citizens". But will they? It is chilling for a TV film to create this level of tension, yet there is a balance in characterization, considering the touchy subject matter. Director Bill Duke shows his flair, style and sensitivity to the historical content. He filmed this explosive film in a quasi-documentary style, using some very disturbing footage, and black and white photography that makes you feel you are there. This material, while little known, was treated with utmost respect and factual data. Ossie Davis is wonderful as the local minister, who grows to finally understand that there is no recourse but to support what the Deacons are doing. And as the previous reviewer well noted, the man just cannot give a bad performance. Supporting roles were well casted and portrayed. But it is Whittaker's show all the way. I feel this film is so relevant today; it needs to be seen by all youth. Actually, everyone should see this movie. It's that moving. A must see film.

This 2nd sequel to the original "Superfly" (1971) has another face portraying the super-smooth Priest, who has since been living as a legitimate businessman in Paris. The plot is a straight-up revenge story (Priest's former dealer buddy Eddie has been slain), it's just one that doesn't hold your interest at all. We've seen this done many times before, and much better. Nathan Purdee has the pretty-boy look (don't know where the hell he came from), but lacks the acting ability or charisma of Ron O'Neal. You don't give a hoot about him at all. (Whereas you wanted to see Ron O'Neal come out on top, in spite what he did for a living). Actually, Tico Wells (as Priest's back up man, Willy Green) and Samuel L. Jackson (as a buddy named Nate) steal this slow moving film with a highly implausible plot. Lot of shootings, plus a wasted Margret Avery in a quasi-love interest throwaway role (although she still looks great these days), and Carlos Carrasco as Hector ('Gigantor Ortiz' in "Speed") is the best thing this mediocre film has going for it. There is one other henchman named 'Joey' played by Leonard L. Jackson (not related to Sammy) who has the most annoying tee-hee laugh I've ever heard. Sig Shore is one lousy director. No style, some shots linger way too long, zero tension build, pace only picked up at the end. The cops were both stupid and annoying. The locales are true gritty NYC/Harlem all right, but this film is dry as a two-day old piece of toast you forgot to eat. I also see Nathan Pardee hasn't done much of anything else (other than one other film) since this came out in 1990. That tells me a LOT. Curtis Mayfield tries hard to recreate his killer original score (with a Hip-Hop twist) but ya just can't go back I suppose. This should've never been made.

This was an intriguing movie from PM Entertainment. I personally like Michael Madsen. He has that comical way of looking at someone sideways like the doggies in commercials when a human does something stupid. I also really like R.Lee Emory. This guy is your resident slickster/quasi-military hardass/part-time mercenary (just like the part he played in "On Deadly Ground). He's always hard-core and looks crazy.

Plot was derivative (as other viewers pointed out), but the chases and scenes inside the alien spacecraft were not bad at all. Especially for a flick of this type. The actress portraying the alien was very pretty. Seen her before but don't remember where. Stephen Williams was over the top, with his white hair and eyebrows.

Another viewer commented that no one seemed freaked out over the alien presence. A valid point that dilutes the story a bit. Especialy Madsen. And that's what makes him a Grade A "Straight To cable" guy! Just too cool!

I first saw this film as a 7 year old boy and had read the book. For 1960, this was a rather big-budgeted picture, with pretty impressive effects. Rod Taylor's portrayal of H. "George" Wells was heartfelt and the film really hinged upon him. This man was a true scientist who became so appalled at the Eloi for no longer having the desire to learn, let alone to stand up to the Morlocks. George showed the Eloi that there was another, more positive way of life. And, as a young boy, that gave me hope for the future. Which, in the beginning of the Kennedy era, I had no idea just how turbulent the '60s would be.

I found the depiction of 1966 an interesting interpretation. It would've been even more interesting to see the producer's inter- pretation of the late '80s or 90s, prior to showing a future year most of us cannot relate with (802,771).

I have a VHS tape of this film and it is shown on occasion on cable. I watch it a lot. Last time I saw Rod Taylor, it was on "Walker, Texas Ranger", about 2-3 years ago. And even though he is much older, he still had that special quality that came across I remember so well from his portrayal of H. George Wells.