Reviews

Having seen the first episode, I think the creators are missing an opportunity to make this more than a smutty freak show. First, they wasted way too much time in setting up an obvious premise. Paris and Nicole are spoiled jet-setters who will be spending a month in the sticks. We get it.

The indulgent shopping spree and send-off party were really not crucial to the show. Brief in and out. The condescendingly hick announcer's voice-overs are indeed reminiscent of "The Beverly Hillbillies." The comparison is not necessary. Leaving the pickup with the keys and instructions was obviously unrealistic. Who does that? And with a camera crew, to boot. Sending them to the store as soon as they got there? What host does that to their guests?

A big help to make this work would be to apply leverage to the plot. In the first episode, the girls refused to involve themselves in chicken plucking. The results? Nothing. When they DID go to the store, for instance - nothing.

How about this:

If the girls refuse to perform a chore, they forfeit an item or privilege. Won't pluck a chicken? Say goodbye to the pooch, or a couple of pairs to shoes.

If they behave themselves and play along, they get to call Mommy, Daddy, friend, etc., and they get one item of their choice.

Now you've got a chance at a decent show.

A sometimes uneven romp is overtaken by a simply brilliant performance by Peter Falk. Don't miss this overlooked jewel. Falk stars as a writer of radio serials who has been both a success, and ridden out of town, from every decent station in the country. Now in New Orleans, we discover his secret for success, and his hysterical passion to pull everything together.

Nothing amuses me more than a quirky little wink at real life, and that's what this one is. Add two exceptional performances by Zelweggar and Freeman and you've got a little gem here.

Betty Sizemore's (Renee Zelweggar) only escape from her humdrum existence as the waitress wife of a sleazy, philandering car salesman is through her fascination with her favorite soap - a hospital show. Add her infatuation with the lead character (Greg Kinnear) to a dream of nursing, and Betty is barely in touch with reality. When viewing the bizarre death of her husband at the hands of hit men (Morgan Freeman and Chris Rock) puts her over that edge, she sets out to correct the errors of her fantasy past - traveling to Hollywood to patch things up with her true love, that dashing doctor. With the hit men on her heels trying to tie up loose ends, retrieve stolen drugs, plus realize Freeman's ever-growing fantasy romance with Betty, she heads West.

Betty's fascination proves fascinating to the Soap folk who assume she is nothing more or less than the perfect new love-interest for the show. Only by grasping Betty's lack of grasp on reality allow the hitmen, the local newspaperman (Crispin Glover) and Sheriff (Pruitt Taylor-Vince) to converge on Betty at the exact moment that she has relit in reality.

Zelweggar and Freeman show major chops in this one.

We have all heard the saying, "honesty is the best policy." Nothing drives it home quite like watching Hank Mitchell try to squirm his way out of the ever-deepening pit of despair his actions have gotten him into.

Hank (Bill Paxton), his dullard brother Jacob (Billy Bob Thornton), and Jacob's friend Lou (Brent Briscoe) accidentally stumble across an opportunity to do right - and a temptation to do wrong. Finding a wrecked plane in a deserted location, they must decide what to do with the $4.4 million in unmarked hundreds they find aboard. Although the intelligent Hank counsels for taking the money to the police, his two slower partners want to take the money and run. Hank yields on two provisions: 1) he holds the money until they can determine that there is nobody looking for it, and 2) when they split the money they must also split the town.

Hank's situation draws advice from his pregnant wife, Sarah (Bridget Fonda), whose every recommendation leads him into deeper desperation. Jacob's slow wit and open mouth continue to create new problems, and the drunken, bullying Lou proves ruthless about keeping to the plan. At every turn in the plot, poor Hank must make another fatal error to cover up the last one.

The desperation that the simple plan throws into the lives of Jacob and Hank soon make them rue the day they ever saw the money.

A compelling story and great performances make for a wonderful, yet painful two hours.

With all of the predictable and formulaic sitcoms on TV, what a refreshing joy it was to see something that dared to be different, to set its own course, to go its own way.

"Ed" is the charming account of a man's search for personal redemption by not looking where everyone's head says to go, but where his heart says. Ed Stevens has the day of his life when he is fired from his job as an NYC contract attorney and finds his wife with another man. He uses this as the opportunity to overcome his fears and pursue his dreams.

Returning to his home town of Stuckyville, he pursues his highschool crush, buys the local bowling alley and practices small town law.

A delight for dreamers and romantics of all ages and genders!

A truly astonishing accomplishment! Even if one were to remove the gritty performance of Jimmy Stewart, the beauty of Grace Kelly, and the comedy of Thelma Ritter and Wendell Corey, one is left with a most compelling story. If one removes the story line, one is left with stark physical beauty, and superb photography. If one removes those, one is still left with an incredible juggling of multiple agendas in multiple locales at one!

I watched this movie again for probably the 50th time, and was again spellbound by the physical layering of the filmmaking. Alfred Hitchcock balances action within Stewart's apartment, in the outside courtyard, in several apartments surrounding the courtyard, in hallways leading to those apartments, in an alley leading to the street, on the sidewalk, on the street, to the sidewalk across that street and in the cafe beyond that. An unbelievable logistical accomplishment. How very much that personifies the same layering within one of the most superlative scripts ever written. Hitch, Stewart and the rest of the cast are up to every single demand.

One of the greats. Do not miss it!

Has their ever been a better pairing than writer/director Billy Wilder and star Jack Lemmon. From "The Apartment", "Irma La Deuce", and "Some Like it Hot" to the beautiful and charming "Avanti" they work every time.

This wondrously insightful tale presents a hard-edged realist (Lemmon) meeting and falling for a true romantic (Juliet Mills) as the two visit the isle of Iscia to pick up the bodies of their recently deceased parents - and secret lovers. Lemmon and Mills are wonderful together.

Add a hysterical performance from Clive Revill as the hotel manager Carlo Carlucci and you get one of the most romantic and fun experiences available on film.

For lovers everywhere!

Teen angst movies don't get any better. Lloyd Dobbler (John Cusack) is everyman. Everyman on a mission, that is. That mission is everyman's dream - a brain trapped inside the body of a gameshow hostess - Diane Court (Ione Skye). With superb performances by the leads, John Mahoney and Lilly Taylor, "Say Anything" never lets its audience guess where it is going next, nor does it disappoint them when it gets there.

Teen age love with grown up brains. Check it out.

This weird and wonderful film works on level after level after level. By examining our views of ourselves and our society, it bowls over common perceptions and cautions. It takes on nostalgia, censorship and self examination in a new and wonderful way.

Kudos to Reese Witherspoon and Toby McGwire in the major roles, Joan Allen and William H. Macy in the "show within a show" roles. An excellent supporting performance is provided by the late J. T. Walsh. Jeff Daniels character and performance bring everything together.

But the show is stolen by Don Knotts. Citizens arrest, Barney!

"The Man in the Moon" is a sweet and heartwrenching look at first love through the eyes of a 14 year girl in the South. When I first saw this film, I was astonished by the performance of first time actress Reece Witherspoon. My reaction was she's going to be a great actress, and she's going to be a stunner.

Boy was I right or what!

British comedy generally comes in two types. One is stuffy and intellectual. The other is absurd and zany. Generally speaking, neither plays that well to the American viewer.

Enter John Cleese's superb "A Fish Called Wanda," and the stakes have been raised sky-high. A superb cast (kudos to Oscar winner Kevin Kline and to Jamie Lee Curtis, Clees and the wonderful Michael Palin) carries out a witty script that is constantly twisting and turning to avoid any pretense of predictability throughout. The pacing is frantic, and the activity enthralling. There isn't a dull moment in the film!

this is one to watch again and again.

This is certainly (at the same time) a wonderfully cutting dark comedy and a truly insightful examination of real life in middle class America. With the exception of a couple of gruesome scenes (certainly integral to the story) and the language (again, probably necessary for realism) this is a must see for everyone.

Jerry Lundegard is turning the American dream into the American nightmare. Married to a wealthy woman, his dimwitted greed has dug him into a hole from which his dimwitted ingenuity can never get him out. His plot spirals him deeper and deeper.

The perfect ending to the tale comes with the last of many contrasts between this horrifyingly amoral plot and the wonderfully wholesome Norm and Marge Gunderson. Perfection punctuated!

Not that this show ever had a real chance. At the close of each episode it says, "Based on the comedy routines of Tim Allen." How could it not stink?

This show is boring and utterly predictable. The real allure is to see what stupid thing Mr. Macho will do. How hysterical!

My biggest complaint is that it (and Tim Allen) is constantly being hyped for the strong "family values." Family Values???? Tim Taylor is hardly a thoughtful husband or father. He treats wife and kids like the doofus he is.

And how about the casting of Tim Allen in a family values sitcom. Let's see, he did 2 1/2 years for selling cocaine. He's been arrested (recently) for drunk driving. His comedy routine was filled with profanity. He's done numerous guest appearances drunk where he spent the whole time ogling every woman around. Oh yes, and he recently dumped his wife.

Tack on his total lack of acting ability. Throw in Pamela Anderson. You've got something fit for the whole family - the Manson Family.

This is simply as good as comedy gets. There are many other comedies ("Tootsie", "Young Frankenstien", "Blazing Saddles", "A Fish Called Wanda") that make me roll over like this one. But not for the same reasons.

This story is marvelously off-beat. It has a tremendous cast. The direction and cinematography are superb. But what makes it rise so high is the sensational script. The eloquent language arising from such sub-ordinary characters is inspired.

I watch it again and again and again.

"Some Like It Hot" was wonderful. "Mrs Doubtfire" was pointless. "Bosom Buddies" was cheap. But by any angle, "Tootsie" begs that this genre be forever retired. Nothing can ever rise so high again.

Focus on Dustin Hoffman's genius. Savor Dabney Coleman and Charles Durning at their best. Sympathize with Sydney Pollack. Pine for Jessica Lange and Geena Davis.

Then throw all of that away. The whole movie is worth it just for Teri Garr's brilliant manic performance or Bill Murray's zany one-liners.

Not a wasted moment. Absolute brilliance!

Being a college student in the late 60's certainly impacted my reaction to this movie. The first time I saw it I was in love. Certainly with Elaine Robinson - that's a given. But also with bumbling Benjamin, who personified the out of control life so many were facing. Add an astonishing performance from Anne Bancroft. The Academy robbed her for sure.

But the key is a miraculous job by director Mike Nichols. His Oscar could not have been more appropriate.

An absolute must see. I own the letter-box (also a must).

Seeing MOTM really took me back in time, just as watching Andy (Mighty Mouse, Howdy, etc.) always took me back. The film does a good job of recreating the persona that was Andy Kaufman, but still leaves a lot of questions unanswered.

Congratulations to Milos Forman and jim Carrey for bringing back one of histories most unique and delightful entertainers.

Don't miss it!

With all of the hype that surrounds the many Christmas releases and remakes, here's an original that all of the family should see. It is sweet yet real. It restores hope and decency to movies.

We've rented it before, now we own it. After "A Christmas Story" and the Alistaire Sim version of "A Christmas Carol", this is the Christmas movie our family MUST watch every year.

In this day pervaded by slasher gore (Nightmare, Scream, I Know, etc., ad nauseum and add nausea) this movie will get right next to you WITHOUT gross-out special effects. It is a very compelling film which compels the mind more than the stomach.

Along with an outstanding script, the film works because of the fine performances of the major players. Exceptional among these are Haley Joel Osment and Bruce Willis. They carry the story clear through to the surpise ending.

Not to be missed.

If you can only spend a half hour a week in front of the tube, spend 9:30 - 10:00 (eastern, 8:30 central) watching "Sports Night", the best written show on television. If you have unlimited time to watch any and every show on, start here and begin weeding out the rest.

Aaron Sorkin is the David Mammet, Billy Wilder or Cameron Crowe of the small screen. (And let's not forget his big screen credits, including the screenplays for "The American President" and "A Few Good Men".) His scripts are crisp, clever and funny as can be.

Add the fantastic pacing of a group of talented directors, and you have the one show on TV that compels you to tune everything else out so that you can savor every second of wondrous activity.

To that we can add a great cast. Josh Charles becomes your best friend. Peter Krause and Felicity Huffman create the greatest romantic tension you will find. Joshua Molina is brilliant. Sabrina Lloyd chews scenery with pure joy and a wink. And Robert Guillaume gives consistently spectacular performances, both before and since his stroke.

Don't miss this show! If you do, you'll never get your wasted 30 minutes back.

At the recent Emmy Awards, "The Late Show With David Letterman" won for best variety series. It was the third time in its six years on the air - the second in a row. It brought the "Late Show" Emmy total to 7. Meanwhile, "The Tonight Show With Jay Leno" was overlooked again, having only won two total Emmys in the same period.

The lowest point in the already low show had to be when Leno came out to present an award. He immediately launched into his usual "if I talk really fast in a high-pitched effeminate shriek maybe I can make people think that my lame, pointless crap is actually funny" delivery with his ever present idiot-grin and head bob. Then, when the winners went up on stage, rather than acting the same as the NORMAL presenters (you know, the ones with SOME sense and taste) and stepping back while the winners give their acceptance speech, Leno could be clearly seen in the background the entire time, schmoozing away while checking to make certain he was visibly on camera. What a creep!

Add my name to the intelligent, discriminating viewers who never miss Dave, regadless of which network he's on. When he started guest hosting for Johnny, I thought, "This kid's alright." He had a nice twisted way of looking at things.

Then he got his morning show, won Emmys, but lost his show. By the time he got "Late Night" his cynicism was keenly sharp. By the time he left NBC he had reason to be cynical. CBS's major blunders have only heightened it.

If you like goofy, lame crud with high-tech effects, Jay will do just fine. BUT, if you want an intelligent and caustic wit that jabs at the powers that opress us all, Dave is like "Dilbert" in human form.

And he's better than ever.

With Dave having won best series Emmy two years in a row, one need only check his track record to see who really kicks butt in late night TV.

Dave has won Emmys at each of the three shows he has hosted. Unlike Conan, he has some sense of perspective. Unlike Jay, he has some sense of humor.

Dave has been King ever since Johnny got too tired to try. Ever since, it's been no contest.

Although this program did not remain on the air past the first season, it is interesting to note that Dave has won Emmy's at each of the three shows he has hosted. A winner then, a winner now.

By contrast, Leno has only won one non-technical Emmy in six years on the air - Dave has won best series two years in a row.