Reviews

This is, in my opinion, one of the best American films of the 90:s. Sorkin's well written dialogue must have been an easy task for Reiner to direct. Everything works! This story rises tough moral questions but do not serve us the answers on a plate. And that's a good thing because it makes us think. Cruise does a good job doing the immature Kaffee with his father's heavy reputation hanging over him and Nicholson is, like always, outstanding. And the encounter between the two in the court room in the end is a classic. Cruise, in this scene, really proves to be not "just another pretty face". Another good thing is that in the closing scene, the flirty talk between Kaffee and Galloway is stricken. It would have been too cute a finish, unworthy a drama like this. Top marks.

"Titanic" is a technical masterpiece and the love story between Jack and Rose have got an epic touch. But somewhere the characters don't seem to fit into the time frame of the 1910:s. Maybe Cameron meant to put people with the 1990:s way of thinking and acting into another time, what do I know, but this really is the weakness of this exceptional movie. But, as I said, technically it would get top marks and every time I see it I get surprised that three hours have gone so fast.

I tend to like movies, like this, with a "naive epilogue". It's really a warm and positive story. Harrison Ford in some phases of Henry's rehabilitation period really does some convincing acting, but in some he falls through. It must, of course, be hard to play someone with physical disabilities (we can't expect everyone to do it as good as Leo di Caprio in "What's eating Gilbert Grape"). The film as a whole is very good, I think, because it shows how we all really wear iron masks when we get too stuck in rat-race and cynical attitudes. In "Henry's" case he loses his mask and has to make a new start.

You will get some excitement out of this movie, once you stop expecting Goldie Hawn to be funny. I think she could really do more of these "serious" parts and John Heard is also quite convincing. I haven't seen any other films of Damian Harris but I would like to.

Critics tend to treat these films built on characters from tv-series in a patronizing way, but I think Wennberg's and Brandeby's efforts really are worth while. Nice picturing of Gothenburg in the fifties is a bonus you don't expect of a film like this. A lot of laughs, many of them referring to time-typical events, and a small part nicely played by Per Oscarsson.

Allright, Hobert have aroused great expectations after good work like "Glädjekällan" and "Ögat" but the fact that this film makes me feel nothing can't just be a result of overexpectations. The idea is not too bad, the actors (at least Stangertz and Lundén) do their job but it just doesn't help. Maybe it is just too hard to do seven movies in eight years, or when you do it with the same characters it just tend to get "soapish". Now and then Hobert's geniality beams forth but it never comes out entirely. When it comes to some ingredients, for example, Michaels relation to his "secret" daughter you just wait for it to be developed but it never is. And, sorry to say, Hobert also gives in to the (among swedish critics) common notion that "if a film contains no vulgarities it can't be no good".

This movie is just too much. The intensity of action and special effects is too high during too long time so you end up just getting bored. No real script and no talented actors to compensate it. If you really must see one of these "comet killers" Deep Impact is a better choice.

I don't know how many times me and my wife have seen this video, I stopped counting at 25. Really sharp dialogue - sometimes it seems quite improvised, and sometimes it seems carefully planned. One of the favourite scenes is when David (Peter Dalle), after one of many quarrels with Marie (Lena Endre), smashes the TV-set he just bought in the street and then gets arrested by the police.

This story would be nearly pathetic with any other two actors in the leading roles. It states how adultery can make life complicated and tormenting. Streep and Eastwood have never been better, and that statement means a lot.