Reviews

Gimme a break. I was going through puberty at the time. Dr. Ann MacGregor was my dream woman - brilliant and gorgeous!

Michael Fassbender, James McAvoy and Tom Hardy didn't become stars overnight. They started out in small roles like these and worked their way up.

Over the years, as I've watched more episodes, my appreciation for Voyager has steadily increased. I'm reminded of Gene Roddenberry's original vision of Star Trek - exploring universal themes about the human condition within a sci-fi framework. I believe Voyager's episodes delved more deeply into these than any of the other series. Subjects like faith (Sacred Ground), suicide (Death Wish), loneliness (Alter Ego), scientific truth (Distant Origin), life after death (Mortal Coil, Emanations), God (The Omega Directive), guilt (Latent Image), crime and punishment (Repentance), and inspiration (Muse).

To the writers and producers of these and other similar episodes, I believe Gene would have been proud of you.

Too bad he was up against Anthony Hopkins in Silence of the Lambs that year, or I believe he would have won the Best Actor Oscar. He did win the Golden Globe though. His one scene that really stands out is the last therapy session with Streisand. Watch his subtle facial expressions and body language. A difficult and powerful scene that he totally nailed.

I recently saw this excellent episode, and I noticed several things that brought to mind similarities in Star Trek TNG and Star Trek Voyager. The idea of scooping out an entire area was also shown in the TNG episode The Best of Both Worlds - Part 1, where the Borg removed the entire New Providence colony. In fact, the post-removal shots in both episodes look very much alike.

Also, the disease symptoms in A Feasibility Study look similar to the Phage, which afflicted the Vidiians in Star Trek Voyager. The Phage looks more terrifying possibly because the makeup budget was no doubt smaller in the Outer Limits episode.

This is a textbook example of how the Hollywood cookie cutter factory takes a nice sleeper hit documentary and turns it into 2 hours worth of clichés. I lost count as to the number of other films whose elements and ideas it used. I almost expected to hear the blonde competitor say, "You're okay LaRusso", when she presented the trophy, or have one of Pierre's kids get on the mike at the end and say, "If I can change...and you can change.........everybody can change."

If you want to feel uplifted and see real kids enrich themselves in real life situations, please do yourself a favor by skipping this and seeing Mad Hot Ballroom instead.

It's been over 25 years since I first saw this (still catch parts of it every so often on cable), and only two things are still memorable. One is Jerry Goldsmith's theme music that later was used as the theme for ST:TNG. It was so good, I remember buying the sound track when the film was released, and was the only 8-track tape I ever purchased. The other was my reaction when I first saw the stunning Persis Khambatta (plus, I believe her baldness added even more to her exotic beauty). I would think my expression must have been very similar to the expression on Shatner's face during his seemingly endless closeups while looking at VGER (sort of like his famous "pause-acting" look only stretched out over a few minutes). There is one brief scene, though, that places her in my count-on-the-fingers-of-one-hand pantheon of all-time screen beauties. Immediately before Decker's hair begins to sparkle, there are two quick closeups of her looking quite hotly at him. I have never seen a woman look more beautiful on film than in those few moments.

This was one of my favorite shows from the 60's. Two things in particular stand out. One was the underrated comedic talent of Werner Klemperer. Up until Hogans's Heroes, he had done mostly drama, usually in non-likable roles. It was a great surprise and joy to discover his amazing gift at comedic timing. It didn't matter whether he had the funny lines in the scene or the straight lines. He just seemed to know when to take that extra pause or jump right in at the right moment to get the laugh.

The other was the wonderful chemistry among the regular cast and even the guest actors as well. I always noticed how the guest actors (even the ones playing "bad guys" - Howard Caine as Major Hochstetter is a great example) seemed to be having sooooo much fun in their roles. I believe that extra enthusiasm was a big factor in making the show so enjoyable to watch.

When watching a movie musical, I expect to see actors who can sing/dance up a storm in those roles that require either or both. Let me also say that I think Richard Gere is a wonderfully talented actor whose past performances I've thoroughly enjoyed. But let's get real here, folks - THE MAN CANNOT SING! If he had sung any of those songs at an American Idol audition, do you honestly believe he'd get past the first round? There's only one reason he was cast - STAR POWER = BOX OFFICE! The producers/directors could easily have gone with a slam dunk choice and cast James Naughton, who won a Tony award as Billy Flynn in the late 90's Broadway revival. Ahhhhh! - but how many people have heard of James Naughton as compared to Richard Gere? By the way, if you don't think there's much of a difference, watch the movie again. Then listen to James Naughton sing the same songs on the Broadway sound track, and you'll know what I mean.

The first time I saw this, I really got caught up in the story and characters. I was laughing and cheering all the way up until a scene near the end, at which point, I wanted to scream at the screen. I really hate it when a director expects the audience to swallow something so blatantly inaccurate, just because they're riding a nice and warm emotional wave. I'm talking about the James Earl Jones character, and his story (and photo) of playing in the majors with Babe Ruth. Unless he had been an Hispanic player originally from a Latin American country (and even that would have been a big if), it would have been IMPOSSIBLE!! The fact that just one prior review even mentioned this shows just how easily manipulated the typical movie goer is.

Looking back at this show after all these years, two things stand out. First, doing this show must have been nirvana for Ross Martin. In almost every episode, he got to change costumes, add makeup, and play a completely new character, usually with a different voice and/or accent. What character actor doesn't dream of that, and what a marvelous talent he was!

Second, when this show first aired, I was going through puberty, so it was probably a big influence - but I cannot recall a TV series that consistently featured, week in and week out, more drop dead gorgeous women than this one did. To the producers I say thank you, thank you, thank you!!

I first saw this film a few years after it was released, and every few years since. It never fails to draw me in almost immediately. I feel so connected to the characters. There is one scene, however, that always stays with me long after. I'm talking about Denzel and the single tear. It's a terrific lesson for film producers and directors on what a gut-wrenching scene really is. No explosions, no gore, no frantic cutting with one-second shots, not even any dialogue. Just one closeup and one reaction shot, yet so much power! It's not possible to watch that scene and not feel his pain.

It's also so wonderful to see a film with a great ensemble cast of actors with many, at that time, who were right on the verge of stardom.

I've lost count how many times I've seen this film and do not feel it necessary to detail its brilliance. Others in this column have already done so and very well. It's an epic film in every sense, and I have a suggestion the next time you see it. Look carefully at Lawrence's face, especially his eyes, in scenes where someone is speaking to him one-on-one and he is listening (his first meeting with Allenby in Allenby's office is an excellent example). His constant inner struggle that ranges from terrible self-doubt to an almost Messiah-complex is fascinating to watch. For me, that's where the real story lies - not so much in what he did, but how he dealt with it internally.

I think if you try this, you'll experience a whole new side to this film and will appreciate it even more.

I've seen every episode, either in the original run or in reruns. I'm also fortunate to have taped my favorite episode, which touches me more deeply than any episode of any TV series I can recall. It's the only two-part episode, and is entitled "The Inheritors". The tears always come, especially toward the end of each viewing.

You'd think with the current frenzy to remake so many old TV series and movies, a lot of which turns out to be schlock, the powers that be in Hollywood could remake this episode into a feature film. I'm always reading and hearing about the hand wringing over all the increasingly hardcore violence that passes for entertainment these days. Well, here's a story about faith, love, listening to our conscience, and doing the right thing. I also believe everyone can identify with the children. Who among us, at some time, didn't feel unwanted, or unloved, or rejected when we were a kid?

If you are able to catch this episode in reruns or can get a tape, please do yourself a wonderful favor. Plus, you get to see Robert Duvall when he had hair!

A very funny and sweet film. Is there any actor out there more versatile than Gene Hackman?

One other observation. I imagine that movie acting can sometimes be rather torturous. Say you're Jason Lee. Your job requires you to report to the set and make out with Jennifer Love Hewitt in just about every scene you're in. Plus, you get paid rather handsomely in the process. Whew! Brutal...just brutal. Hmmm...for some reason I imagine him perpetually in the same "condition" as the male statue.

It's been a long time since an actor has riveted me to the screen as much as Ben Kingsley did in this film. His monologue in front of the bathroom mirror is chilling. Looking back, I can't think of any role where he hasn't been absolutely true to the character and totally believable. He richly deserved his Oscar nomination and should have won.

A few other observations - the Cockney accents were a bit tough to penetrate at times. Also, is it just me, or does Ian McShane look like he's hardly aged a bit over the past 20 years?

You are now in a deep hypnotic trance. You will go to your local video store and rent "Curse of the Jade Scorpion". You will come home and watch it right before bedtime. While watching, you will find it perfectly normal and natural that sexy, classy women like Charlize Theron and Helen Hunt would want to make love to, and fall head over heels for Woody Allen. It is normal because this is Woody's Fantasy MovieLand and not the real world.

When the movie is over, you will sleep peacefully and awaken well rested. You will then return the tape/DVD (if it's a tape, remember to rewind). I will now snap my fingers. When I do, you will come out of your trance alert and refreshed and remember nothing........SNAP!

This is my all time favorite film. Absolutely brilliant on all counts. It's the most biting satire of the awkwardness and folly of the military that has ever been screened. You're seeing actors at the peak of their form. I would rate George C. Scott's performance here on a par with his work in Patton. His comic timing is wonderful - not to mention Sterling Hayden (how did he keep a straight face saying some of those lines), Keenan Wynn (Mr. "Prevert"), Slim Pickens and James Earl Jones just starting out (even back then he was reciting every line like it was Shakespeare).

There are so many great moments and memorable lines, right up to the closing montage and song. And what can I say about Peter Sellers. The man was a true genius. It's a bit eerie watching him disappear into those three characters. His phone conversation with the Soviet premier is hands down the finest monologue I've ever seen on film ("I'm sorry too, Dmitri").

If you've never seen this film, please do yourself a huge favor and check it out. You won't be bored. Oh.....and keep close tabs on your precious bodily fluids!

This is one of the better dark comedies I've seen in quite a while. I really liked the comic timing and excellent speaking rhythm among the cast, particularly between Spacey and Davis. Denis Leary's inserts are caustically funny. Also, don't overlook the wonderful Christine Baranski's physical humor and biting sarcasm. I could see the cast really having fun with the material and each other which made the film even more enjoyable.

Ok, Ok - I realize that (as the title suggests) this film is supposed to be taken as a legend or even a fantasy, and that I should suspend my disbelief and just enjoy the ride. For the most part, I was able to. The script is literate and clever, the cinematography is gorgeous, the kid who plays Hardy is wonderfully natural, Jack Lemmon's voice-over is just folksy enough, Will Smith fits his role like an old broken-in glove, and the Matt/Charlize combo works nicely.

But, my God! - couldn't Robert Redford have found an actor who at least knew how to swing a club? Now I think Matt Damon is a huge talent and a terrific actor, but c'mon - he looked like someone who had never picked up a club, and was then given a crash course just for this film. Later, after seeing the film, I learned that this is just what happened. I'm especially disappointed that Redford would do this, given that he made sure he himself looked quite credible swinging a bat and throwing a ball in "The Natural". (Perhaps having nightmarish visions of Anthony Perkins in "Fear Strikes Out" gave him added motivation.)

This is so important in films about any popular sport, since most of the audience, from watching the pros and top amateurs on TV, can recognize the form that's needed to play at a high level. Most of today's directors know this, and modern sports films have by and large become a great deal more athletically realistic and credible than sports films of the 40's and 50's, some of which were laughable. But, every so often, one still slips through the cracks. Shame on you, Robert Redford.

Kudos to Mel Gibson for an epic story and a wonderfully heroic character. I found myself, however, emotionally drawn more to the Robert Bruce character. Upon reflection, I realized that, contrasted to Wallace's war with the English, Bruce's war is with himself. His struggle embodies a universal theme that everyone can identify with - namely, do I follow my heart or do I follow my head? Who hasn't, at some point in their life, wrestled with this? In Bruce's case, he must choose between giving in to his passion and joining Wallace's crusade, or being coldly pragmatic and following the "realpolitik" advice of his father.

The scenes where Angus MacFadyen shows Bruce wrestling with his conscience and letting his turmoil surface are quite powerful and provide a more compelling and deeper emotional layer to the film.

> There's an old theatre saying that goes, "If it's not on the page, it's not > on the stage." This script should be required reading in screenwriting > classes. As wonderful as William Macy's performance is, his work on the > screenplay is even better. It pushes all the right emotional buttons without > being melodramatic or manipulative, which is awfully difficult to do. >