Reviews

...unless you're maybe 8 years old, in which case the sight gags might keep you amused. For a while. Matthew Broderick should be ashamed for getting himself mixed up in a mess like this. He's good at playing straight men, but his deadpan delivery of this lousy script will have you checking your watch frequently. It's a particular waste of his comedy talent, which is well-documented. Danny DeVito once again demonstrates that his career peaked about 10 years ago as he mopes his way through the story. Just when you think you've got his character figured out, he does something that takes you back to square one. Is he a nice guy? A scumbag? A criminal? It could be any of those things, or none. God knows the ending doesn't give you any ultimate idea. I don't really know, and I don't really care. Avoid this film unless you have nothing better to do at the mall except wait for a swollen molar to subside. It's about the only thing that seems less appealing than sitting through this turkey.

This is one of those rare films that truly takes your breath away. Sure, it may be about the life cycle of penguins, but even the toughest critic will see parallels in our own lives and be touched by the eternal struggles involved in raising and protecting a family. The script provides for a thoughtful and sympathetic narration from Morgan Freeman, whose voice is perfect for the range of emotion and drama you will sense when watching what these critters must endure to survive at the South Pole. This is great family entertainment (the G rating ensures that) and a must-see on the big screen this year. You won't soon forget it.

I've gotta say the MITM has roared back to life in the current season. I never missed ANY episode, mind you, but last season's shows certainly showed the strain of the producers' labor problems with Jane Kaczmarek (pardon the pun). It's not even that the writing -- always a strong point here -- suffered, but trying to fill gaps around the absence of such a character would be a very tough job. I don't think that the show has even begun to mine the plot possibilities presented by Jamie, and I strongly disagree with those who say the sections featuring Francis on the ranch are lame-o. Unfortunately or otherwise, though, this show will begin to transmogrify at some point as the middle boys grow up. I still can't get used to the fact that Reese always seems to need a shave. ...

This version is definitely worth a look, if for no other reason than to watch Barbara Stanwyck and Clifton Webb go at it like a dog and a cat. The script, which won an Oscar, is better written than James Cameron's 1997 version. In some ways, this movie also "takes you there" better than Cameron's movie, special effects notwithstanding. This is not surprising; Stanwyck and Webb were both alive when the Titanic sank, so their snooty countenances are much more authentic than those of the society types from the 1997 version. Eye-popping cinema? No, but as I said, it's worth a look.

I can't conjure up enough bad things to say about this "film." We were conned into renting the DVD under the impression it was some kind of holiday fare -- which it isn't -- and my 12-year-old was more appalled by it than I was. Imagine Adam Sandler as an alcoholic, sociopathic, self-loathing moron. (Well, that's not too difficult, I guess, considering his other movie roles.) But then imagine him using this personality to note his Jewish heritage during Hanukkah. He spouts every evil, vicious emotion that humanity can produce as well as the usual array of toilet references. I will not insult your intelligence by describing the action further, other than to say it is irredeemably, indescribably bad. It is so bad that it makes you wonder how anyone could consider this entertainment. Run from this movie before it scars your corneas, or you will witness a vivid moment of the agonizing death of cinema -- all at the hand of Adam Sandler!

This is a grandpa-grandson road trip movie that was moderately entertaining, if a tad long. Tim Daly dusts off his old-lady persona from "Wings" to play a sandwich-generation sufferer whose heart is in the right place (deep down) but who's a little too grouchy and overwrought to gather any real sympathy from the viewer, even at the end. This movie also shows that Peter Falk really should find himself a lounge chair next to the pool and stay in it. He's overweight, out of breath and bordering on feeble these days. His voice is so raspy and low that large sections of his part of the script were practically inaudible. Josh Hutcherson, who played the grandson, is the real standout here, with the only real screen presence of the movie. Watch out for him.

"The Scarecrow of Romney Marsh" is among the last of the classic films that Disney Studios produced in the 1960s before its releases started their long slide downward into the 1980s. This was made for TV but was even better than some contemporary theatrical releases from Disney. It is tense, well-written and well-performed. It also excels as a period piece; the costumes and sets really take the viewer back to the southern English coast in the late 18th century. It also reminds us that Patrick McGoohan didn't hesitate to work for Disney at this time (in "Thomasina," too) in his usual sauve and understated but also intense way. If you ever find yourself shut in on a cold, rainy night this winter, no problem. Get the kids together, order some pizza and pop this gem into the VCR. You'll be pleased.

C'mon, people. Are you really having trouble determining whether this is a comedy or not? From beginning to end, it's filled with hysterical and whimsical (if sometimes troubling) situations, wickedly funny bits of dialogue, and sight gags. There are way too many to mention here, but the highlights would include the trial of the foul-mouthed gentleman, the helicopter ride, the defendant eating the lottery tickets, Arthur and Gail's Chinese dinner, the ethics committee hearing, Carl and the prostitute and, of course, the "opening statement" in the courtroom. An important subplot runs through all this -- Arthur trying to hold his sanity and legal practice together, while sparking up his love live -- along with some of the tragedy he witnesses. He is, after all, a budget-priced criminal defense lawyer in a large Eastern city, so I wouldn't expect everything to be pretty and tidy, even in a comedy. Contrary to some of the comments below, this movie is highly pedigreed. Thought the script was weak? Barry Levinson co-wrote it. And what's all this bellyaching about the music? This movie was released during the disco craze and the score was performed by a jailhouse ensemble. What did you expect the music to sound like, Tangerine Dream? Porter Wagoner? Beethoven? It was written by Dave Grusin, who has been nominated for seven Oscars (he won in 1988 for "The Milagro Beanfield War") and also has collected seven Grammys over the years. Of course, it was directed by Norman Jewison, who has shown good, if occasional, aptitude for comedy ("The Russians Are Coming, the Russians Are Coming," "Moonstruck," "Other People's Money"). Also, if you look at Pacino's performance with a critical eye, you may decide it was one of the best of his career -- especially compared with some of the more contrived (if popular) portrayals subsequent to this movie ("Scarface," "Scent of a Woman"). Try to remember the context in which a movie was released while watching with that critical eye and it's generally apparent if it stands the test of time. I'd say this one does -- beautifully.

Funny, people nowadays don't seem to realize that this was a World War II propaganda film -- only one comment below makes that point. Many such features and shorts were turned out during this time, and not just from Disney; Warner Bros., MGM and others did as well. Keep this in mind and it makes a little more sense. Even more of the fractured, surreal nature of this film is explainable when viewed in the context of other Disney animated features of this time. "Fantasia" (of course), "Dumbo," "Pinocchio" and other movies contained what seemed like drug- or alcohol-induced sequences (maybe someone with more intimate knowledge of Disney productions of the time can shed some light on those!). Disney also seemed eager to experiment with blending of animation and live action during this time ("Song of the South"). Anyway, this was aimed primarily at engendering better relations between North Americans and our ostensible allies in Latin America. The animation is very good and some of the music (especially the title song) is memorable. Watch it for what it is and enjoy!

I think it's interesting that current watchers of this fabulous movie contend that all the Oscars it won were a fluke. It is indeed a thinking-person's movie. "A Man for All Seasons" operates on so many levels that it bears watching every six months or so, because the viewer can derive something touching or meaningful from it each time. How many movies made in the last 15 years can say that? Hollywood has spent much of that time turning cinema into an art form for children, the way it did to animation in the 1960s and '70s. Sadly, from modern viewers, it's a harsh criticism to say a movie demands their attention, imagination and emotion. Nowadays, if "A Man for All Seasons" is considered a movie strictly for grownups, remember that it was made at a time when most films were still family fare. Younger views could learn a lot from this film just as basic art from another era in moviemaking, not to mention the historical, religious and human implications and insights it can offer.

This show proved you should never underestimate cornball. Sure, a lot of hicks watched the show (I come from a long line of ridge-runners myself), but they alone didn't keep "Hee-Haw" on the air for all those years. Many people with otherwise sophisticated tastes have low-brow senses of humor. This is why people are still watching "The Three Stooges" and "Benny Hill" after all these years. "Hee-Haw" was ALL cornball, slapstick, T-and-A and great country music, and people ate it up. Much of the show's appeal also came from its fair amount of satire (remember Charlie's radio show on KORN?) and the cast members' unerring ability to laugh at themselves, though viewers never got the impression that anyone felt demeaned by it all. Which is a hell of a lot more than you can say for TV these days.