Reviews

Having seen other works of Smith's I must say this was a terrible let down. In all fairness it is a different kind of movie and no longer an indepentent cult film so what expectations I have must be taken in context of Smith's move to such a different style and genre. I mean, it was a total mainstream sell-out with no rewarding values save the here-and-there comedic frills one may or may not get from pateintly staying with it until a good way into it where it finally picks up; though know when I say picks up, I do not mean very far up at all. The true prize comes throughout as cameos and former characters of Smith's come together and ultimatly to watch Jay and Silent Bob's movie which is better than the actually movie itself. It's terrible and the funny thing, perhaps the funniest, is no one seems to thilled to be there. If you liked Kevin Smith's other movies, skip this one. It will only sour you. I give it an E, and that's unbias whereas it probably deserves and F, but it's not the worst I've seen. Though, again, from Kevin Smith, I expect more; and from him, it's the worst of his I hope I see.

I love classical music and while you don't have to to enjoy this movie, true lovers of music, especially classical will enjoy it all the more. Amadeus is a masterpiece of spectacular performances, a great story, and music, heavenly music. The costume and make up art is incredible in this movie as is the score which takes the place, truly of a third character in that when the main characters feel a certain way the music truly portrays it in a sympathetic fashion that hits you inside. A bit long, but wonderful, and a classic. Top notch direction and cinemotography to match. It will make you laugh, perhaps even cry, most importantly think, and if lucky, inspire greater things. Winner of 8 1994 Academy Awards. Rated: A-

The Farrelly Bros are great but this movie is merely good. The premise is exciting and unique and the way this film is shot is always rewarding. However, in all fairness the ending seems a little bit unrealistic for a movie that made some very philosophical points on realism. A great social commentary, it sold-out in many places and while fun to watch in the beginning--as it is a comedy--it got increasingly more dramatic leading the Hal, and the viewer into an uncomfortble experience where all you want to do is see the problems resolved and how, nothing else interests you. On this it drags and drags until the final resolution which is fantastic in my opinion, espically for Hal who shows little change, at least not enough to end the film how it ends. I would have more of an argument if I said how, but I won't spoil it for you, judge for yourself.

As I said, the beginning is funny with cast members including:Gwyneth Paltrow, Jack Black, Jason Alexander, and Joe Viterelli as an irishman--acted very well. However throughout it all, I wondered am I supposed to be laughing? Is it bad I laugh? And why immdediatly after I stop laughing do I feel sad? It's unfufilling in that way and ultimately unrewarding. I wouldn't recommend this rollercoaster of seemingly "I can't make up my mind, unneccessary, emotional fickleness" and give it a B only because of the points it makes and could have made a hell of a lot stonger. However, in all fairness, the acting is rather good--Jack Black though is just himself--and the directing and filming is something special. I was dissapointed in this movie, and dissapointed especially for it showed so much potential and then, it didn't.

I liked it. Teen movies now a days are all about sex, which is all well and good considering how much sex is a part of the teenager's life, but the issue of sex always seems to dominate the plot and negates a lot of the romance. This was a refreshing teen romantic comedy and they make few like it anymore. Boy and Girl break up, Boy wants girl back but falls for another girl in the meanwhile--it's an old cliche--but it works well for "Get Over It." It's corny and again, some parts terribly cliched like an almost first kiss interupted, but quite refreshing and in the end leaves you with a really good feeling. The cast is pretty good with the exception of Shane West who's fake English accent is all too annoying. Ben Foster is great as the troubled brokenhearted teen hero figure whose friends include Sisqo. The beautiful and radiant Kirsten Dunst stars as a possible love interest and really shines in her acting in certain parts, and her singing with "Dream of Me" sung extremly well. However, the true center of this movie is none other then Martin Short whose character acting has never been more hilarious. I would recommend it as its the last of a dying breed of teenage movies and while redundant in some places, fun and rewarding. Also, very clever parallels and cinemotography for this kind of movie. For the whole ensemble and after effect I'd give it a strong B.

Not that I think it's truly fair to compare the two, but if you liked "Adaptation" as I loved it, you will obsess over the "Out Of Order." It's funny, witty, wise, wonderful, creative, charming, and highly addictive. Honestly, I was a little hesitant falling into such a world of chaos as its familliar, a satire of the known and even scarier, the unknown. But I liked it and want more. My only regret is that its not a longer show, but in its defense, despite how much fun you'll have watching it, time doesn't fly and the short hour seems like an enjoyable eternity. That is until you realize its over and have to wait until next week. And the cast is perfect, whoever casted the movie is a genius. Eric Stoltz is the man. The leading ladies are beautiful and talented to the point you forget they are A.M.W.'s--you'll have to watch to understand what that means--and William H. Macy is always a treat. Based on the life of a screenwriter Mark, and his troubles with his wife to his partner screenwriter, Lorna and, well, life. The cool thing is that Out of Order revolves somewhat around the actual screenwriters Wayne and Donna Powers who give inspiration for the starring characters. A must see, especially if your life is out of order.

Another one of the teen movie blah generation, but at least "She's" gives you a good feeling at the end. Still, its hard to not find Rachel Leigh Cook's Boggs attractive even before and simply removing her hair facets and glasses while putting her in a sexier dress is not transformation. The magic was used to make her look less attractive--a girl who is beautiful--and honestly, though the point of inner beauty is portrayed, it's just as quickly supressed as you get the feeling Mr. Prinze Jr. might not have been so loving had she stayed the same. And of course she stays different.. why? What point is that truly conveying. To me, the premise was better then a picture and while Prinze was hot at the time--meaning popular--he doesn't add anything to the picture. Cook is wonderful and for me, carried the film, but I'd much rather have seen a true transfermation as to prove to me the writers/directors truly cared more about the point then the profit. C+

How cool is this movie? Very. D-Fens! D-Fens! I mean how many times do we say--and hopefully only say--I could explode, kill someone, go crazy, or something of the sort. Well, this guy lived this supressed American Dream. Just an average joe who's life, both personal and professonal puts way to much stress on him, putting everything into simple yet negative perspective. It's Michael Douglas at his scariest, or at least freakeast, as he goes through the city on a rampage, a walking bomb ready to explode and re-explode at every corner, with every person he meets. If your hum-drum life every seemed to much for you, enough to push you over the edge but didn't, meet William Foster, the man who lost control. I suggest it, though after seeing it once, the greatness and shock value is lost a little and then a little more, so really enjoy it the first time you see it. B +

If you like Hitchcock, you'll love "M" as Hitchcock was director Lang's student and protege. In fact, many of the scenes in Lang's movies have been transposed (I dare not say stolen) into Hitchcock's work. Certainly, without Lang, we'd have no Hitchcock. And this is just as much a classic as any Hitchcock. At the time sound was just moving into studios, Lang used it as a mere accent to the movie not as a character of it. In otherwords, minimum sound save that used to heighten suspense and drama--no music--save that of the whistling the killer would hum. And what a killer. In 1931 we have a story, starring Peter Lorre--the great--as the serial killer of small children- a terrifying subject now, but especially then. When you watch, notice how certain scenes are shot including the place setting scene and when Elsie is playing with the ball--will she or won't she? Lang's directing and choices of allusion over direct expression make every moment a "what's going to happen next" moment. At first you get annoyed with the lack of sound but then realize that that is exactly what is producing the effect- Lang was a genius. Also, last few scenes are famous and should be thought about with deep philosophical pondering as great questions are raised. I highly suggest as this movie deserves nothing less then an A and a name on the list of greatest movies of all time.

This is one of my favorite movies and I always suggest it. The response I frequently get is how they didn't like it to which, after asking why they didn't, they respond, because it was horryfing or depressing, shocking, or something of the sort. I think that is exactly what is so wonderful about it. Aronofsky's Requiem shows to mercy to three kids who mind as well be faceless. We live in a time of addiction and abuse to drugs and finally there is a film which sugar coats nothing. What is most impressive about Selby's writing is how he's not just examined teenage drug use but adult drug use as well and in as much, knowing the problem is universal is all the more terrifying- no one is free from the clutches of addiction and uneccessary need and no one, at least should say, I can do it, I have a resistance, I can take just a little bit more. Its about pushing lines and being stuck on the other side of them. With special effects sequences which for once, don't take away from the movie but greatly add to its objective. Aronofsky throws life in our face, and we catch--in an almost welcomed discomfort--a problem, so real you feel your heart breaking for these characters everytime you watch. Leto, Wayans, the beautiful Connelly, and the wonderful Burstyn make the cast--cast rather well--and act circles around circles- wonderful performences, along with movie all unappreciated. Philip Glass provides the empowering tear-jerking requiem for a dream of a movie about a nightmare, for a world that needed such a wake up call. Definate A.

C'mon... c'mon... this movie is great. No, i don't care. They should make more movies like this where you learn AND laugh. Sure, I saw "All The Presidents Men" and it was great, but c'mon.. the acting here is quality: no better Nixon has ever been presented since the original Dick, then Dan Hedaya who's got Richard to a "t" as does Saul Rubinek with his Henry Kissenger impression. Full of starring comedic roles like Will Ferrell, Bruce McCulloch, Teri Garr, Dave Foley, Jim Breuer, Ana Gasteyer, and Simpsons voice artist Harry Shearer and starring Michelle Williams and Spiderman's beautiful and talented Kirsten Dunst. If nothing else, you should see this movie to see Dunst play a 70's trippin hippy, plus she's hot. But the movie is great, funny as all hell. The unanswered questions of the Watergate scandal are all answered through the eyes of two teenage girls who, growing up during Nixon's reign, wind up befriending the prez as the national dog walker as a bribe for having witnesses the Watergate break-in where one of the girls lives. I give it a B for Bombshell.. Dunst that is, and Breaking out laughing.. at least that's what I always do.

Dramatic comedy about two rivaling newspaper people, i should say, racing, and battling, each other for the story of their lives. I've seen this kind of thing a million times in the screwball comedies of the 30's and 40's and chalk this one up to be nothing more than a revisionist work of one or more of those. However, it is cute and fun to go through a rather entangled--though not too much--story with Nick Nolte and Julia Roberts who have excellent chemistry and seem perfect for their roles. But again, its nothing you haven't seen before, and the characters themselves seem reworked blueprints from old stories like "His Girl Friday" which Roberts may or may not have referenced even, telling Nolte, in the movies defense, she wasn't "his girl friday." Good but not great,see it if you have time. C-

One of the greater things about this movie is the reality it, at the very least aspires to. Harry, the leading male is based in no small part on Director Reiner while writer Ephron gives basis for Sally. Of course, Woody Allen is the king of the genre, but he has one flaw: his relationships are his relationships and while memorable and fun to experience are still his to call his own. The wonder of When Harry met Sally, besides how wonderful it is, is how generic it is. This could have been any man, any woman. The problems are universal. It was a cornerstone and remains one of the greatest bibles to the relationship, conquering issues and questions no greater than "can a man and woman just be friends," and "what do we want" both as humans and individual men and women; a movie which changed the way men and women think, act, and date, to this day. Billy Crystal and Meg Ryan are the perfect pair with chemistry, such chemisry, watching them act is treat enough. But the movie takes the cake and it is sweet. The mixings of Reiner and Academy Award Nominated Ephron cook up a timeless classic. You'll laugh, you may cry, you'll think, hopefully learn something, and laugh again. A-

One night I watched this movie and I still am in awe to this day. Number 35 on AFI's list, "It Happened One Night" is an American film classic, a screwball comedy pioneer, and the 1934 winner of the Academy Award for Best Picture, Actor, Actress, Director, and Screenwriter, one of the only three movies to this day to take home all five awards. This is one of my favorite movies and one of few I ever give a flat out A plus to, wishing there was a higher rating. It's terribly witty and perhaps--its only flaw--overwhelmingly wonderful. Frank Capra is at his best as are Colbert and Gable (who was borrowed from another producer and almost not in it at all). The chemistry between Colbert and Gable is outstanding, they have wit down to a long forgotten art most romances lack today. Very famous scenes will stay with you--shouldn't say which--and especially for the moviegoer, should and must. If you haven't seen this movie, this should be one of the next on your list. I always will suggest this movie and biasly will get p*ssed off if someone has never seen it, its just that amazing. My only worry for those of the less mature teenage age is that it takes a slight focus to realize that this movie happened then, not now, and though timeless, would not have happened as certainly no one takes bus trips to New York from Miami, gets a motel for a couple dollars, or gets offended when people reveal their legs. Get past that, though- i demand it- and you've got an unforgettable classic. A +

While full of philosophical and controversial candor that carries an otherwise dull plot, Network, 66th of AFI's greatest hundred is greatly lacking. A good part of the movie was unneccessary to the storyline, some points to the part of redundancy, and while eye-opening monologues are offered to gasp at to the tune of "'wow' I didn't think about that," there is not enough nor of what is done done well enough to carry what could have been a greater movie. The ensemble of talented actors including the radiant Faye Dunaway are Network's true most impressive attributes as the movie's sets leave much to the imagination (even for what they are sets of). However, in this satire about the pros, cons, and "con-artists" of tv there are still things, despite a long and, eventually, tedious journey for them, which you don't want to miss such as Peter Finch's various speeches (especially the "television is controlling your lives" rant) and the unforgettable line "I'm mad as hell, and I'm not going to take it anymore!" This is one you should tune in for--as I always do--at least once, but don't feel alone if you decide to reach for the remote prematurly. You must be patient. I'd give it a B- at best, though had it been done better, as the director rarely choose to shine, the sporadic goodness in Network could have been concentrated greatness.