Reviews

Anxiously awaited by both comic and cartoon fans alike, Sam Raimi brings the extremely popular 'Spider-man' to life on the big screen which is true-to-form and a very rewarding rendition of this much adored action hero. Tobey Maguire is perfectly cast and admirably pulls off the dual role of shy newsboy by day, crime-fighter extraordinaire by night with style and grace. Kirsten Dunst is equally endearing as Spidey's gal pal as there are more than one Kodak moments shared between the two which no doubt will be archived in cinematic annals if romance fans have their vote. Yet it is the title character's battle with the arch-enemy Green Goblin, effectively played by veteran actor Willem Dafoe, which provides the many suspenseful twists and turns evidenced in their high-flying acrobatic dealings courtesy of STA CGI. While the much welcomed side plot involving Spider-man's subdued alter-ego (the mild mannered newsboy Peter Parker) adds additional intrigue as he entangles with envious friend and rival Robert Franco for the affection of sweetheart Dunst, it is the humorous (borderline silly but still funny) antics provided by J.K. Simmons as Peter Parker's Daily Bugle boss that contributes a huge amount of laughs in this enjoyable adventure that certainly sets the standard for first rate comic book to big screen transitions.

This infidelity yarn which is actually better than expected is no doubt due to the fine performances and chemistry of the two leads - Diane Lane and Richard Gere. Lane is more than sexy as the spouse who wanders and Gere surprisingly shines as the curious turned jealous then obsessive hubby in a story that takes a different and unexpected twist. An additional twist (if I may play with words) is the formidable tryst who is admirably played by the Frenchman Olivier Martinez. This versatile French actor may have dipped into a bit of his personal past when he sparred in the ring as a boxer to exchange both physical and more notably, mental blows with the respective leads. "Unfaithful" also has director Adrien Lynne returning to the infidelity theme he was successful in both his 1993 "Indecent Proposal" as well as his 1987 triumph, "Fatal Attraction" which is widely recognized as a landmark of the genre. He also attempts to surpass the steamy scenes from an earlier film - 9 1/2 Weeks - that infamously gave him notoriety among film censors but thankfully in this 2002 release the passion is far less bizarre while still being on quite sensual and passionate.

I'm a big Woody Allen fan so of course I found this movie within a movie delightful. It does not pack the wallop of some of Woody's finest but stills has that clever overlapping dialog and of course great zingers/one-liners.

Sandra Bullock pulls off bully female detective quite well and script is enticing leaving viewer interested thoughtout. Two young male leads are equally convincing as the Leopold/Loeb-type character who taunt us with there lack of respect for the human condition. The final scence could have been done much better for credibility but it's forgivable.

A brilliant story of adolescent discovery about life, innocence, loneliness and responsibility. The majority of content is very adult in nature given the sexual material exhibited but certainly not gratuitous as it is extremely relevant to both the development of all the main characters and the plot of this pseudo-road picture. Yet many viewers may still be uncomfortable if not offended by some very graphic scenes and extremely harsh/raucous language. The story in itself covers a lot of territory - from young men's preoccupation with sex (including the absurd, the confused and the hysterical sides) to political, social unrest and poverty in Mexico. Extremely well done and thought out story.

Really enjoyed screening Peter Bogdonovich's 'A Cat's Meow' which was certainly not a disappointment. This inventive story/script that was cleverly based on Hollywood myth/legend of a presumed love affair Charlie Chaplin had with William Randolph Heart's mistress, Marion Davies and had my interest fully. I was happy with the performances – namely Eddie Izzard as the dashing and flamboyant Chaplin - and worthy direction but was hoping there could have been shots other than on the yacht...i.e. at the studio or the castle/ranch; that would have been a real treat. But for the twist they presented, I guess it served it's purpose - hence the title of course. A terrible habit I got into during the film was comparing it similarities to Robert Altman of how uses a numerous characters and intertwining story-lines yet at times can lead to disarray and inconsistencies (i.e. 'Ready to Wear', Shortcuts') while Bogdonovich's surpasses the challenge of an ensemble cast to generate and substantiate both the scene to scene intrigue and well-performed drama as well as focusing of the proposed love triangle. This film would be a delight for Caine/Welles enthusiasts and happy to see Bogdonovich triumph with a great film.

Mira Nair's excellent and very original "Monsoon Wedding" was an absolute triumph for this viewer. I was extremely impressed by the multiple sub-plots which were written as simple stories yet packed a wallop when meshed into the rewarding finale. This served as a somewhat naive introduction to modern Indian culture via cinema but followed the dual language dialog with subtitles (of note were a little shabby) and enjoyed this zesty celebration of life and love. Very funny moments coupled cleverly with extremely serious matters in other quite delicate/risqué scenes - really captured the duality method of storytelling this most welcome to see in realistic comedy/dramas. My only reservation, albeit a slight one, was with some of the actors performances which weak and almost amateurish. Not in the case to of the key/lead roles but some of the supporting/minor characters. Otherwise a sweet and tremendous film experience!

Harsh look at deep south racism yet pulls unlikely twist when lead characters together played realistically by both Halle Berry and Billy Bob Thornton become involved through circumstances very much IN their control. Berry deservedly has been recognized with Oscar but Thornton is just as stellar who's character changes his tune for the better in a less than subtle way.

Altman's 'who'donnit which could be viewed as more of a 'why'donnit boasts a brilliant cast that sparkles as it knowingly trashes the Hollywood elite while unknowingly treads on British customs and manners ala Oscar Wilde. Well written, acted and directed.

Poignant tale of two eager women; one has passed her prime and bears the scares of the still male dominated business world of the early new millennium is aggressively portrayed to a 'T' (as in Tenacious) by Stockard Channing who is chillingly ruthless from frame to frame. The other younger, equally crafty, as well as wickedly sly woman is played by Julia Stiles who no doubt is cast by design to steal the glances of the male audience as well as opposite genders in this story of destructive payback.

Stiles' character is manipulatively calculating as she subtly unfolds a selfish plan to map a path to own success yet who's comeuppance could inevitably be in her near future at the hands of her adversary's lofty rank… or possibly visa-versa given that both become disillusioned by the cardinal sins of greed, envy and last but certainly not least, lust. Gets off the track a bit with the man-humiliation angle which may have went a bit to far but both Channing is stellar and Stiles is something to be reckoned with in this picture in more ways than one as both should be duly commended for their outstanding performances. Comparisons to Neil LaBute's powerful 1997 'In the Company of Men' are inevitable but still stands well on its own.

This is an outstanding motion picture telling the powerful story of the rise & fall, then subsequent triumphant rise again of Dr. John Nash. Russell Crowe is outstanding as the compelling lead. Film is visually stunning throughout as it covers over 40 years of Nash's amazing brilliant and often tragic life; a sincere tribute to a genuinely unique and interesting life struggle. Jennifer Connelly delivers a memorable performance as well giving brave portrayal of Nash's wife, which earned her a well-deserved Oscar in the female lead category. Yet the major credit for this well-crafted motion picture is the inventive collaboration of director Ron Howard's vision with the skilled production talents of Brian Grazer who took home Oscar that same year for Best Director and Best Picture respectively. Through their collective efforts they utilized Akiva Goldsman's Oscar winning screenplay in a clever and imaginative way to transform this sympathetic yet complex story into a delightful, pleasing to the eye treat that will engage all that screen this powerful biography of a brilliant yet flawed professor.

Excellent thriller with new millennium A-list star Brad Pitt teaming with 70's A-lister Robert Redford (smartly casted in a 'Buddy picture' after Pitt took direction from Redford in his memorable yet under-appreciated "A River Runs Through it" from 1994) in an entertaining spy film directed by action-obsessed Tony Scott which will have you at times on the edge of your seat. Scott rewards his action hungry audience in calculated doses as the picture is laced with lots of intrigue, and second guessing including a clever use of flashback sequences for additional suspense to this international thriller. Catherine McCormack is appealing as the love interest for Pitt's character which goes beyond obligatory since the joining of the two conflicts with his mentor's guidelines for espionage survival. The chemistry of all the players along with Scott's exciting action input make this an above average Pitt/Redford 'Buddy flick'.

Packed with some solid stars (both comedic and straight-laced), 'The Royal Tenenbaums' is a delightful and much slanted look at the coessential dysfunctional family that could be from Anywhere, USA. Well, actually it could be from anywhere in the galaxy as you may not come across a more strange slew of characters in one place anywhere on God's green earth. For openers, Gene Hackman plays a hysterical deadbeat dad who had been alienated by the rest of his bizarre family for ignorance to them and vulgarity to others which can include even us the audience. Yet at the same time the viewer will be sympathetic to him and his mischievous routine and rebellious nature given his sly warmheartedness and charm. The trio of the children's life stories (wild and wholly tales portrayed in retrospect and real-time by Ben Stiller, Gwyneth Paltrow & Luke Wilson) surround this rude and complex father shortcomings in spectacular fashion while combative yet dignified mom played by Angelica Houston is a steady presence amongst the chaos. Owen Wilson and Bill Murray round out the supporting cast for this fun-filled comedy. It's a good idea to screen early Anderson efforts like Rushmore and/or Bottle Rocket to prep for the amount of quirkiness thrown at you in this romp but designed to even challenge the zaniest of viewers on its own.

A film which makes an attempt to pattern itself on the fantasy vs. reality films that had become popular at the turn of the new millennium - David Fichner's "Fight Club" and M. Night Shamalan's "Sixth Sense" both from 1999, Christopher Nolan's "Momento" from 2000, and David Lynch's "Mulholland Drive" released the following year (all of which don't surpass the reigning king of this genre when Terry Gilliam released his 1985 masterpiece "Brazil") - by no means fails in this respect since I found it both entertaining and intriguing for the most part, but is noticeably long and certainly may confuse the average '2hr-max-movie-goer'. Penelope Cruz and Cameron Diaz both stand out playing their respective, 'good gal/bad gal roles and Jason Lee is quite appealing as the best friend of our dashing lead Tom Cruise. Yet Cruise may be viewed as stretching this performance given the physical challenges that are demanded. I hesitate to reveal these challenges to those that have not seen the picture as they are indeed the focal point of the plot. Many good things like the witty Cameron Crowe retrospective soundtrack that is weaved into clever culture references and tributes which are indeed enjoyable and even necessary to solve the riddle presented in 'what's is going on?' scenario of the main character's pressing dilemma which may not be easy to access with a single viewing. But still the ride can be entertaining as Tom runs away and into trouble as he often does in quasi-action films that are laced with mystery and intrigue like Sydney Pollack's 1993 "The Firm", Brian De Palma's 1996 "Mission Impossible" and even the more cerebrally dark, "Eyes Wide Shut" from Stanley Kubrick. As noted by many educated critics as well as the tasteless tabloids Mr. Cruise may be biting off more than he can chew as he dives into the land of independent production. I applaud Tom for his efforts and are rooting for his 'comeback' yet do believe that his choice for future roles should include a return to comedic territory as a deviation/diversion to selecting elaborate/complicated efforts which could be prove a bit too risky and result in a poor reception at the box office.

This solid, well acted story weaving in the woes of adult relationships should have Hollywood taking particular notice of this impressive and overlooked Australian effort starring Anthony LaPaglia and Barbara Hershey. This is a delicate and complicated story of men and women getting tangled in adultery that somehow is subtly meshed within a baffling murder mystery. This does get complex but still remains surprisingly credible and keeps viewer glued with interest and fascination. Geoffrey Rush lends a subdued yet solid support but it's Kerry Armstrong's performance that like this story will tug at your heart strings as well as challenge your thinking.

Interesting twist to the standard WWII POW fare which instead cleverly showcases the racial card as a ploy to the real objective of the film which is not revealed until the final reel. Willis does play the 'so-called' hero but not how we 'general'ly think.

While it obviously could be referred to as a boxing picture, this nice Michael Mann biographical effort is more a character study of the one of the most charismatic figures ever to step into the squared circle. Mr. Mann shifts gears appropriately from his heavy action yarns (Thief, Last of the Mohicans, Heat) to provide an insightful look into the life of this legendary boxer as Will Smith pulls off the title role rather well yet regrettably holds back much of the wit, humor and unpredictable antics Ali was known for. As a result, viewer's eyes actually will be more fixated on the dynamite supporting cast including Ron Silver as Ali's longtime trainer Angelo Dundee and Mario Van Peebles playing a formidable Malcolm X. Both of these memorable characters are only to be outdone by an almost unrecognizable Jon Voight as he dons the patented yellow ABC sport jacket and gives an incredible, Oscar nominated performance as the exuberant and controversial Howard Cosell who always seemed to be where Ali roamed the globe. While the film does span 10 years of the famous boxer's life, the major disappointment of the film is the 157 minute which could have been shortened by needles/monotonous training footage sequences.

Great Coen Brother's story filmed in glorious black and white. Film noir tribute with a surprisingly great but maybe not to likable lead performance played by stone-faced Billy Bob Thornton. Twists and turns ala Hitchcock along the way plus a memorable Beethoven piece that will be in your ear long after you leave the theatre.

Slick and entertaining film that's packed with energetic players and wonderful direction courtesy of Steven Soderburgh. George Clooney and Brad Pitt lead a very likable and humorous crew on a what's perceived as an impossible heist from a Las Vegas casino have security which on a par with Fort Knox. The team assembled is certainly shady given their tarnished backgrounds (accomplished via impressive flashback clips and clever montage sequences which are informative as they are entertaining) and couldn't have less in common personality-wise yet collectively gel into a well-oiled machine which convince you their mission could actually be attainable. Even with the given skeletons present in their respective pasts you still find yourself rooting for these 'bad' guys. Andy Garcia is great as the stooge and ultimate fall guy who gets a deserved comeupance and the added tension of Clooney's team attempting to pull off the caper with unexpected hurdles makes the confusion and chaos a more than welcomed plot entanglement. Great shots of Vegas throughout - especially the night sequences - and Julia Roberts is very graceful as the independent gal caught in between two demanding men.

Billy Wilder's "The Apartment" is a film which can produce some of the biggest laughs and at the same time... can bring many viewers to tears, Billy Wilder's quaint little tale about everyday people who get tangled up in love, jealousy and infidelity boasts a top-notch cast led by the trio of Lemmon, MacLaine and MacMurray who are tremendous. The plot revolves around C.C. (Lemmon) who unknowingly makes the unethical attempt of climbing the corporate ladder by 'loaning' his apartment to members from his management chain to entertain their 'women on the side'. Given the change of circumstances, this premise certainly could even hit home in the current office environment. Although the office party and secretarial gossip scenes could be viewed as dated, the power and attitude of the corporate executive, Mr. Sheldrake (MacMurray) is certainly symbolic. The character of Fran (MacLaine) for today's standards of course seems too submissive and vulnerable but the reward of her finding true, admirable, unconditional companionship is quite enriching and fulfilling to any who see this memorable film.

I'm both a big baseball fan as well as movie buff and was in a way shocked that I enjoyed this third(!) installment of the 'Major League' series. All performances were admirable except Ted McGinley's role which could be attributed to shallow/weak writing. The prior sequels had casting which was more in essence caricatures as opposed to the reality expressed in this sequel. It was also nice how the previous players blended into the script and made the story come full circle.