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Dominique2
Reviews
Bugsy (1991)
Brilliant cast, brilliant director, brilliant atmosphere
This movie is a treat for all senses, in all ways. The whole look, to the finest details, is perfect and reminds us of the Golden Hollywood Era. The ensemble cast, for the most part (more later) is mind blowing. The music, the pacing. Like most semi-biographical stories/movies, it is not perfect in its accuracy. It IS, however, perfect in its execution. To even think of criticizing Beatty in his part as Ben "Bugsy" Siegel, smells of having a personal dislike of the man. Beatty, looking better than in his earlier movies "Ishtar" and "Dick Tracy", blows the audience away with his energetic, overpowering, maniacal, charming, intimidating, scaring portrayal of Siegel. Whether the real Bugsy's character was portrayed, we don't know. But the way he is portrayed in this movie by Beatty, under fantastic direction of Barry Levinson, he was one unpredictable, scary but charming, psychopath of a guy. Beatty pulls out all the stops, giving one of his careers finest performances. In this part he proves, for the so manieth time, that he is indeed a wonderful, talented and most of all terribly under-rated actor. Kingsley, Sarafian, of course Keitel are solid and impressive in their parts. The ones in the cast who fall short, in my opinion are the obviously miscast Joe Mantegna as George Raft (if he wouldn't be called by that name in the movie, one would never guess who he's supposed to be) and - perhaps surprisingly to most reviewers - the future Mrs. Beatty, Annette Bening, as Virginia Hill. She has the look of the era down, but her acting in this movie is too reminiscent of the cartoon character Jessica Rabbit, slow "sensual" walk included. The movie concentrates on the developing obsessions of Siegel for a) Virginia Hill and b) his plan to develop a legal income heaven for the mob in Las Vegas. When Siegel - in this movie - wants something, it's going to happen, no matter what the cost. So, his obsession with Hill costs him his family and his obsession to create Las Vegas ultimately costs him his life. The roller coaster ride that shows us how this all happens, is this never dull movie of Levinson. The script for the movie took writer James Toback 6 years to complete, after having received the story pitch from producer Beatty. But the end result explains why it took so long. PERFECTION. A real must see for everybody who wants to be on the edge of their chair for the entire duration of a movie, to witness excellent acting, beautiful decors, hear fantastic music i.e. be thoroughly entertained, THIS is the movie to see.
The Fortune (1975)
Hilarious, underrated comedy!
*******CONTAINS SPOILERS!!!!!**********
I am more than pleased that I finally got to see "The Fortune". After learning about it through various media, I was a little nervous about what I would find. But it didn't take long before the modest chuckles turned into belly laughs, for this is one HILARIOUS movie with real life good friends Beatty and Nicholson playing so well off each other, and obviously having a hoot doing so! Beatty is the bossy "brain" of the outfit. Married, unable to divorce and - due to the M.A.N.N. act - unable to take his mistress (Stockard Channing) legally across state lines to consummate their affair, he has come up with a brilliant scheme. His - in his eyes inferior to him - friend Nicholson can substitute as the groom, thereby making their traveling with a female completely legal. They move to California and during their travels it is already hinted at that the mistress is actually an heir to a great fortune, which Beatty tries to deny as long as possible. Upon their arrival in California it doesn't take long for Nicholson to develop (lusty) feelings for the heiress and soon consummates his "marriage" to her for real, in the absence of Beatty who is working as a car salesman. A fall-out follows during which the heiress comes to realize the two men are really only after her impending FORTUNE, and she threatens to give it all away to charity. The fear of that happening causes the two, unbelievably incompetent, men to bond and plan out another scheme> the heiress must die, so that they can get to her fortune. A slew of incredibly funny slapstick murder attempts follow and the acting Beatty and Nicholson show in these scenes is beyond hilarious. A must see for anyone who's in for intense laughter and joy.
Town & Country (2001)
What the ***** were they thinking?
Anybody who bothers to look up other comments by me will see that I'm probably Warren Beatty's biggest fan. Besides that, I'm always willing to give anybody or anything a fair chance before passing judgment. So, when I read the horrible reviews, both by professional and non-professional critics, I figured I had to find out for myself if "Town and Country" was really that bad. Well, the verdict is out: it is really THAT bad!
I haven't seen all of Warren's movies recently/yet, but if this isn't the biggest stinker of his career, I would be surprised. And to imagine it was shot in the very same year as the brilliant and inspired "Bulworth" is mind-boggling. "Town and Country" is a total, unfunny and uninspired, unco-ordinated chaotic mess. And it starts out quite alright. If the script had just stuck to the family situation, the clash between the generations, even when both generations are messing around with (sexual) relationships, it could have been a lot better. But now? The script ends up going nowhere (literally, when they end up in Sun Valley). Just what the heck is the movie trying to be about? Is it trying to say that EVERY man, even the most loyal one, will eventually feel the genetic need to cheat on his wife? Is it trying to say that even filthy rich and successful people have mundane problems? Is it trying to say that lessons are only learned when one risks losing everything? WHAT?
The movie's problem isn't even its older cast as some reviewers seem to think. Older, wrinkly people exist, and yes, they even have sex, so get over it! The movie's problem is that it is totally incoherent and consists of a bunch of strung together scenes that seem for the most part to have been largely ad-libbed, as far as scripting goes. Most of the cast are real life friends (Goldie, Diane, Gary, Warren and Buck Henry). I think they should have just made a home movie and spared us this waste of time and talent.
Dear God, please let Warren come up with another great thing like "Bulworth" to end his career with a big bang, instead of letting it whither to a halt with this monstrosity.
Bulworth (1998)
Bulworth dated? Look at New Orleans today and think again!
Bulworth may have been filmed in the MTV quick edit way that some find unfitting for an Oscar worthy production but, aesthetics aside, its contents are right on the mark.
Anyone who claims Beatty's/Bulworth's analysis and solutions to political problems are dated, must be living under a rock. As we speak, Bulworth's claims that "white people have more in common with black people than with rich people" are proved to be completely accurate as we look at the devastating aftermath of hurricane Katrina. Though New Orleans' population consists largely of blacks and ethnic minorities, those who were left behind had ONE common denominator: they are infirm either economically or physically i.e. they are POOR or HEALTH CHALLENGED. The TV-images show poor white people among the many poor blacks. Poverty is what sets them both back. Bulworth dated? You must be living in a socio-economically comfortable cocoon.
If anything, Beatty proved with this, both hilarious as bluntly accurate, brilliant movie to be a visionary. He puts his finger on where it hurts most: the complete corruption of the system, the hand-clapping, backslapping deals between interest groups and politicians, turning the last group into mouthpieces for selfish agendas. The hypocrisy behind the photo ops (look at Bush yesterday on the news posing with hurricane victims), the empty rhetoric, the feigning to be there for the people, when really they're only there for themselves.
People who cannot come up with more than "this is socialist rhetoric/propaganda" comments are obviously deaf, dumb and blind to the realities of (modern day) politics and therefore deserve to be duped by the leaders they so willingly, blindly, wish to trust, believe and follow. It really is true folks: "Tax payers, tax payers, take it in the rear". Wake up and smell the dung, for goodness sake!
Now for the movie itself. Some have commented that Beatty, as an affluent, middle-aged (by now senior citizen) WHITE man, cannot possibly understand what "ordinary people" go through. Think again. Beatty has been in politics for the Democrats for decades. He is one of the very few rich (DEMOCRATIC) guys who actually gives a damn about the less privileged of our society. Being rich does not equate being unable to educate oneself, nor does being white. Beatty's always had many contacts and friends in the black community with whom he exchanged ideas and concerns.
I'm colored and found nothing about the movie stereotypical or racially offensive AT ALL. Those who do, including blacks, are missing the larger picture this movie is trying to paint. Bulworth is not intended as a "white Messiah" for the "stereotypical hoodlum blacks". He is a metaphor and as a wake-up call, he NEEDS to be an extreme. The movie would not have worked if Bulworth had been a black senator, a young senator, or if Bulworth had met a white single mother Starbuck's employee. When you want to reach people, you have to wake them up, you have to make them sit up, take notice, think, and start discussing what they have just seen. THAT's exactly what this movie in THIS chosen format, with these characters, does. It completely serves its purpose. Unfortunately those who oppose the movie are even unaware that their criticism is a credit to this movie, for it apparently made them think (even if they arrive at mixed up, not understanding conclusions).
Bulworth is not perfect, but its imperfections are easily forgiven. The movie keeps moving without a dull moment in it. Beatty is hilarious and totally enjoying his part (and his freedom?) addressing everything that's wrong in this sick society with a zeal and energy that many guys half his age must envy. I love the fact that this is the first movie in which Warren dares to look his age. He has never been afraid to ridicule himself in past movies. Anybody who's into Beatty knows that horse-face Carly Simon's "You're so vain" most definitely is NOT about him. The rest of the cast is simply fantastic, too. Oliver Platt is rib-crackingly funny as the concerned, confused and finally mentally broken down campaign manager Murphy. He elevates the term "spin-doctor" to complete new heights! Joshua Malina (campaign aid Feldman) is almost as funny. Platt and Malina have some hilarious scenes together. Old Beatty favorite, veteran actor, Jack Warden is solid as ever. Halle Berry's character could have used a bit more humor, but she does a good job. Yes, it is a bit of a stretch that the gorgeous Nina would fall for the "used to be gorgeous too, but not so much anymore" aging Bulworth, but to state that without looking deeper into how she comes to her choice, is to ignore a significant part of the movie. At first she doesn't know what to make of this, seemingly confused, man. But as she follows him, his actions, his words, his attitude, she discovers that he is sincere. That combined with him being in a position in which he could actually make a much needed difference in society, makes her "change her mind" and fall for him. It's not like this young girl Nina has some geriatric preferences in the romantic department! Ariyan A. Johnson and Michele Morgan are amusing as the two enthusiastic new Bulworth "VOOOOOOLUNTEEEEEEEEEEEEERS". Paul Sorvino, Richard Sarafian, Don Cheadle are all solid. Yes, the turnaround of L.D. in the end is too quick in the making, but the alternative would be a (much) longer movie, so that's one of the very few weaknesses in the script. Last comments: - NO, Bulworth does not "only speak in rap" once he's started rapping. - NO, Bulworth is not some aging actor's ego trip. It's a wake-up call to America. - Never knew a 60 plus year old white guy could look so hilariously cute in hip hop gear. - Let the spirit take hold of you, and let it lead you to take action, now that Bulworth has been silenced.......
Splendor in the Grass (1961)
Wonderful early sketch of dysfunctional families and relations.
A beautiful movie about the clash between generations, set in a period (the 1920's and early 1930's) when a woman's reputation was still a much valued thing and children still listened to their parents, as they were supposed to. And the parents in this movie, unfortunately, prove to be a big part of the problems that plague the teenage couple Deanie and Bud. Deanie is forced to remain "a good little girl" by her domineering mother, who is concerned about her daughter's honor and reputation, as much as she is unwilling to let her little girl become independent of her and move away (conversation at the end of the movie). Bud, Warren Beatty in his stunningly moving debut, can't even have a decent conversation with his father. Ace Stamper, a self made oil millionaire, is like a force of nature: everything about him is loud and overbearing, so much so, that nobody in his family - perhaps with the exception of his rebellious daughter Ginny - can get a word in.
While their parents try to dictate the way they should behave and what their futures should be like, Bud and Deanie are overcome with teenage, hormonal lusts and desires. However, they are too brainwashed and threatened, blackmailed and coerced by mother Loomis and father Stamper, to find the courage to free themselves. Bud's sister Ginny has escaped from the claws of her father, but indeed proves a bad example for the young couple, as she hops from one disastrous, short-lived relationship to another, drinking too much and craving the attention her father solely lavishes on his beautiful son, who is his hope for the future of his oil company. Their inner torment has dire consequences for Deanie, who suffers a severe mental breakdown, and Bud, who gets physically ill (pneumonia) and results in the slow erosion of their relationship. The cast is very strong, and peculiar to say the least, most amazingly noticeable in the Stamper family. Pat Hingle, then 37(!), is incredibly convincing as the overbearing, domineering father. Joanna Roos, then 60(!), is wonderful as the timid, mousy, mother. Barbara Loden, then 29(!) is right on target as the rebellious, yet tragic, Ginny - older sister to her teenage brother Bud, an outstanding debut performance by Warren Beatty, then 24. Though Beatty and Wood were respectively 24 and 23 when the movie was made, they are convincing as the shy, confused teenagers, they'd long ceased to be in real life. Wood's small frame and youthful appearance make her believable as the longing Deanie. Beatty's unusual, almost delicately beautiful and innocent features, combined with the inability of his character to articulate his feelings to, especially, his father - or to even let them be heard, make him equally realistic as Bud. Beatty's performance especially is very touching and clearly inspired by the great director Elia Kazan, whom Beatty still to this day, credits for having taught him the most about the art of making movies.
The Mystery of Natalie Wood (2004)
Typical "movie of the week" material.
Superficial "clippings" of a life. Attempts to provide credibility to the story that is acted out by adding "eye witness" statements of some "friends", fellow actors and even Nathalie's sister Lana cannot take away the aftertaste that this is just another "movie of the week". Nobody in the movie, not even the leads, has the chance to go very deep in their performances as the script is too poor and the scenes are too short. What we're left with is caricatures of what the people and situations really must have been like. The title role is best cast, with the role of Wagner as a good second. The small roles in the rest of the cast (Nathalie's co-stars), however, and of actor-friends and directors, are painfully inadequately filled in. Beatty, short and rather stocky compared to the real thing, is laughable, as are Dean and Joan Collins, whose physical resemblance is so bad that the viewers would never know who they are supposed to be if they weren't addressed by their character's names. None of the actors for these parts resemble their real life counterparts anywhere near. Verdict: disappointingly average, unconvincing and lacking warmth, especially if one considers that "those who were there" were involved in the making of this production.
Ishtar (1987)
Hilarious
I never understood why 'Ishtar' received such bad reviews. I personally laughed myself silly at these two big stars, obviously enjoying themselves so much in their crazy parts. I think Beatty and Hoffman work well together as a comedy team. Just watch them in the "schmuck/smuck" scene: their facial expressions and vocal intonations are fantastic. Or Lyle (Beatty) in a fight with a turban, and the turban almost wins! Or Chuck (Hoffman) in a weapon's deal ("I don't speak Arabic, I only know all the Berber dialects..."). Of course the plot is insane, but I'd rather see these two guys doing comedy than, say, today's 'comedy hero' Ben Stiller and friends.
This is top notch humor, the two huge stars are not afraid to totally get into the self depreciating humor and make the characters as silly, yet still recognizable as 'real life schmucks' as possible.
There ARE people like that out there. The 'Chuck Clarke's' of the world, who despite everything going against them keep believing they are one day going to make it big because they're really misunderstood geniuses.
Or the Lyle Rogers' of the world, who're always following in the footsteps of someone they actually buy into being 'great'.
To Lyle, Chuck is someone to look up to, possibly because Lyle is so painfully shy and insecure not to mention - let's face it - borderline retarded, that anyone who can out volume his whispery speaking voice must be a person who knows exactly what he is talking about. Enter Chuck, who needs a (as he calls it) 'schmuck' like Lyle beside him just to feel good about himself. Of course the characterizations are greatly exaggerated, but who cares? It makes for one hilarious movie. Not forgetting Charles Grodin whose deadpan performances are always good for a laugh.
'Ishtar' a bad movie? Much worse stuff and much more expensive stuff hits the theaters on a regular basis and undeservedly gets praised into heaven. 'Ishtar' is hilarious and to be recommended for anyone who needs a belly aching laugh.