Brash NYC policeman Officer Gunther Toody is partnered with stiff, by-the-book Officer Francis Muldoon to protect an important mafia witness prior to testifying against orgainzed crime in ... See full summary »
John C. McGinley,
Two young people stand on a street corner in a run-down part of New York, kissing. Despite the lawlessness of the district they are left unmolested. A short distance away walk Maria and ... See full summary »
Beate Charlotte Lunde
Told in Documentary form, the film depicts a group of five British film critics and politicians who venture off into the West Virginian wilderness in search of the "Tony Blair Witch" which ... See full summary »
Michael A. Martinez
C. Alan Ploegsma,
Gigli, a lowly and inept hitman, is assigned a job by the mob to kidnap an intellectually disabled brother of a California district attorney. Gigli abducts the brother from his mental hospital and holds him hostage in his apartment. Ricki, a "lesbian assassin", is sent to oversee Gigli's job and make sure he doesn't screw it up. Comedic high jinks ensue as the two go on the lam and start to fall in love. Written by
Broke the record at the time for the largest second weekend drop in box-office, with an 81.9% drop. This record was later taken over by Undiscovered (2005). See more »
When Starkman shoots Louis, the aquarium behind him is spattered with his blood, yet it is otherwise undamaged by the bullet that ostensibly exited Louis' head. See more »
You see, after all is said and done, the only thing you can be really sure of, the only thing you can really count on in this world, is that you just never fucking know.
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Towards the end of the credits Brian (Justin Bartha) can be heard singing his rendition of "Baby Got Back". See more »
The Beach Song
Written and Produced by Buster & Shavoni and John Powell
Performed by Tonéx, Ann Nesby and the Unsung Choir
Tonéx appears courtesy of Verity Records
Ann Nesby appears courtesy of It's Time Child Records/RT Entertainment See more »
Smug and a self-adorned cine-sophisticate, I rented out Gigli with a friend ready to scrutinise it with the benefit of my enlightened view of film. It was going to be an hilarious two hours. I'd settled down in a very comfy armchair and had poured a glass of some Austrian glug. I couldn't wait to laugh at the stupid dialogue and that ridiculous script but the joke was on us because Gigli transcends the established limit of effective urine stealing. This is because its simply so horrible that you can forget trying to make yourself look intelligent and media literate by ripping the bladder evacuate because the scale of misguided conception baffles the mind and eventually shuts it down. It's like being hit by a sack full of bricks in the face for a full 114 minutes. There's a teasing little scene with J-Lo early on when she tells a bunch of unruly kids that there's a martial arts move that can gouge out the eyes and simultaneously destroy the visual cortex meaning that not only are you rendered blind but you'll never be able to remember anything you've seen. For the Gigli viewer this is like showing Charlie and the Chocolate Factory to a hall packed with diabetics. You're left to ponder the short term agony weighed up against the long term benefit as Martin Brest's story unfolds with the principle characters of a unlikeable, emotionally and sexually retarded thug with a soft centre (a fat Affleck), a lesbian who isn't really a lesbian because you can be converted to heterosexuality by an emotionally and sexually retarded thug and an actually retarded man who was probably supposed to be a Rainman-type character who redeems Affleck's arrogant meathead but is in fact a cringe inducing, self-harm facilitating caricature of the mentally handicapped. Look, many movies look good on paper and suffer from poor execution but what's head scratching about Gigli is that it's as dire on the page as it is on screen. Broadly it's supposed to be a romantic comedy, sort of Out of Sight meets Rainman meets Whats New Pussycat? but it's stillborn as a criminal caper, devoid of anything approaching sensitivity and has some of the worst battle of the sexes banter that ever crawled onto the screen. Brest, who directed the dire 16 hour remake of Meet John Doe, Meet Joe Black, shows that when it comes to misjudging material he's peerless. His crimes here are compounded by the fact that this is his own script. That script, incidentally is a roll call of on screen horror. Witness, if you can, the Penis Vs. Vagina scene in which Affleck argues the case for the male genitals or the tear jerking moment in which the soft hearted Affleck, having given the Mentally Handicapped Brian relationship advice, looks on like a proud father as his new friends woos an Australian bombshell during the filming of a Baywatch beach party. You'll envy the man who gets his brains blown out and eaten by goldfish or the horrendous girlfriend of J-Lo, who having realised which film she's in, slits her wrists...stupidly, the wrong way. Once its all over and you sit there open mouthed you're left to (briefly) ponder why Brest did it. Did the kidnapped brother have to be disabled? Surely there must have been a more effective way of facilitating Affleck's transition from idiot to slightly more compassionate idiot? Did J-Lo have to be a Lesbian? Sure, Affleck has to have some obstacles toward getting the girl and we all like a bit of sexual tension but gay viewers must have been flabbergasted that a man who describes men and women as "the bull and the cow" and does lovable things like warmly looking vacuous and endearingly been obnoxious should persuade a woman to er, "hop over the fence". And even if Brest was blinded by his own vanity what in the name of Beverly Hills Cop persuaded Christopher Walken and Al Pacino to cameo? None of it makes any sense. The bottle of wine I had with the film was good though but by the time I regained consciousness the bit left in the bottle was undrinkable.
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