Reviews written by registered user
|51 reviews in total|
A small but charming movie which was largely overlooked at the box office,
but which has gained notoriety through pay-per-views and video. This film
harks back to a more romantic time of film-making, helped by a wonderful
Brat Pack soundtrack.
It's biggest problem is that it appears unsure of what it wishes to be. A good script from Bonnie Hunt and Don Lake, gives us a touching romance between Duchovny's recently widowed architect and the women who received his wife's heart from a transplant, played wonderfully as ever by Minnie Driver. This touching romance in the veign of Bounce, is very true to life despite the situation, but it is almost derailed by the great comic bickering between the other character's. First time director Hunt, gets great performances from veterans Loggia, Jones, O'Connor and Bronder, and from James Belushi as her husband. But the comedy pulls the film more towards being a romantic comedy than the real-life romance that the central relationship wants to be.
The idea of a widow's wife's heart being transplanted to his future love would appear to suite a Rom-Com, but with the other characters getting the best lines, it makes the Rom-Com style ending of separation and reunion sit awkwardly with the characters. It is not helped by Duchovny's performance, appearing ill at ease with comedy when it comes his way.
Having said this though, the romance coming from Hunt and Lake's script will still steal you heart, making this an essential addition to any old-romantic's video collection.
Ten years after the first movie, James Belushi, one of the most gifted, and
over looked light comedic actors of the last twenty years, returns as
Detective Dooley for this movie.
If you are expecting more of the same from the first movie, you will be disappointed, but this is still a good movie. Realizing that all the Dog vs. Man battle of wills scenarios had probably been used up in the first movie, this one turns slightly more psychological in its approach as it concentrates on a criminal with a fixation with Dooley's recently deceased wife after she rejected his book, and blames Dooley for her death.
The script may not be the best, but the movie allows both Belushi and Christine Tucci to show their good acting ability, while still retaining enough of the light humour of the first movie to make it work, and the chemistry between the two stars is there for all to see.
An easy, light going movie, which, while maybe not worth a purchase unless you are a true fan of either the first movie or Belushi, definately worth a watch when it comes on TV.
The film starts with a very funny and touching love story between Nicoletta
Braschi and Roberto Benigni, who plays his role with a passion that humour
that Chaplin would have been proud of, and a heart that Chaplin only
approached in The Kid (1921).
From here the film moves on to Benigni and his son being put into a concentration camp, and his attempts to hide the truth from his son.
The film deals honestly with the Holocaust, without any graphic detail, an example that many Hollywood movies would do well to follow. However, this is not a film about the Holocaust, it is a film about the human spirit, what it can perpetrate, and the horrors it can endure.
But this film has one quality that lifts it above most Hollywood movies; it is made with one thing that Hollywood rarely uses. It is made with love.
The strength of the original was allowing Carrey to display his own unique
brand of wild anarchic humour within a story which, while slightly
ludicrous, was at least plausible, entertaining, and believeable.
This sequel fails because it looses that vital final element. While the directing allows Carrey to go a bit too far into toilet humour at times, the scene where a mechanical rhino gives birth to Carrey especially, this is half expected in a sequel to such a movie and does not ruin it entirely. Its failure is the sheer stupidity of Ventura gaining 'spiritual enlightenment' in Tibet, before being called over to Africa to meet a series of English stereotypes while trying to solve a truly implausible plot.
I still cannot believe that such respectable actors such as Simon Callow would agree to do this type of movie, something that all other Hollywood actors from the first movie avoided.
At his best, Carrey is hilariously funny, at his worst, he's like this.
The movie that first introduced a new generation to the disturbingly dark,
and disturbingly funny world, of The Addams Family.
Although not as good as its successor, The Addams Family is a well made movie from start to finish. The casting is superb, giving strength to all the characters. Huston and Ricci are superb as always, Lloyd plays his traditional oddball misfit, and the late Raul Julia gives a performance so full of energy and enthusiasm, that you can tell how much fun he had making the movie.
The set design is suitably macabre, however Sonnenfeld's directing does take until the sequel to find the right balance for the movies, and release the full potential of the script. But this does not detract from your enjoyment of this truly family movie.
This Terry Gilliam directed movie is a visual masterpiece. With stunning
cinematography, costumes and make-up, together with great casting for
cameos, such as Robin Williams as The King of the Moon, and Uma Thurman as
The Goddess Venus, this is a visually pleasing and well acted
The only place where this movie really falls down is in the script, it attempts to be a comedy, but there are few laugh out loud moments, it attempts to be an adventure, but there are few truly exciting incidents.
Nevertheless, the acting, special effects, and costumes easily manage to keep this movie from drowning.
A pleasure for the eyes, if not for the pulse.
This is one of those movies that you either love or you hate, and I am sorry
to say that I hate it.
The humour and jokes are as crass and crude as the Carry On... series used towards the end, and the whole movie is so male egotisctical that it is degrading to women, and should be offensive to anybody who has a conscience concerning them.
I have liked Mike Myers' comedy in the past, and I can understand how some people would find this film amusing, but please do not insult our intelligence by any further sequels.
With such truly fine actors as Ed Harris and Mary Elizabeth Mastrantonio,
this film had great potential. However, for once, James Cameron's love of
special effects, actually hampered the movie.
If the movie had been treated as a psychological thriller of being trapped under the water with a dangerously unstable Navy SEAL on the loose, the stars and director would have made a superb movie, but the use of an alien species, while using stunning special effects, was simply ludicrous, and ruined the movie, especially the ridiculous ending.
Harris, Cameron and Mastrantonio can all do better than this.
Nora Ephron, Meg Ryan and Tom Hanks, meet up again after the success of
Sleepless in Seattle, for another movie with a high saccharine content.
The chemistry between Hanks and Ryan is again superb, whether bickering as business rivals, or when falling in love over the endless void of the internet.
Hanks is the big business bookseller, who threatens, and eventually destroys, the livelihood of Ryan's children's bookstore owner.
Hanks does a pretty good job as the ruthless business man, while at the same time making you feel that, at times, he would rather have the life that Ryan's character leads, if his up-bringing and family expectations did not prevent it.
Ryan plays the character that she as honed over so many similar movies, while the other characters, such as Greg Kinnear as Ryan's boy friend, are really just window dressing, although some wonderful comic moments do come from Parker Posey, as the high flying business woman, and Hanks' partner.
A wonderful script from Ephron, which keeps the schmaltz at bay, while remaining funny and romantic throughout, and good performances from the leads make this as good as Sleepless in Seattle, though it is still not quite as good as the original Shop Around the Corner, on which it is based.
Hollywood goes through periods where every studio appears to come out with
movie in the same area. Vice Versa, represents a Hollywood fad for body
movies without the aliens.
Judge Reinhold plays this movie for all it's worth, but even with Fred Savage as his son, this is still a flat and formulaic family comedy, which cannot hold a torch to the very good Big, with Tom Hanks, which came out at around the same time.
A movie to be lost in time and forgotten, thankfully.
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