Reviews written by registered user
|273 reviews in total|
*** This review may contain spoilers ***
Fate can be very cruel at times. That's the conflict Gavin Banek
Affleck) and Doyle Gibson (Samuel L. Jackson) share in CHANGING
a great psychological thriller. What began as a small accident
FDR Drive in Manhattan between the two characters escalates into a
tense battle of wits and nerves as Doyle and Gavin struggle to get
what they really want to accomplish on that very day, and how they try to mess each other up at the same time.
This movie gave me my own conflict: who to root for and sympathize
with. At first, Jackson's problems with trying to keep custody of his two children, and how much his life is in deep shambles made me want to keep my utmost feelings for. How Gavin thoughtlessly left
Doyle in the middle of the FDR with his wrecked car left me the
first impression that Gavin is nothing but a self-processed hotshot that disregards the little guy. But, as the movie continues, Gavin starts to develop a conscience, that probably ruining another man's future won't make things any better. So, my considerations for Gavin ultimately changed.
The movie does an expert job representing what both central character thinks, in each of their respective scenes. Jackson is typical great, playing, despite Doyle's uncontrollable fits of rage (you can't really blame the guy for being desperate), a more subtle character than his more popular, foul-mouthed roles like Julius from PULP FICTION, and John Shaft from (obviously) SHAFT. And Affleck, whom I haven't really cared too much for, undertakes a great performance as Gavin.
Russell Crowe and Ron Howard made an unbeatable team when they
A BEAUTIFUL MIND, the touching biographical drama about the life
times of Princeton professor John Forbes Nash. Crowe poignantly
portrays Nash, whom over a span of 40 years, suffered terrible
hallucinations despite being mentally brilliant in the field of mathematics. Jennifer Connelly won her well-deserved Oscar as Nash's doting wife, who stood by her man as he fell into a deep abyss of schizophrenia. Ron Howard's direction is fine as always, showcasing Nash's live over the years, and telling the story that might throw off viewers at first with intriguing twists, but he never fails to entertain.
*** This review may contain spoilers ***
Steven Spielberg directs what is arguably considered one of his
films, the poignant and terribly depressing SCHINDLER'S LIST. Shot
stark black and white to display the gritty atmosphere of the
concentration camps, SCHINDLER'S LIST portrays the life of Oskar
Schindler, a greedy, womanizing Nazi businessman who has a change of heart after witnessing the slaughter of the Jews during the Holocaust. Playing the role of Schindler is Liam Neeson, who expresses a profound mix of feelings that his character must have endured: loyalty for his fellow Nazi comrades, and sympathy for the victims of the travesty. Quite the opposite is Ralph Finnes, who portrays the stone- cold Nazi stooge Amon Goeth. There are no feelings other than disgust and resentment towards Goeth, who callously and thoughtlessly kills every Jewish prisoner in his camps. The excessive images of carnage and gore might turn off some viewers, but they're shown to prove the horrors of the Holocaust, and the rampant, hateful image of the Nazis. Sure enough, I couldn't get the depressing, haunting scenes of death out of my head. But, thanks to Schindler, hope was restored to those poor people, proving there is hope when it looks impossible to exist.
Dustin Hoffman is superb in THE GRADUATE, a film about youth and
Hoffman plays Ben, a graduate out of college who undergoes a
internal struggle after repeated sexual escapades with a much
woman, Mrs. Robinson (the great Anne Bancroft). Not only does she
preceed him in the age area, Mrs. Robinson also happens to be the
mother of the girl that Ben fancies. Mike Nichol's direction is near- perfect, detailing Ben's solemn lifestyle, while the pop duo Simon
and Garfunkel stirs the scenery with their greatest hits "Mrs. Robinson" and "The Sounds of Silence."
Steven Spielberg first entered the world of extra-terrestrials
CLOSE ENCOUNTERS OF THE THIRD KIND. With great visual effects,
those pint-sized UFOs to the mammoth motherships, CEOTTK's
eye candy to the fullest. The acting is top notch as well,
Richard Dreyfuss playing considerable torment as Roy, a once
man who becomes obessed with the idea of visitors from outer
after a close encounter. The only downside to this great movie
the tremendous length of time the movie takes up to tell the
And with long length, tedium rears its ugly. No matter; with the
movie's stunning FX, and the great acting by the cast helps the viewer rest easy and enjoy CLOSE ENCOUNTERS OF THE 3RD KIND with no problem.
If not for Orson Welles' brilliant creation, CITIZEN KANE, the stan- dards for great film-making would not exist today. The movie was clearly ahead of its time, thanks to Welles' revolutionary style of direction. The intricately detailed scenes, the unique camera angles, the lighting, etc, all that was new to audiences. The acting is very exceptionally as well, as Welles portrays Charles Foster Kane, the man whose simple childhood quickly dashes away when he gets a taste for the high life, which ends with his last breath proclaiming his one true happy moment.
I was never a huge fan of tearjerker, "chick flicks". For the most
part, they had put me to sleep. But upon watching SLEEPLESS IN SEATTLE, I was taken aback on how some romantic movies can be so entertaining!
Maybe it's because I'm an avid Tom Hanks fan, or I have a liking for witty screenplays. Those two elements helped me enjoy SLEEPLESS IN
SEATTLE. Hanks teamed up for the second time with Meg Ryan, whom of
which both appeared in the lackluster JOE VS THE VOLCANO (one example of why I don't fancy romance flix!) in this endearing and humorous tale of gaining a second chance for love. The ending pays homage to another good romance movie, AN AFFAIR TO REMEMBER.
Stanley Kubrick and Kirk Douglas's greatest collaboration,
holds strong as one of the best epic movies ever. The film,
the huge slave uprising against the Romans sometime before the
of Christ, bursts will extravagant settings, fantastic
and thrilling warrior scenes that make GLADIATOR look like SESAME
STREET. Not only does the eye candy help in gaining the viewer's
attention, but the acting by everyone involved is first rate. Kirk Douglas is typically great portraying the movie's namesake, the slave determined to bring down the Roman empire. Laurence Olivier
is equally masterful as Spartacus' Roman nemesis, while Tony Curtis and Jean Simmons supply sentimental material as the people closest to Spartacus' life. In the director's seat, Kubrick scores high in
his second big-budget epic film following PATHS OF GLORY, which also starred Douglas. When you've got a fluid combination of actor and director, it's an unbeatable mix. Douglas and Kubrick have proved that.
Nicholas Cage has played disturbed, hole-in-the-souled characters
before, but he had really reached a whole new level of dark in 8MM. In it, he plays Tom, a PI who has had it good thanks to a loving wife and a newborn baby daughter. His happy life takes a swerve when he is hired to find out if a snuff-porn film is authentic or not. His journey takes him to a myriad of cooky characters and false ends that somewhere along the line, he lost track of reality himself. Totally bizarre and disturbing, 8MM definitely has a solid grasp on the viewer. He (or she) can't help but feel sympathetic for Tom even after he took a dive into the abyss. I wouldn't be a bit surprised if the role gave Cage himself a jolt of the senses; makes me wonder if this is the reason why he did a heart-warming tear-jerker like THE FAMILY MAN a year following 8MM!
F. Murray Abraham and Tom Hulce lead a great cast in this biographical drama about the life and high times of Austrian composer Wolfgang Amadeus Mozart. Abraham takes an excellent turn as Salieri, the Italian composer who believes strongly this his own great talent was given to him by God, until he met the cackling, womanizing Mozart. How, how can that little rascal be so gifted, yet not take this gift to a serious level? That's the conflict of interest Salieri had been lingering over. Filled with lavish set designs depicting 1600 Austria, even more lavish costumes of that same area, AMADEUS certainly gives owes itself a great deal of credit to its two leads.
|Page 1 of 28:||          |