Reviews written by registered user
|23 reviews in total|
"The Paper" is certainly a screenplay that Ron Howard spent more time
analyzing and making a shot list of. There are times when things at The New
York Sun get so hectic that the camera doesn't know where to go, and that's
probably what the true Opie of Hollywood was thinking. CONFUSE THE CAMERA.
Incorporate it into your story. So many directors forget this these days.
The camera IS a part of the story, and, if anything, the attention to that
absoloute truth is what made me enjoy this movie.
Michael Keaton is great. He does a great job at playing off his character model, which is certainly Robert Duvall's Frank Hackett from "Network". The other performances are good as well, and it's a nice contemporary treatment to Howard Hawks' "His Girl Friday". This film will certainly open up viewers to classic screen comedies as it is certainly bent on the social satire of Frank Capra. Anyway, a fair movie to see.
*** This review may contain spoilers ***
IN four consecutive weeks this summer, I have seen four consecutive sequels (if "planet of the apes" can count as a sequel, it's more of a remake). "American Pie 2" is definately the worst one, but it was still really great.
The film is certainly bent on gruesome sight gags for humor, but let's not forget that what makes them far more enjoyable is that we know the characters, and we sympathize with them. For instance, the now famous "crazy glue" sequence (made famous through some inventive advertising) would not have been half as funny if we had not already seen Jim making sweet love to his mother's apple pie two years ago.
This film falls just 10 percent short of the first one, and for one blatant reason: the first one was much subtler, as the gang had tons to learn about sex, and how to keep a girl. In this one, there is just the typical male curiosity with sexuality. Nevertheless, the film's message is not lost. Okay, it may be a little melodramatic toward the end, but that is all fortuanately broken up when Simon and Garfunkle's classic tune carries over the background and lets us remember the whole groove of the film. J.B. Rodgers is definately progressing as a director. Just think, earlier this year he gave us the absoloutely DREADFUL "Say it isn't So", and now he gives us this film that is almost impossible to not enjoy. I think that he's a director who is getting better at finding the theme of the story.
Anyway, go see this one, even if you are tired of sequels.
Just like "Lethal Weapon" fought police force racism in the early '90s,
"Rush Hour" has definately become the film to alleviate the same in the new
I laughed myself out of the seat and all the way home. Jackie Chan has never been faster, and Chris Tucker has never been funnier. Plus, Don Cheadle's cameo had me in stitches.
It's really the same thing as "Lethal Weapon 2", where we learn more about the characters and the traumatizing events in their lives, but we have plenty of comic relief to break that up. There's enough of a plot to make for an enjoyable movie. And I would not mind at all if there were to be a "Rush Hour 3" in the works. Which surprises me.
Anyway, the quintessential summer movie, and then some. Go see it.
*** This review may contain spoilers ***
There is a trilogy of films that were released beginning in 1987 and ending in 1989 that all deal with the same issue, but each handle it in its own genuine way.
The subject: Keeping a friendship between a male and female plutonic in this most desensitizing of all worlds.
The films: "Broadcast News" ('87), "Working Girl" ('88), and "When Harry Met Sally" ('89).
"When Harry Met Sally" is the one to touch the issue with an extremely open eye, and answer all questions concerning the subject. In the end, we discover that it is not sex that can ruin a friendship, but simply letting the things that attracted you to each other in the first place die out. In the last line of the film, for example, Sally Albright (Meg Ryan) is noting the detailed arrangements of her wedding to the camera, and she goes far out of her way to mention what went on the side of every dish served at the commencement. This reminded us of earlier in the film when Harry (Billy Crystal) first noted his attraction to her in the diner after they had finished ordering. I learned so much from this film. And I laughed at the same time.
"American Pie" is a film that has been taken at face value by most of its
target audience. To many, it is simply a film about four friends trying to
get laid before they graduate high school and go on to bigger and better
things (well, maybe, let's see the sequel). But I believe that the writers
and the concievers had something else in mind. If they wanted to do another
sex comedy, they could have done a remake of "Losin' It" or "Porky's" or
something else from the '80s. Instead, they found a way to incorporate
those entertaining tactics into a film with a finely developed coming-of-age
message. The sex part is really just to keep the viewer watching.
I'm pretty sure that I'm right because 90% of the people I have talked to that are part of a face-value generation have said that "there's something there" and that it "has a message".
"American Pie" could be called an organized sex comedy. But I think it's an organized drama. The ending was a fine one--something that I could relate to as I am saying goodbye to my friends in High School and heading onto bigger and better things. Yep, I guess I'm starting the second film of my life, and maybe we all will understand the message of "American Pie" when we finish it. Anyway, highly recommended.
I saw this one after having seen "Scary Movie 2", because of expectations.
I didn't want to see the first one first, and then think that the second one
was going to be better. "Scary Movie 2" is certainly the worst movie I have
seen this year, next to "Swordfish", of course.
However, "Scary Movie 2" did make "Swordfish" look like "Casablanca...2". But, anyway...
This film was surprisingly smart. It was probably the best gross-out comedy we've had since "There's Something About Mary", and it was certainly every bit as entertaining. It was good at satirizing breast implants, homosexuality in men's sports, adult/youth relations, and even the horror movies themselves. We all thought we had seen it all when "Scream" spoofed scary movies, but this one took the cake at getting the last laugh with movies like "Halloween" and "I Know What You Did Last Summer".
Of course, the sequel was just a collection of witless sight gags and tasteless humor that didn't strike any chord with the audience (believe me, I was in a crowded theater). But, there will always be this film. It is a treat in the parody genre that won't probably last long (because of the pop culture, some of which, has already died out). But we can enjoy it while it's here. A good companion piece to "Scream", as well.
"The Score" is not a perfect film. It is excellent, and well qualified as a
noir piece. At times, it is reminiscent of those great post-war generation
flicks like Kubrick's "The Killing" and Roy Hill's "The Sting".
It's nice that this film came out in the middle of a summer where anything goes (ie. "The Mummy Returns" and "Tomb Raider"). Big budgets seems to spell it all this time of the year, but "The Score" lacks explosions and car chases. It relies on the audience for a change to piece together its clues and deal with a few dragging moments so they can get to the ultimate payoff.
And what a payoff it is. With no gunfights, and almost no violence at all, "The Score" is an intellectual keeper--a satisfying work of peaceful, suspensful, filmmaking.
For weeks I have been looking for the perfect structure of a screenplay. This film had me in the first ten minutes because of what it set itself up to be. The structure had the camera following one principle lead, going off to meet the other principle lead, who would subsequently go off to meet the character from which the major plot developed. "Eyewitness" is a great film which showed me what I have been missing throughout my entire movie-watching career. After you meet the principle characters through following them, some kind of sub-plot, or major plot, or principle theme, will develop, and it will truly free up the entire movie. This is basically the structure of almost every independent film I have seen. Not to be missed.
Welcome to the lives of virtually every young man in America. "Diner"
the story of five college students going through one week of "after growing
up" in Baltimore, Maryland. It is more, however. The film not only
glorifies the camaraderie between life-long friends, but it is also an
excellent portrait of a writer/director making a film with intimacy.
This movie is a perfect film to watch if it's late at night, and you have
nothing better to do. Or if it's the middle of the day and you have nothing
better to do and you just want to watch something funnier than your dad
fiddling with the lawn mower.
"Tommy Boy" is, without a doubt, the best Lorne Michaels produced film ever made. Okay, so it's not that great, but, then again, or any of them? Anyway, they're perfect films for when you really don't care.
It plays on Niel Simon's classic "Odd Couple" routine, and the two actors handle it quite well. The jokes may not be as subtle or as intellectually gratifying as the odd couple's, but they work just fine at making you feel not so bored. A wonderful tribute film to the comic genius of Chris Farley, as it shows how he can take otherwise conventional material and add a genuine spark to it.
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