Reviews written by registered user
|129 reviews in total|
I really like the part where the girl in the relationship is asked by
her brother "Are you sleeping with the enemy"? The "ENEMY"...?!?! You
know what...FU** you, the horse you rode in on, and everything about
Just more mindless, liberal, millennial mush-brained BS
*** This review may contain spoilers ***
This movie was...okay...for what it was, I guess. Redford IS great in
this. He looks very grizzled and worn out and plays his stoic character
very well. Some good, tender moments come out of his interaction with
his granddaughter. The rest of the cast was functional, although no one
else really stood out. The movie was very predictable, and had a few
moments of unrealistic sentimentality. The scene near the end where
Morgan Freeman and the bear confront each other was, to me,
cringe-inducing. Do you think this bear thought to himself "Well, I've
already messed this guy up...I think this time I'll give him a pass"?
This is a PREDATOR. They don't think in those terms. They sense a
threat or a meal, and you are in big trouble. Of course, this was
played up for the "Awww" factor, but I found it insulting and
unrealistic. Also, there was really no big climax. The penultimate
scene, where Redford kicks abusive Gary's ass and sends him on his way
was played out much too quickly, and Gary pretty much tucked his tail
between his legs, and caught the first bus out of town. That was it.
There should have been something much more menacing about Gary. He
shouldn't have been that easy to scare off. The movie didn't so much
end as it just kind of petered out.
The scenery and Redford's acting were first rate, and everyone else did a decent job, but overall I found it to be disappointing.
I have to admit I somewhat enjoyed this movie. There are some movies that are so BAD, they're GOOD, and I guess I would put this movie in that category ("Cobra" with Sylvester Stallone is another good example). I can enjoy how creatively BAD it is. The bit about the humans teaching themselves to fly sophisticated jet aircraft in a short span of time...well...yeah, that is a bit out there, but there are tons of movies that require you to suspend your disbelief in order to enjoy them. I suppose I see this movie in that vein. Put aside the clear departures from reality, and enjoy it for what it is. It's a bizarre, strange tale, but it held my interest. Obviously, it got produced and distributed, so SOMEONE thought it was worth putting out there. If you're in the mood for a goofy, creatively bad movie, you could certainly do a lot worse. I'd give it a 5.
The initial problem I had with this film is the fact that an IRA
soldier, in New York to buy and transport weapons to bring back to
Ireland, would bunk in with an NYPD Sergeant and his family. That
sounds like asking for trouble to me. Not a smart move. I can't imagine
the IRA sanctioning a rather reckless move like this. The large amount
of money Pitt's character was carrying, and the importance of these
weapons making it to Ireland had me shaking my head in disbelief that
Rory (Pitt's character) would take such a risk of trying to pull this
off right under this police sergeant's nose.
Some on this site have complained about Brad Pitt's Irish accent, however I thought Pitt was easily the best part of this film. He succeeded in creating a troubled, but somewhat sympathetic character. It is his performance that I even gave this film a 4. Treat Williams was also very good as the mean, black-hearted weapons contact for Pitt's character in New York.
I had enormous problems with Harrison Ford's efforts in this movie, if "efforts" is the right word. When Ford first burst on to the scene many years ago, he looked like a solid, creative acting talent. However, in recent years, he has taken on this goody-goody, moralistic, cutesy-pie, boy scout character style which he seems to hide behind, and it's just ridiculous, and reflects really lazy acting (see: "Air Force One" and "Patriot Games", to name two). It is truly irritating and disappointing, and brought this movie way down in my view.
I had trouble swallowing the premise, but Ford's performance just made this cringe-inducing to me.
*** This review may contain spoilers ***
I've always enjoyed watching this movie immensely. I realize some
liberties were taken to create fictional characters, and a fictional
military operation. But this is an entertaining and engrossing film.
John Wayne's Rock Torrey is an extremely capable naval commander, and a smart, decent human being who attracts quite a crew around him. The character is someone you like and admire. Everyone seems to feel that Rock will get them through whatever dangers lay ahead.
Unfortunately, Commander Eddington, played by Kirk Douglas, cannot control the serious sexual demons roiling around inside of him. However, as his last act on earth, he takes an unauthorized plane trip to do a little reconnaissance on the Japanese fleet before he is finally shot down. This was really a subtly nuanced character. He is, at once, an effective second in command to Rock; he is also a seriously disturbed individual. It is difficult to resolve the incredible bravery with the cowardly rape. Well done by Douglas.
Patricia Neal, as a tough as nails nurse, fits in very nicely with Rock Torrey. You root for these two to find a life together.
Brandon De Wilde, as a young Naval Ensign, and Rock Torrey's estranged son, is at first resentful of his absentee father, but steps up for his father when he comes to understand the character his father possesses.
This is a very entertaining movie. It keeps you in your seat a little like a soap opera, but John Wayne just dominates this movie. His is a powerful character, and his presence is the key that all the other characters revolve around.
*** This review may contain spoilers ***
Strangely quiet, gentle movie considering the subject matter. Not much
action, but quite a bit of discussion of the ramifications and
consequences of war.
Portrays the contrasts between p*ss-and-vinegar young soldiers, and the old-hand leadership of Sergeant Hazard and the Sergeant Major.
The death of Jackie Willow is stunning, and the scenes afterward are sensitively done, and very sad. There is much to consider in the prices we all pay for being so ready to get into combat. Sergeant Hazard understands the costs, and wants to get back into the action, if only to ensure no more young men enthusiastically stumble into death.
Very well done, and very well acted.
Remarkable film, with top-of-the-line performances by all involved,
especially Paul Newman. There are certain roles that certain actors
seem born to play, and "Hud" is Paul Newman's role.
Hud is exceedingly charming, capable and charismatic, but there is emotional damage hidden within, and he is also cruel and unforgiving, and wants to shun and hurt anyone who gets too close. Anybody who gets too close to Hud does so on Hud's terms. His terms are to take whatever he wants. He has no inclination to understand what anyone may want or need from him. He pursues his own wants and needs, at whatever expense.
Brandon De Wilde is Hud's young nephew, Lon. Lon admires Hud, and aspires to live the rugged life that Hud himself lives. It is through their relationship that Lon begins to see the cruelty and thoughtlessness behind Hud's charm. Most of the movie wedges young Lon between his brash, virile Uncle Hud, and his moral, upstanding Grandfather (Hud's father). Lon is also the son of Hud's dead brother; a death that still is a source of unspoken pain between Hud and his father.
The other interesting character is that of Alma, played by Patricia Neal. She is the somewhat homely, but undeniably sexy housekeeper for the house full of men. She is a woman who has lived a somewhat hard life, and seen her share of hurt. She keeps Hud at arms length, although certainly aware of his virility and sex appeal. She, too, is treated to ugly examples of this attractive, emotionally damaged man.
Emotionally stunning movie; many remarkable segments, including the riveting cattle slaughter scenes.
Easily an Oscar-worthy performance by Newman. One of the more remarkable portrayals of his career.
I can't say I'm a big horror movie fan, but this was a decent, fun
movie to watch. The movie was put together well, and begins
horrifyingly. The sweeping shots of the unbelievable chaos going on as
Sarah Polley escapes her neighborhood are well done.
I was really taken with the opening montage, portrayed with a Johnny Cash song, which I'm guessing is called "When the man comes around". Very good movie opening; well done, and provides a visual and musical taste of the ugliness to come.
The movie provides a little black humor in the middle, as the occupants of the mall indulge in silly fantasies to temporarily escape the terrifying situation they are in (Sex, rooftop golf, dress-up, etc.), all done to a tune that seems to be called "Get down with the sickness". There is also a segment of "Zombie-Celebrity-look-a-like" shooting gallery that is humorous.
Ving Rhames, Jake Weber and Mekhi Phifer are excellent actors who lend name recognition, and strong screen presence to this remake. The other actors all do a fine job rounding out the characters trapped in the mall.
Not overly gory, but an enjoyable, and well done, horror movie.
Stick around for the end credits, for a montage hinting at the fate of our heroes.
An engrossing, well-made film. This movie takes it's time to make it's
points, and that is genuinely appreciated by a certain segment of the
movie-going public. The film takes it's time to develop the characters,
and develop the circumstances that lead to the climactic showdown.
Maybe the only complaint I might have is the sometimes overly stilted
diaglogue, but it works, for the most part.
The story of prideful men, living a hard life in the latter days of the American frontier. These are men with regretful episodes in their past, but they believe in moral good, trust among men, and living life with dignity. They are willing to stand up when these things are breeched, and take men to task for trespassing.
Robert Duvall has probably never been better as Boss Spearman, a trail boss who has learned to live life the hard way. One of the best lines in the movie is delivered by Abraham Benrubi (Mose) about Robert Duvall's character. After a storm, Boss goes out looking for the crew's horses. After a time, Boss comes riding back into camp with all the horses rounded up. Mose looks on admiringly, and says "Ol' Boss...he sure can cowboy, can't he?".
Kevin Costner is excellent in his role as Charley Waite, a man still haunted by a somewhat murderous past. It is Boss's moral courage, coupled with Charley's underlying explosive violence, that keeps you spellbound as the two confront the brutal town bosses and their henchmen.
Annette Bening, James Russo and Michael Gambon are excellent in their roles, and makes this a very entertaining western.
A fine movie; well-acted and well-made.
Remarkable, disturbing film about the true-life, senseless, brutal
murder of a small-town family, along with the aftermath, and
examination of the lives of the killers, Dick Hickok and Perry Smith.
No matter how much time goes by, or how dated this film may look, it still resonates the utter incomprehensibility of criminal acts such as this.
This really traces multiple tragedies: The tragedy, brutality and senselessness of the murder of the Clutter family, a decent farm family in small-town Holcomb, Kansas; and the wasted, brutal and sad lives of Hickok and Smith.
An interesting point is made in the film: that neither of these two immature, scared, petty criminals would have ever contemplated going through with something like this alone. But, together, they created a dangerous, murderous collective personality; one that fed the needs and pathology of each of them. They push each other along a road of "proving" something to each other. That they were man enough to do it, to carry it out; neither wants to be seen as too cowardly to complete their big "score"; an unfortunate and dangerous residue of the desolate lives they led. These were two grown-up children, who live in a criminal's world of not backing down from dares; who constantly need to prove manhood and toughness. in this instance, these needs carried right through to the murder of the Clutters.
The film contains a somewhat sentimentalized look at the Clutter family, but the point is made. These were respected, law-abiding, small-town people, who didn't deserve this terrifying fate. The movie also gives us a sense of the young lives of Hickok and Smith. Perry Smith, whose early life was filled with security and love, but watched in horror as alcohol took his family down a tragic path. Hickok, poor and left pretty much to his own devices, not able to see how he fit in, using his intelligence and charm to con everyone he came into contact with.
An interesting, and maybe the first, look at capital punishment, and what ends we hope to achieve. Is this nothing more than revenge killing for a murder that rocked a nation at a time when we had not yet had to fully face that there might be such predators among us, or does putting these guys at the end of a rope truly provide a deterent to the childish and brutal posturing of men like these? Is it possible to deter men who live lives of deceit, operating under the radar, believing they fool everyone they come into contact with? To be deterred, you must believe it's possible you will be caught. Is it possible to deter these men who believe they are too clever to be caught?; who have committed hundreds of petty crimes, and got away with them? This was supposed to be a "cinch", "no witnesses".
When caught, Hickok finds he can't charm and con the agents the way he had department store clerks. Smith, who believes he deserves such a fate anyway, who seemed to be the only one who truly grasped the gravity of what they had done, willingly tells the story when he learns that Hickok has cowardly caved in. Hickok blinked first. A silly game of chicken between two immature, emotionally damaged, dangerous men.
Fascinating psychological thriller, telling a story of a horrendous crime in this nation's history. Stunning portrayals by Robert Blake and Scott Wilson. These roles made their careers.
|Page 1 of 13:||          |