Reviews written by registered user
|8 reviews in total|
In case you can't discern from the title, this is a *very* violent
film, so don't be a putz and take your five or six year old kid, like a
couple of people did at the Independence, Missouri AMC screening
tonight. There are more triple-taps to the head than any film in recent
memory, to the point that it becomes rather over the top by the time
the film ends All that said, Walter Hill has woven yet another
well-paced, engrossing buddy film actioner with a pretty good left hand
twist. Stallone plays a weary New Orleans hit-man very convincingly,
and with a very wry sense of humor. Were he any more droll, he would
have to become a British citizen.
"Bullet" has everything an Action fan loves...really nasty bad guys, impossibly punishing fights, explosions, hot women, and main characters you can actually care something about. The plot isn't suspenseful, but it isn't meant to be, as our heroes go on what for one is a vendetta, and for the other a bumbling police investigation. Indeed, Sung Kang's Washington DC detective seems at times to have the insight of a rock, but Kang is pretty and plays well alongside the grizzled Stallone.
All and all, if you enjoy this sort of film, well...you'll enjoy "Bullet to the Head".
If you are cynical, or unable to see past your own little corner of
this world, this film will seem to you to be a regional self-love fest
- a trip down nostalgia lane for a bunch of middle aged Midwestern
hippies. If you love history, rock and roll, and all things
sociological, then "Cowtown Ballroom: Sweet Jesus!" will hold you in
The makers of this documentary did a wondrous job given the dearth of film from either the era or the location of the film's subject, a Kansas City music venue whose legacy is far larger than the old roller rink in which it was sited, and much longer than it's three year run would seem to indicate. The concerts held there in the early 1970's are still talked about today amongst those of us who attended. The sterile, metal-detected, put your butt in the seat and keep it there concerts of today are as different from Cowtown shows as baby formula and moonshine, and CB:SJ! does an excellent job of taking us back to a simpler and often more fulfilling time in the music world. Moreover, the film gives us a brief, but earnest glimpse into the social trends and cultural environment that spawned Cowtown and many other venues like it across the country.
"Cowtown Ballroom: Sweet Jesus!" is for anyone who ever sat on the floor with their best girl, twisted up a fatty, and let the music flow over them with a thousand other long hairs like them. It is also for them to show their children that, yes, indeed, Mom and Dad were once cool.
This film, more than any other single factor, affected my way of
thinking about Life, Religion, and everything. The message of Inherit
the Wind is, if anything, even more relevant in the new millennium as
the forces of legislated morality strive ever harder to write their
particular mythology into the legal fabric of our country.
It is sad that these self-righteous, pious individuals fail to recognize that the only reason their own religions are allowed to exist is because of the very freedoms that allowed Bertram Cates to speak his mind in this superb rendering of a classic play. As Henry Drummond says when talking about suppression of speech and thought by one ideology toward another, "...if you can do one, then you can do the other." Truth is, and shall always be, in the eye of the beholder. You cannot and should not attempt to cram your Truth down the throat of another.
The worst thing about this "remake" is that they hung the name of *the*
classic 50's sci-fi film on it. The new "Day" has virtually nothing in
common with the original save for a few character names and the general
notion of an alien coming to Earth to make us do something we were
unwilling to do ourselves.
The film is so low key, it is hard to believe it was even written. Everyone sleepwalks through their parts, perhaps taking a cue from Reeves, who generates about as much excitement in this film as does the ingredient list on a box of Cream of Wheat. Virtually *nothing* happens in this movie. There is no sense of tension, no dramatic unfolding of plot. You couldn't possibly care less about any of the sketchily drawn characters - it is perhaps revealing that Gort, the now giant robot weapon system, has more personality than all the other characters in the film rolled together...and he doesn't speak. Even the numerous helicopters in the movie are CGI, and they *still* have more personality than Reeves.
This remake is a classic example of Hollywood, bereft of ideas, trying to profit on name recognition and fond memories. Even the "you're ruining the planet and killing yourselves" theme of the film is less threatening than a warm, purring kitten. I can't even work up the energy to be offended at how this bland, vapid remake lifted superficial details from the original, because it is so utterly unlike the earlier, vastly, vastly, VASTLY better original.
I paid one dollar to rent this film from a Redbox. I feel like I was robbed.
Truly one of the worst films ever made.
Subject says it all. The worst movie ever made, seriously, zero
redeeming qualities. Even the action scenes are boring. Stilted dialog,
insipid plot, derivative storyline, laughable direction and acting.
This film is a landmark of bad film, something that should be enshrined in the Hall of Shame. Do not watch this film under any circumstances, including being held at gunpoint.
Rarely will you see talented people having their skills so poorly used, even when they obviously phoned in the part. Cage and Jones, usually actors of some quality, are total stereotypes and probably made the biggest mistakes of their acting careers by allowing this film to ever be released with their faces and names attached to it. Sean Young, however, performs up to expectations, as there are none for her.
Did I mention that this movie is incredibly, unbelievably *bad*?
Of all the fine work done by Sidney Poitier during his heyday, this
film stands out as the most accessible, the most likable and the most
heartwarming. Poitier's portrayal of itinerant builder Homer Smith
rings true throughout, a man living life on his own terms...yet still a
humane and involved individual.
This film has everything that brings good humor to a movie. The classic "fish out of water" premise, amicable cross-cultural confusion, joyous music...but it is much, much more than a mere comedy; much more than a simple drama.
This film was made in the thick of the civil rights movement. A black man in close juxtaposition to a group of white nuns was an eyebrow raiser in the 60's, as was the overall multicultural setting. White, black, Mexican, Anglo, German, Hispanic - all are tossed together with such a deft hand that the occasional nod to the prevailing racist attitudes of the time is almost brushed aside as the film skillfully makes its point. The emphasis here is on people doing as people should do...working and living together, helping one another and learning and growing from the experience.
Perhaps this is the time for any of us who has seen this film to see it again, and ask ourselves how the lessons of "Lilies of the Field" can be applied to the recovery from the devastation of Hurricane Katrina, and the relief of all the human misery that has resulted.
I've read with interest a number of user comments on this film, and I've
come to the conclusion that many people have no idea what true classic
comedy entails. Blake Edwards is, without a doubt, the finest comic
director of the past fifty years, and this film is a prime example of why.
The casting is flawless, the material is deeply funny, but it is the
*details* that make this film the incredibly uproarious vehicle that it
Edwards' forte is comic surprise; the little things that come completely
of left field, the sotto voce comments made (the judge telling the butler,
"oh, and kill the dog"...then, some moments later, in the background, a
gunshot rings out, Basinger miming the drunk test which Willis is easily
passing, falling down in the background while trying to stand on one
If you haven't really *watched* this film, then do so...and learn to cherish one of filmdom's greatest talents, Blake Edwards.
Hmm...I thought it was quite funny, actually. Sandler was playing the
straight man, for those of you who didn't notice, so perhaps that was a
unsettling and disorienting?
Nicholson had a tour de force. It wasn't a *great* comedy, but it certainly was a good one.