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A refreshing take, not a remake, with quite decent performances, but I was a bit short sheeted in what I expected. The new lady pinheads are horrible, not scary, look REALLY FAKE, and are laughable. I did appreciate the story and the twist elements, as in the real intentions of one of the characters, where a bigger story opens up, which I appreciated. Which speaking of opening up, the small box that should be laid to rest looks better, and more stylish then ever, where a few viewers would be fighting the compulsion to opening it. Hellraiser short sheets us quite a bit on the violence quota, though there are some still quite nasty bits, (the hook and chain pulling body, a trademark cliche image). The female lead is very engaging, and too her character. On the whole, I DID enjoy this, but the whole affair to me was a little unfulfilling, where much more hell raising needs to be done in the future to better this.

Yes, it looks like a Robert Altman film again, with the long filmed shots, following shots, hold on face shots, and this movie is definitely something different. It just doesn't rise up to Altman's others, mainly due to the subject matter around this famous modelling event, with a bit of push and shove, not just from the models. As the reporter, Basinger did get on my nerves a little, while photographer Rea was funny and great to watch, as was Linda Hunt, and especially the mystery dark shaded hitman. And the trivia about a bullying Danny Aiello, I got that off watching his character, and he really makes an ugly woman. The cutting back to the two roomy strangers, wine gouging Roberts (who's terrible in this by the way) and column writer Robbins I did really appreciate. The ham choking stiff in the limo, almost seems insignificant to all the other other characters and exciting spectacles, the final bold saucy runway number, will leave you breathless and other things. You have to admire the originality of the film, and I enjoyed all of it's 133 minutes, but the film's failing is only in the movie's choice of subject, but entertain, it does.

Finally coming around to see this after it's near 30 year release, I was pleasantly surprised by how much I'd enjoyed it. This too would of gone down as one of the best films of 1995. Smoke is not about plot, though there is a semi one going on here. It's more about people, just everyday ones. Keitel is Keitel here, who owns a corner cigar shop where over many years at the same time, everyday, right on the dial, he's taken photos of Brooklyn Yorkers crossing the street. Hurt, who's the real performer here, with a performance which shouldn't go overlooked, is Keitel's very good friend, and writer/columnist, who takes in a young black kid, who's on the run from some dudes, he owes money to. I don't want to say anymore as far as this character's concerned, but he really has a purpose in the second half of the film. Smoke flows beautifully, where the story doesn't rush in where it wants to go. One wonderfully acted cameo part performance, was that of a younger Ashley Judd, as Keitel's supposed and very angry daughter, who I didn't recognize. That movie has great acting by everyone, but it's Hurt who really shines here. I was really drawn into his character, but he's great in every film he's ever been in. Keitel's flashback story in the climaxing 10 minutes really held me, and Harvey delivered this wonderfully. Don't overlook this one.