bill-422 Reviews

Mystery, Alaska (1999)

a very enjoyable movie

[7/10 · 24 September 1999]

Well, it's not "Slap Shot", but it's not "The Mighty Ducks" either, so this film has a lot going for it. The cast is very enjoyable including Russell Crowe, Mary McCormack (adorable), Lolita Davidovich and Burt Reynolds. The sports sequences are well done, and the final match-up between the Mystery team and the New York Rangers is deeply involving, believable and surprisingly less-predictable than one may expect. The film focuses on many issues surrounding the townspeople, and some of it is unnecessary. These same problems are tidied up rather conveniently and quickly so as to be unbelievable. However, the spirit of this movie is engaging. It's worth a viewing, and certainly has the potential to be loved by many people. My only real complaint is the cameos (including Mike Myers) who isn't very funny or interesting as a sports analyst. Unfortunately, Little Richard (also with a cameo) is funnier than the retro comic. Also, it is too bad that the real NY Rangers weren't used for the film. It would have been enjoyable to see Wayne Gretzky roughing up with Russell Crowe on the ice. But that's just me. Enjoy!

Yojimbo (1961)

a great homage to the American Western.

[9/10 · 24 September 1999]

This is one of the easiest Kurosawa masterpieces to watch, and like previous classics from this legendary director, the action of the story occurs in medevial Japan. Ironically, this tale was inspired by the American Western (which is clearly evident)and inspired an important chapter of the Western genre. Later remade as Sergio Leone's "A Fistful of Dollars" (which led to "The Good, the Bad and the Ugly" and "Once Upon A Time In The West"), Akira Kurosawa's medevial "western" is just as enjoyable, violent and stylish as Clint Eastwood's "spaghetti" Western that most movie fans are familair with. It is rare that a film and its subsequent re-make can be equally enjoyable and of equal quality, but such is the case. In Kurosawa's original, Toshiro Mifune portrays "The Man With No Name" and is just as mysterious, witty and sarcastic as that tough, skinny American. Fans of Leone's Westerns would be very wise to witness this great film. Comparisons are pretty futile since both are of different cultural settings and the action in both are exceedingly excellent. But it is such a great story and a great film to watch, an admirer certainly won't mind to witness two great versions of the same terrific formula.

"Yojimbo" was again re-made in the 90's with Bruce Willis in "Last Man Standing".

Drunken Angel (1948)

A strong reflection of the morals of man

[8/10 · 4 September 1999]

A very, very vivid film from Japanese legend, Akira Kurosawa. The Japanese town that is the setting for "Drunken Angel" is vividly captured by Kurosawa, and the filthy swamp that separates the doctor from the filthiness of the town is brilliant. Toshiro Mifune plays a tuberculosis stricken gangster who is slowly won over, despite his vicious pride, by the caring but sarcastic doctor. The swamp is a reflection of the corruption in the town and in one of the first scenes a group of children are seen playing in it. Kurosawa's way of foreshadowing these children's future since the town is controlled by the immoral gangsters. With the arrival of Okadu, a released convict and gangster, and struggles with his health, Mifune struggles through conflicts of soul which are brilliantly metaphored by Kurosawa. A great drama with some brilliant commentary about post-WW2 Japan. Solid characters carry with film about typical with the Doctor being an unforgettable creation and Toshiro Mifune giving a powerful performance.

The Thin Red Line (1998)

Was this just a "property war"?

[9/10 · 13 August 1999]

I knew going in that Terrence Malick requires some patience and pondering. "The Thin Red Line" does meander, quite frequently. But, after seeing "Days of Heaven", I knew it was coming. However, I also expected some stunning cinematography. Obviously, again, I was not wrong. This picture is gorgeous, and one of the strongest aspects of the film is its underlying comparisons between what is natural and destructive. Throughout "The Thin Red Line" a viewer sees nature at its most precious, and the war destroying this environment. The gorgeous destruction of Terrence Malick's film is a powerful issue, as is the question of who and why this destruction exists. Since this film conveys heavy doses of fright and occasionally cowardice by the troops, the question appears, and its a powerful question. However, raised on the Vietnam films of "Platoon", "Apocalypse Now" and "Full Metal Jacket", I can understand the insanity of it all. War is hell, to quote a phrase, and is obviously appropriate to condemn. However, is it truly appropriate to label WW2 as merely a "property war", as coined by Sean Penn's character? Wasn't WW2 a little more important and worthwhile than that? However, I digress. The performances of Nick Nolte and Sean Penn are exceptional, as is Terrence Malick's gorgeous attention to detail. However, the philosophies of this tale and Malick's explicit appreciation for nature downtrod the story at hand. This was also a flaw in the beauty of "Days of Heaven". And unfortunately, I was expecting this too! I will say that the first viewing was tedious and disappointing. However, this is a film that stays with you, and thus, I am sure that I will get more out of it after another sitting.

Varsity Blues (1999)

Gritty but predictable

[12 August 1999]

A tough but predictable look at the structure of a backwater college football team and its demanding coach. This teen/college sexist film does manage some insight into an otherwise familiar story but most of the message behind the film is just testosterone. There's nothing of any great importance to view here. There's the second-string QB who becomes a hero, the head cheerleader who tries to seduce the hero, the fat boy lineguard who fits in nowhere but with his team, the obsessive, demanding coach who more resembles a war general than a commander of a game and the obsessive fans and townsfolk who live for nothing else but their college team. It's a machismo affair about a man's game. Not nearly as great as "North Dallas Forty" but not nearly as bad as "Unnecessary Roughness" either.

The Faculty (1998)

Some cool tricks, but nothing new or impressive

[7/10 · 12 August 1999]

Hey, we've seen everything in this movie in different movies. Sure, Director Robert Rodriguez puts all of these elements together in a slick, easy-to-watch manner but it's nothing new or impressive. We've all seen the "aliens" taking over something before (town, city, etc.) where the good guys know something's amiss and have witnessed just enough to fear for their lives but noone will believe them, so they have to save the city, town, world, by themselves. It doesn't hurt to have a hip cast (sultry Bebe Neuwirth, Robert Patrick, Salma Hayek and Harry Knowles in a cameo - ain't it cool!), and although some of the scenes misfire and don't seem to fit in with the formula at work (for instance, the scene where the good guys test themselves to ensure that none of them are aliens is straight out of "The Thing"), most of the picture is enjoyable. Cliched and predictable to the max, but hey, it's enjoyable if you put your critcism on the back burner.

Payback (I) (1999)

great, gritty story . . . too much violence!

[6/10 · 9 August 1999]

Aw, come on. This could have been great. Mel Gibson, William Devane, James Coburn and Kris Kristofferson in a crime thriller. Awesome (sort of). Mel is pretty good and the beginning of the story is excellent. William Devane is sinister in one of his best performances (jeez, I haven't seen him around since the 70s). But Coburn and Kristofferson (both very stylish in their roles) don't show up till the latter half of the film and only for a few scenes. And by this time, the violence and torture and blood pools are so excessive that the film ceases to be very enjoyable. Sure, it's funny and entertaining all the way, but Director Brian Helgeland should stick to great stories like, perhaps, the superb screenplay he adapted for LA Confidential. Good film, but it wallows in too much violence.

L.A. Confidential (1997)

An absolutely superb film noir crime drama.

[9/10 · 9 August 1999]

Everything about this film is superb. The story, direction, characters, acting and settings are all crisp and stunning. The performances by Russell Crowe, Guy Pierce, Kevin Spacey, James Cromwell, Kim Basinger, Danny DeVito and David Strathairn are all excellent. Brian Helgelands's violent script adapted from James Ellroy's amazing novel is brilliant. And the direction by Curtis Hanson is stylish and brutal. Academy Awards deserved to be spread around the board for this one, but unfortunately, Helgeland's script and Basinger's performance were the only aspect awarded. (Two of the only awards Titanic didn't win that year). This film is unfairly compared to "Chinatown", but the only similarities between the two are the atmosphere and genre. "Chinatown" contains more complexities in thought and action while "LA Confidential" is dense in plot and character action. "LA Confidential" is a superbly well made motion picture and is a must-see for fans of crime drama. One of the elite in this genre.

The Usual Suspects (1995)

A intelligent, stylish, two-hour fraud

[9/10 · 9 August 1999]

That's right! For two hours, that's all this film does is lie to you. But that's the best thing about it. "The Usual Suspects" has a fabulous cast that puts forth superb performances. Kevin Spacey (who won an Oscar), Stephen Baldwin, Kevin Pollock, Benicio Del Toro (oh, is he great to watch) and Gabriel Byrne are all spectacular as the criminals. (How they are brought together is a classic line-up scene). There are some great action scenes, some great suspense surrounding the identity of criminal master mind Keyser Soze (a myth destined to be a classic), a clever script (which also won an Oscar) and tight, stylish direction by Bryan Singer. Wow, what a great film! You really need to see it, just to appreciate all the lies and style.

Post-Script: You won't find out till the end that everything you have just seen is a lie. But don't worry, you won't feel cheated!

Se7en (1995)

Hey, Brad Pitt was in a great movie!

[9 August 1999]

Great script, great performances by Kevin Spacey, Brad Pitt, Morgan Freeman (especially him) and Gwyneth Paltrow. Great suspense and action sequences. Superb ending that not only ties the whole film together but also enhances everything shown up to that point. Great intelligence, creativity and imagination. Sure, it's a twisted imaginitive mind that wrote this, but it is a great, great script. Be warned, the film does get gruesome in some points, but is always superb.

Who knew Brad Pitt would actually make a great film without looking like a superstar model throughout?

Chinatown (1974)

Hey, have you noticed, if he doesn't get the girl, the film's a classic

[10/10 · 9 August 1999]

Sam Spade didn't get the girl in "Maltese Falcon" and Jake doesn't get the girl in "Chinatown". True, they don't get the girl for different reasons but both reasons are superb. "The Maltese Falcon" and "Chinatown" are without a doubt, the two greatest detective films that have graced American screens. Two important reasons for this are Jack Nicholson and Humphrey Bogart. Of course both have great supporting casts as well. In "Chinatown" the supporting roles are filled superbly by Faye Dunaway and John Huston (in a devilishly malicious role). The script by Robert Towne is excellent and intelligent with many memorable moments and twists. The highlights of this film are the Chinaman joke (easily Nicholson's best and funniest monologues), Dunaway's stunning daughter/sister revelation, Roman Polanski's knife-wielding thug that provides one of Hollywood's most memorable props and the film's surprising conclusion. All in all, "Chinatown" is a complex detective thriller, with a dense, though-provoking script and some superb performances.

Five Easy Pieces (1970)

An astounding and depressive character study

[8 August 1999]

It is fascinating and, ultimately, depressing to witness the greatness of Jack Nicholson's performance in "Five Easy Pieces". Nicholson seems hopelessly inseparable from the repressed and volatile character he is playing in this film, and thus makes this piece of acting one of his finest. While other roles he has played, ("A Few Good Men", "One Flew Over the Cuckoo's Nest", "Chinatown" and "The Shining") contain a star-power grandiose flavor in those performances, "Five Easy Pieces" seems to be genuinely heart-felt and understood by Nicholson. The main character's unwillingness and incapable mentalites to admit wrongness and/or display courage to face life is desparate and repressive. The greatest moments of this film occur when the class structure of the main character's upbringing is contrasted against his current preference of lifestyles. A once promising man is shown wallowing in self-denial and self-condemnation while surrounding himself with inferior persons so he can feel superior. This character is brilliantly compelling and fully realized. The ending of "Five Easy Pieces" is perfection. It is certainly fitting to believe that this character is one that will never be able to face up to his realities, and will continue to run from any sign of it. The best movie that Bob Rafelson has created and one of the greatest performances from one of our greatest contemporary actors.

Clockers (1995)

From a great novel comes one of Spike Lee's best!

[4 August 1999]

Richard Price wrote the great novel for this book and never set foot into an inner city ghetto! Spike Lee's film, however, is possibly more insightful, vivid and compelling than the novel. There are phenomenal performances by Mekhi Phifer, Delroy Lindo, Harvey Keitel and Tom Byrd. It is disorienting to view the crackheads, Byrd's homicidal presence and Phifer's imploding ulcer, but all elements add character and relevancy to this great film! Spike Lee concentrates all of his great talents to some dizzying camera angles and distortions, acute ethnicity and the mechanics of working the products from the benches outside the projects! This really is a relevant 90s film and certainly one of Spike's best joints!

The Shawshank Redemption (1994)

From Stephen King's most surprising story, comes this near-poetic tale

[9/10 · 4 August 1999]

"The Shawshank Redemption" is nearly poetic, but misses slightly because of its straight-forward telling. That isn't a flaw really. It's just that considering some of the powerful human emotions and grandiose spritual scenes displayed, the film could have been legendary. Still, this film is destined to be a classic and rightfully so. Stephen King hasn't written another story that was better (Title "Rita Hayworth and the Shawshank Redemption" in the book "Diffrent Seasons" which also contains "The Body" which was made into another great movie, "Stand By Me" starring River Phoenix). Tim Robbins and especially Morgan Freeman are outstanding. Drama rarely gets muchs better than this and the solitude of human existence is depressingly displayed here. Wonderful, wonderful!

Oh yeah, Morgan Freeman's explanation for being named "Red" is probably one of the purely humorous things you'll ever hear.

Schindler's List (1993)

A shame that AFI named it #9 on the Top 100!

[10/10 · 4 August 1999]

"Schindler's List" is easily one of the greatest films ever made. The technical wizardry and stark reality of this picture alone blow the great classics (Graduate, Casablanca, On The Waterfront) out of the water. Undeniably affecting historical drama has never been more fully realized and displayed in its nakedness like it is here. Steven Spielberg richly deserves life-long accolades for creating this film. His choice of b&w cinematography is brilliant. Every tear, gunshot, death, laugh and cry are all fully realized. Spielberg's epic is a far cry from normal Hollywood movie making and that unto itself is an amazing accomplishment for the misguided 90s filmmakers.

Easily, the greatest creative element for this film is Ralph Fiennes. Without his central protagonistic presence, "Schindler's List" would certainly be a flawed examination of the Holocaust. Instead, Fiennes' character displays uncontrollable impulsive fits of rage and unpredictability which epitomizes the Nazi aura. Fiennes' performance is the best in recent years, and his finely drawn and provocative character richly deserves to be recognized as one of the greatest ever drawn up!

True to life affecting drama has never been better and it seems incomprehensible to expect a motion picture of this magnitude and quality to appear again in our lifetimes.

Basic Instinct (1992)

Psycho-sexual eroticism . . . oh yeah, it's a mystery too!

[4 August 1999]

Hey, what other reason is there to watch this movie than to see the infamous interrogation scene? And the sex scene (take your pick from the dozens in this movie - OK, I'm exaggerating a little, but not much). Frankly, the sex overshadows everything in this film, which is actually a good one. The acting is good, especially by Sharon Stone (gorgeous, gorgeous!). The screenplay works well until the end (the final scene doesn't fall into place and the person eventually named as the psycho-sexual murderer doesn't make sense). However, it is a glamorous, dangerously erotic thriller that is much better and more professional than the direct to video rehashes at the video store. Too bad Michael Douglas is addicted to this type of film, he really could have been a great actor! Sharon Stone on the other hand . ..

Star Wars: Episode IV - A New Hope (1977)

I have nothing to say, because everyone else said it already

[7/10 · 4 August 1999]

So, I'm a member of this site and I feel obligated to share my feelings about this movie (I think it's listed in the guidelines as a mandatory action). It's great, I grew up with it, it's better than Episode 1 and I prefer "The Empire Strikes Back". Sound familiar?

Seven Days in May (1964)

It shows its age!

[4 August 1999]

I only made it through about a half hour of this film. I rented it one night because of the great cast (Kirk Douglas, Burt Lancaster, Ava Gardner, Fredric March) but the film clearly showed its age. Also, I sat through a special edition of the film which showed previews of it! It seemed implausible and hokey! The acting looked forced and the riot scene in front of the White House was unbelievable (really bad) and poorly stage - even by 1960s standards! Maybe it got better, but I got bored.

The Wrong Man (1956)

A different film from the master.

[4 August 1999]

"The Wrong Man" is an off-beat Hitchcockian film. There is no psychological suspense to enhance the tale and there are no real memorable moments. The film does become a bit bland after a while (I missed the conclusion of the film because it was not riveting and anyone who pays attention knows the eventual outcome of the story). However, Henry Fonda is superb as the innocent, every-man and Hitchcock's disorienting camera shots convey the confusion and displacement of Fonda's character superbly.

The Lady Eve (1941)

Smart, hilarious and non-stop.

[4 August 1999]

This is the only Preston Sturge's film I have seen (so far) and I was captivated from beginning to end (well, I could have done without the cheesy opening credits). Barbara Stanwyk is gorgeous and Henry Fonda is hilariously naive and clumsy. Though not the typical screw-ball comedy (Bringing Up Baby), "The Lady Eve" is genuinely superb because it blends in a rough intelligence with its slapstick. If ever there was a comedy that truly takes its audience for a ride, this one is it. This gem keeps you guessing and thinking, as well as laughing.

Freaks (1932)

creepy! stunning! unique! unforgettable!

[4 August 1999]

Jeez, when I was a kid I used to be afraid of one "bogeyman" under my bed. Thank goodness I never saw this film when I was growing up. I would have been up all night checking every tiny crevice for the man without arms and legs, or any of the numerous "freaks" in this film.

This film is creepy and bizarre, but also riveting and fascinating. Needless to say, you can't take your eyes away from it. The banquet scene is an unforgettable accomplishment and the final stalking scene will crawl right up your leg (literally for the female lead). Check it out, not for the scares, but the pure fascination of this great, unique film!

Outside Providence (1999)

nope! "Outside Providence" lacks the charm of "Mary" and hilarity of "Dumber"

[5/10 · 2 August 1999]

I viewed this film as a free screening at Woodstock '99.

This film is based on a novel written by one of the Farrelly Brothers (directors of "There's Something About Mary" and Dumb and Dumber). "Outside Providence" is a serio-slapstick coming of age tale that meshes together the disgusting charms of "Mary" but attempts its hand at serious comedy. Sorry, but it doesn't work. Especially the depressive conclusion which follows a hilarious beginning and some sentimental but light-hearted moments. "Outside Providence" does not flow. Although the Farrelly Brothers did not direct this one, "Outside Providence" still contains moments featuring vile bodily fluids meant to solicit laughs, but these do not work either. Honestly, there isn't much going for it except the first five minutes of the film which are hilarious, and unfortunately, these moments are all displayed in the previews. Reminiesence does not work for these gentlemen.

Summer of Sam (1999)

Did we need this much sex?

[17 July 1999]

The only thing I hate more than a bad movie is a bad movie that had potential. And Spike Lee's newest joint had loads of it. For one thing, there is too much sex. Don't get me wrong, it is erotic and serves the purpose the director is attempting to convey. But is the seduction of Sorvino in a midnight orgy really relevant to the powerful drama of the summer of 1977.

Let's face it, the Summer of 1977 is powerful enough without layering on the dysfunctions of an inner-city Italian who distrusts himself, his friends and his sexuality. It just does not fit. If the segments dealing with Leguizamo and on-screen wife Sorvino had been shot as a separate movie (it still wouldn't be worth admission) it would be more tolerable. Instead it's annoying.

A viewer is treated to sexual frustrations in one scene while brilliantly re-creating the Son of Sam murders in the next. It just doesn't flow. This film would have been best to cut out the sexual exploration themes and focus in on the race riots, the heat wave, the power outage, the Yankees, Reggie Jackson, and most importantly, the Son of Sam (who does not receive nearly enough exposure in this film).

I would love to see a Director's Cut which chops out all the scenes dealing with Leguizamo and Sorvino. Hey, the movie couldn't be any more uneven if it tried.

Trainspotting (1996)

we would have injected Vitamin C if they had only made it illegal

[17 July 1999]

Crazy, hilarious, disgusting, depraved, vicious, innovative and stylish in "A Clockwork Orange" sort of way. "Trainspotting" also stars Ewan MacGregor (pre-Jedi stardom) at his phenomenal best. Even if MacGregor makes hundreds more pictures in his lifetime, he will never be able to top the performance in this film.

The characters are vivid, the accents are heavy (so be prepared to rewind if you live in the US), the drama is devilishly mischevious and the central message of the film is powerful and contemporarily relevant.

Sure, the film wallows in the excesses it preaches against, but any film with this much imagination and innovation deserves recognition.

Oh, if only Kelly MacDonald were a superstar. She is gorgeous!

The Haunting (1963)

Young Jedi knight, may the force be with you for your re-make

[8/10 · 17 July 1999]

"The Haunting" is a dated horror film. However, don't hold that against it. This film is truly a chiller. A suspension of one's disbelief is in order, of course, but a forgiving nature is also required to look past the "dated" camera tricks and sometimes silly melodrama. However, a fistful of scenes are genuinely amazing to behold. For instance, the scene in which all four of the "observers" are trapped in the library with the "entity" pushing the oak door inwards against its hinges is pure hair-raising entertainment.

The "bump in the night" technique used by Director Robert Wise is fully effective and makes for an astoundingly imaginative experience. It is neither exploitative or excessive. Instead, it is creepy, frightful and suspenseful. I would give this one an eight (for the number of times you'll be looking behind you after the movie's done). A great viewing experience.