Movie Review Library - A

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A.I.: Artificial Intelligence (2001)
Starring: Haley Joel Osment, Jude Law, Frances O'Connor
Director: Steven Spielberg
Plot: A boy-robot, an almost perfect replica, is programmed to love like a real boy, but when his foster parents desert him he goes on a quest through a bleak future to find an imaginary fairy that can turn him into the real thing.
Review: A.I. has been hailed as an ambitious undertaking, a combination of Kubrick's (2001: A Space Odyssey, Eyes Wide Shut) cold analytical style and Spielberg's (E.T., Close Encounters) emotional, optimistic fantasies. The film sets up mood and atmosphere with a slow, deliberate pace and, helped by the careful cinematography, incredible special effects, and lavish sets, takes you into a tantalizing world, yet keeps it all strangely distant. Unfortunately, the story sets its sights high, putting forward important questions but never fulfilling its promise of scratching past the surface of these issues. The film is made up of three very distinct acts. The first encapsulates the story on which the film is based on, Brian Aldiss' "Supertoys Last All Summer Long", and is closest to revealing the dark themes of the late Kubrick by bringing up moral and ethical questions, yet toned down with Spielberg's usual melodramatic touches. The second proceeds like a quest, something between Pinocchio and a dark Wizard of Oz, as the young mecha protagonist tries to find the means to become human in a world that fears and hates who he is. Here again, there are some traces of Kubrick's cynical view of mankind, showing us a fair where robots are tortured in front of screaming masses, or Rouge City, a high-tech Red District where humanity gets lost in the sexually impersonal. The final section however is pure Spielberg, changing the narrative gears to a childhood feel-good fantasy full of marmy sentimentality. The real disappointment is that the film sets itself up for a grand exploration of ethical and emotional questions of artificial intelligence, but ultimately fails to address them, falling back on the fantastic to tie all its emotional and intellectual ends. Taken as an adult fairy-tale, however, one can't fault Spielberg's approach, his need to end on a high note leaving us impressed by the audacity and imagination on display. Still, one can't help but feel cheated that the film has avoided its own ambitions, ending with a moral story more than a tad simplistic, its many interesting points unrealized. The young Osment makes the character of the child-robot believable, at times humanly vulnerable and at others as blissfully ignorant and wooden as any machine. The other real standout is Jude Law, brilliant, energetic and appropriately stoic as a charming male sex-bot gone rogue. Spielberg is a master storyteller and there is no doubt that A.I. is constantly engaging and extremely well done, but one can't help but wonder what Kubrick really had in mind for the material.
Entertainment/Drama: 7/10

About a Boy (2002)
Starring: Hugh Grant, Nicholas Hoult, Toni Collette
Directors: Chris Weitz, Paul Weitz
Plot: Trying to score dates with single mothers, a womanizing 38-year old British bachelor is caught in his own lies and is blackmailed into spending time with an odd, fatherless 12-year old boy.
Review: About a Boy is a different sort of animal than what people might expect from a Hugh Grant film, and it's all the better for it. Starting off with a hilarious characterization of its protagonist, the film is an engaging tale of an odd kinship that never falters thanks to a great, witty script that captures the essence of the original novel by Nick Hornby (the author of another great novel-turned-film, High Fidelity) without falling into the trap of easy sentimentality. The relationship between the two "boys", the immature Grant and the 12-year-old social pariah, avoids the usual melodrama and clichés, feeling completely natural and all the more endearing for it. Sure, the major plot points are mostly predictable, ending with Grant's character's eventual redemption thanks to his true friendship with the boy, but that's not the point; it's the situations, character development and terrific dialogue that makes it worth the trip. It's here that the directors, the Weitz brothers, redeem themselves after the terrible Down to Earth and prove that their sensibility for their characters and their finding humor in the most embarrassing situations so well shown in American Pie was not a fluke. What's really hilarious, though, is getting in on what these two characters are actually thinking about in a given moment, a voiced narrative that offers up some of Hornby's most clever (and accurate) statements. Grant, playing a role that he's always seemed suited for, doesn't stretch his acting chops, but he is as charming as ever; a little older, perhaps, but well-suited as the man who, against Milton's statement, thinks he really is "an island". Hoult, as the cynical young one, manages to make his performance both bizarre, smart, and naive at the same time. The supporting cast, led by Collette as Hoult's hippie mother, is excellent never over-playing the obviously eccentric parts and making them feel like real people. All told, About a Boy is a surprisingly engaging, well-done dramatic comedy that injects new blood in a tired genre, and one that is definitely worth catching in theaters.
Comedy / Drama: 8/10

The Abyss (1989)
Starring: Ed Harris, Mary Elizabeth Mastrantonio
Director: James Cameron
Plot: A crew of a mobile deep underwater oil rig is forced to help in the rescue of a drowned nuclear submarine and soon discover that they are not alone in the deep-ocean. 
Review: With The Abyss, director James Cameron (Aliens, Terminator 2) has once again brought to the screen a movie experience that is eminently watchable, fascinating, intelligent, suspenseful, and full of great characters, a film that never loses its momentum during its almost three hour run-time. The underwater locale makes for some interesting, original events and the attention to detail is terrific, the camera capturing the claustrophobia and the intimacy of the confined quarters superbly. The script is interesting and avoids most clichés, and the blend of edge-of-your-seat suspense and action is non-stop. Unfortunately, the Close Encounters-type creature effects are not up to par with the rest of the film, and the "gee-whiz" type ending is a bit of a let-down with its simplistic moral closure. Despite this, The Abyss is an excellent sci-fi thriller, one that proves once again that a great action movie does not have to rely on fights and explosions to be successful. Note: the extended version is the one to watch, as it includes an important sub-plot - without it the ending really makes no sense, as reflected in the theatrical version.
Entertainment: 9/10

The Accidental Spy (Hong Kong - 2001)
Starring: Jackie Chan, Vivian Hsu, Kim Min 
Director: Teddy Chen
Plot: After foiling a robbery, an orphaned salesman discovers his father is actually a dying North Korean spy who sends him on a chase to recover a deadly case of anthrax-like virus.
Review: There's a definite sense of fun in The Accidental Spy, superstar Chan's latest Hong Kong vehicle, but it does show how recent HK productions are aiming squarely at the Western market. Though its star is showing signs of age, Chan is still quite nimble, with the usual impressive acrobatics and well-choreographed fight sequences in evidence, with a good action-to-plot ratio, but one focusing more on the stunts than on the fighting. The story is rather typical Chan fare, mixing adventure with broad comedy antics, with the usual stereotypes and rather silly "thriller" situations. Showcasing its exotic Istanbul locations, the slick production values are evidently made to compete against American features, and some adept filmmaking from director Chen (Purple Storm, Downtown Torpedoes) makes this quite watchable as an amusing piece of fluff. One definite highlight is an extended sequence where Chan is chased through a Turkish bath and ends up streaking naked through a large market all the while battling the villains pursuing him and covering up his privates with any prop that's at hand - only Jackie Chan could get away with this! Unfortunately, the film isn't satisfied with a climax to its story, it has to add a completely unrelated (and rather ridiculous) 20 minute Speed-like sequence with a burning tanker truck that drags on a bit too long. To be fair, though, it's all well done and it's one of Chan's more entertaining films of the last few years. The Accidental Spy may not be as impressive as his classic works such as Drunken Master II or Project A, but it's got definite appeal for all action and adventure fans.
Entertainment: 6/10

Aces Go Places (Hong Kong - 1982)
Starring: Sam Hui, Carl Mak, Sylvia Chang
Director: Eric Tsang
Plot: A famed jewel thief must help a blundering Chinese / New York cop and his assistant in retrieving a stash of diamonds and capturing another, more notorious thief.
Review: Aces Go Places is the obvious inspiration for many of the comedy-action films that came in the '80s and early '90s, including many of the Jackie Chan flicks. The over-the-top acting, silly situations, and foolish characters has its charm and there are some genuinely funny moments. It seems, though, that the film tries to push the spy spoof a little too hard in the first 15 minutes and the ideas dry up quickly after that, ending up mixing genres and styles to make for it. The occasional misogynistic comedy is in poor taste and won't sit well with North American audiences. Still, there's enough creative ideas and goofy excitement to fill a few films, and a few good action sequences and an explosive ending make up for the otherwise uneven pacing of the film. Entertaining for those who like a lot of slapstick with their action.
Entertainment: 5/10

Aces Go Places 2 (Hong Kong - 1982)
Starring: Sam Hui, Karl Maka, Sylvia Chang
Director: Eric Tsang
Plot: An expert thief is forced to re-team with a bumbling cop to retrieve stolen diamonds before he gets killed by Hong Kong gangsters or a bunch of US criminals using robot assassins.
Review: The second entry in this popular series, Aces Go Places 2 doesn't change the successful formula of its predecessor. The first and last twenty minutes of the film are full of imaginative and impressive-looking car stunts, motorcycle stunts and general, improbable mayhem all done in the spirit of getting a "wow" and a laugh. The middle forty minutes seems to be mostly filler, though - it's occasionally amusing, but the buddy antics between the two heroes does become a tad tedious and repetitious, with the comic plotting falling into the silly and even juvenile. The fact that much of it seems to be an amalgam of skits doesn't help, either. Still, the paper-thin plot is really there just an excuse for slapstick laughs, non-stop action, and a bevy of gadgets. With its blend of physical comedy and imaginative stunts, Aces Go Places 2 is an entertaining bit of fluff.
Entertainment: 6/10

Aces Go Places 3: Our Man From Bond Street (Hong Kong - 1984)
Starring: Sam Hui, Karl Maka, Sylvia Chang
Director: Tsui Hark
Plot: A jewel thief is duped into stealing the Crown Jewels from heavily guarded locations in Hong Kong and must clear his name with the help of his police buddy. 
Review: Another installment in the classic series, Aces Go Places 3 provides more of the same as the previous installments, that is zany action sequences tied together by comic skits bonding the three main characters together. This time around the crew is spoofing the James Bond series not only with the typical gadgets and caricatures, but with some cameo appearances by recognizable actors as well such as Peter Graves and Richard Kiel. Director Hark's (The Lovers, Peking Opera Blues) touches are evident here and there, but apart from the intro sequence and two entertaining robberies, most of film only provides mild chuckles and minor thrills. The stunts are still impressive for the most part, but the use of scale models, extensive blue-screen special effects (which look mighty crude these days) and an inconsistent pacing mars the proceedings. The slapstick comedy is also hit-and-miss - there are some amusing moments, but it just seems repetitive towards the end. Still, though it may not be up to the previous installments, but Aces Go Places 3 is still an entertaining outing for fans of the genre.
Entertainment: 5/10

Adaptation (2002)
Starring: Nicolas Cage, Meryl Streep, Chris Cooper
Director: Spike Jonze
Plot: A lovelorn screenwriter has a frustrating time adapting a non-fiction book about a plant thief and the New Yorker journalist who makes him the focus of her articles.
Review: Adaptation is easily one of the more unpredictable films in recent memory because, just like director Jonze's other association with writer Kaufman Being John Malkovich, it just doesn't play by Hollywood rules. And it defies proper review. The story is supposed to be about the non-fiction tale of "The Orchid Thief", but turns to real-life screenwriter Charlie Kaufman's own attempt to bring Susan Orlean's book to the screen. In fact, there are some passages straight out from the book that do make it into the movie, along with others read out loud. Talking about real characters and situations, one would expect the story to follow some sort of truth, but the script seems to have ended with a life of its own and one quickly discovers that the end result has left the book behind and taken another path completely. It becomes more about Kaufman fighting his demons, about the bond between journalist Orlean and her subject (an imaginary sequence, one must think, that's not in the book) and creating a fantasy about the real people surrounding the story than any kind of real adaptation. With moments including drama, self-deprecating comedy, and the occasional stab at the movie industry, the movie may flirt with parody but always stays clear of it. Looking at it at face value, this is an exploration on the difficulty of grabbing the essence of a story, of writing, and of the self-reflexive nature of being a screenwriter. Or not; everyone might get something different from watching the film unfold, and the filmmakers aren't saying. Even more surprising, the last half hour veers into territory that verges on grand delusion. So where does fiction end and reality begin? Who knows, but that's nowhere near being the point. Kaufman has come out as being one of the strangest and most daring talents, and his co-conspirator Jonze (himself a maverick) knows just how to make a difficult script come off to perfection. It also helps that the three leads are terrific: Cage especially proves his acting mettle with a great dual portrayal of twin brothers, Streep does another fine, believable role, and Cooper (as the title character) worthily merits his Supporting Actor Oscar. One must also tip the hat to author Orlean who accepted to go along with such a fabulating script! Being a bit strange and unexpected, Adaptation will leave some people scratching their heads, but those willing to give it a chance will be amazed by the juicy and engaging narrative.
Drama / Entertainment: 8/10

The Addams Family (1991)
Starring: Anjelica Huston, Raul Julia, Christopher Lloyd
Director: Barry Sonnenfeld
Plot: Con artists plan to swindle a ghoulish, eccentric family of their fortune by staging the return of a long-lost older brother into their midsts.
Review: A lavish modern remake of the popular 60's TV comedy series, itself based on older Charles Addams comic strips, The Addams Family is a delicious, ghoulish delight for fans new and old. In his directorial debut, Sonnenfeld (as he does in Get Shorty and Men In Black) shows just the right ability and timing to make the high-concept premise work. There's a finesse and cleverness to his take and, though many of the beloved aspects that made the show a success return, he knows how to update the material to best effect, managing to provide the requisite laughs along with a truly affectionate portrayal of this strange family. Helping define the film, the production has a stylish visual look that's like the ultimate Halloween Haunted House with lots of imaginative, well realized gothic detail. Also on display are some targeted effects, terrific costumes and make-up work that work to the film's benefit - who can forget Thing, the bodiless hand that remains the family's most faithful companion? Though it involves strange and oddly macabre things, there's little no blood to be seen (save for a fake geyser or two in the kid's staging of Shakespeare), and most of the cartoon violence is left off-screen making this a family-friendly film even for youngsters. The plot itself is amusing, but it's the gags, the witty comebacks and fabulous cast that really makes this affair so special. Huston and the late Julia make a hilarious pair, and the rest of the cast is well chosen, too, but it's the young Christina Ricci, as the cold but sharp daughter, who's the real standout. In the end, The Addams Family bucks the trend of many failed TV-to-feature exercises and, thanks to a great cast and smart creative choices, makes for a solid success that's just plain fun to watch.
Entertainment: 8/10

The Adjuster (1992)
Starring: Elias Koteas, Arsinee Khanjian, Maury Chaykin
Director: Atom Egoyan
Review: Director Egoyan (Exotica, The Sweet Hereafter) has always created films for a more literate and patient audience, and The Adjuster is no exception. Interesting, weird, bizarrely engaging, very well-shot and intricately scripted, this is another careful meditation on relationships, sex, and the underbelly of our own social mores. Working on the theme of "adjustment", both financial, social, and psychological, this is a story driven by lust, fear, despair and voyeurism. Egoyan's body of work shows an ability to combine different plots into a whole while filling every scene with subtext and believable, flawed people all the while keeping things intimate. Indeed, the story is enlivened by some eccentric characters, brought to life by a solid cast, who's actions are, at first, shockingly bizarre, until the story unfolds or the camera zooms out and even the most surreal scene starts to make sense. Some may be put off by the moments that flirt with the overly "artsy" style of independent filmmakers, but the film also has its touches of humor, with the (admittedly heavy-handed) drama and insights into human nature keeping the narrative going. The script skirts with some profound questions, but ultimately not altogether successfully, with character motivations and development that is somewhat lacking. But though it lacks the finesse and subtlety of his later works, the dark rawness is at the same time much more provocative. Despite its flaws, The Adjuster is an interesting addition to a fine director's list of features.
Drama: 6/10

The Adventures of Baron Munchausen (1989)
Starring: John Neville, Eric Idle, Sarah Polley
Director: Terry Gilliam
Plot: An aging 18th-century adventurer goes off to some strange locales on and off Earth to find his lost companions, hoping to re-unite them all to stop the forces of a Turkish Sultan from destroying a poorly defended city.
Review: Exhilarating, bombastic, and positively over-the-top, The Adventures of Baron Munchausen has all the marks of its talented director Gilliam (Brazil, 12 Monkeys) such as incredibly lavish (and expensive) sets, intricate costumes, brilliant use of colors, and an imagination that knows no bounds. It's a tall tale of fantasy versus reason - from sailing to the moon and literally falling back to Earth, to being eaten Job-like by a whale, the old teammates are reunited one by one in a fashion that reminds one of the silliest, most heartfelt old fables, and it's hard not be taken away by the sheer inventiveness of it all. For sure, fans of Gilliam's excesses will be delighted, while others might come out of it perplexed, but it's a thoroughly enjoyable diversion, that's rich in texture and so full of surreal inventiveness that one can't help but be carried away. The decent (if slightly dated) special effects work makes the impossible look, well, still impossible perhaps, but definitely amusing. Though the pacing is unfortunately not quite consistent throughout, the directing is assured, and the ideas plentiful. The cast is also good, particularly Neville as the inimitable Baron while the rest is made up of familiar faces, from mad Moon-man Robin Williams and forging lord Oliver Reed to Uma Thurman as Venus herself, amongst others. Probably due to its irreverent attitude, manic narrative and obvious artistic sensibilities, the film was a disappointment at the box-office, but don't let that detract you: The Adventures of Baron Munchausen is a delightful fantasy / adventure for anyone who can suspend their sense of disbelief.
Entertainment: 7/10

The Adventures of Rocky and Bullwinkle (2000)
Starring: Rene Russo, Robert De Niro, June Foray
Director: Des McAnuff
Plot: Two television characters from an old cartoon show get pulled into the present-day real world when their evil nemeses appear and try to enslave the American population with astoundingly bad TV programs.
Review: The Adventures of Rocky and Bullwinkle continues the mostly ill-fated Hollywood trend of bringing old TV shows to life, as if the nostalgic content inherent in the characters is enough to bring in audiences. Truth be told, the story is actually quite entertaining, if predictable, and the outrageous, cartoon-like events all occur with a brisk sense of pacing. Also diverging from most recent popular comedies, the humor is clean and, though seemingly aimed at children because of the animated characters, a bit more mature and clever making more popular to adults. The problem is that it doesn't try to reach more than it could, and from a brilliant, funny start it mostly coasts on comedy and slapstick most audiences have already experienced. The cast, though physically perfect for their roles (Russo and De Niro especially), doesn't really leave anything special to their roles. Still, thanks to an intelligent script, good jokes, a zany cast and some occasionally quite imaginative sequences, The Adventures of Rocky and Bullwinkle is entertaining for audiences with a "different" sense of humor.
Comedy: 6/10

The Adventures of Sharkboy and Lavagirl in 3-D (2005)
Starring: Cayden Boyd, Taylor Lautner, Taylor Dooley
Director: Robert Rodriguez
Plot: Finding solace in a make-believe world, a young boy is surprised when two of his imaginary super-hero friends come to life requesting his aid to save their fantasy land from destruction.
Review: A thoroughly zany, high-speed adventure into head-ache-inducing 3D, the Ritalin-exempt The Adventures of Sharkboy and Lavagirl in 3-D is fluffy family fare made for fast-food consumption. Though nowhere near as interesting as his family-friendly Spy Kids or his violent film noir Sin City, writer / director / editor / FX guru Rodriguez creates a thrilling, colorful paradise for kids, with its giant-sized cookie landscapes, jet-powered scooters, roller-coasters and volcanoes. The fully-computer-rendered fantasy world may not be up to the standards of the latest big-budget productions, but it provides lots of visual eye-candy, most of which was created purely for appreciation of the 3D effects. If the gimmick gets a bit tired after an hour of exploding rocks, flying fists, etc. at least young ones will find the situations amusing, the imagination clearly in ample supply and the young-character interactions enjoyable. The young teammates aren't exactly high-caliber actors, but Sharkboy and Lavagirl themselves are spirited enough to make do. An over-the-top George Lopez as the villainous Mr. Electricity steals the shows, however. If only the storytelling didn't falter mid-way through, or if there were a few clever jokes for adults, perhaps even parents could have been amused for the long run. But for its target audience (the under 10-year-olds) Sharkboy and Lavagirl should be a lively treat.
Entertainment: 4/10

Aeon Flux (2005)
Starring: Charlize Theron, Jonny Lee Miller
Director: Karyn Kusama
Plot: In a world decimated by a virus where humanity is protected in a walled paradise, a rebel on a mission to overthrow the government by killing the city's ruler starts uncovering a centuries-old conspiracy.
Review: Based on a short-lived animated MTV series by Peter Chung, Aeon Flux is a nice blend of sci-fi and action that will please those looking for something different in their entertainment diet. Though unjustly maligned at the box-office, this is not another Catwoman mixed in with a 1984-like totalitarian regime. The film runs with its own logic, and even the slower exposition moments have some Ideas (with a capital "I") that are worth listening to. Yet though the mystery at the film's core is clever enough, the plot itself if rather familiar. Thankfully that doesn't keep from appreciating the film's other features. Foremost of these is Theron, of course: The heroine might well be described as a 21st century Barbarella - minus some of the cheese - and Theron is perfect for the role, taking this stretch as seriously as she would any dramatic performance: statuesque, showing off great poise, and proving pretty good at the action scenes, too. Those sequences aren't up to The Matrix sequences that we've come accustomed to, nor do they have the same punch, but (with the help of lots of neat cyberpunk gadgets) they're well done and quite stylistic. That sums up the main approach to the art direction of the film, too: production values are simply fabulous, stylish, almost bubble-gum-cartoon in its brightness - it's a nice change of pace from the usually gloomy SF affairs of late. This is quite a tangent for director Kusama whose claim to fame is the indie drama Girlfight, but keeping in the spirit of "girl power" the whole affair is pretty well directed and well shot, and the live-action adaptation zips through its runtime with ease. And in the end, isn't that all you can ask for from a mainstream sci-fi actioner?
Entertainment: 7/10

An Affair to Remember (1957)
Starring: Cary Grant, Deborah Kerr
Director: Leo McCarey
Plot: A playboy setting forth to meet his wealthy fiancée falls in love with a former night-club singer on a cruise ship headed for New York. 
Review: The usually charming Grant takes some time before hitting his stride here, but Kerr is superb from the start. An Affair to Remember is basically a '50s cliché-ridden romantic-comedy, with some delicious sight gags during the first half of the film, especially when showing the couple's vain tries at discretion. The second half is more of a drawn-out soap-opera, with some uninteresting sub-plots, but for audiences looking for this type of romance the tear-jerker ending makes up for everything. The film is probably most famous now for the classic lover's rendezvous atop the Empire State Building. In the end, the leads have a definite charm when they're together, and the dialogue is witty enough to make the whole exercise worthwhile.
Drama: 6/10
Affliction (1997)
Starring: Nick Nolte, James Coburn, Sissy Spacek
Director: Paul Schrader
Plot: A murder may have occurred in a small rural community. Nick Nolte plays a small town sheriff determined to find the culprit and bring him to justice. As events in his life turn sour and his paranoia grows, he soon alienates all the people around him. 
Review: A heart-wrenching portrayal of a man belittled by, and still coming to terms with, his father's abusive behavior. Excellent cast, well shot and well paced with a great script based on the novel by Russell Banks.
Drama: 9/10

After Life (Japan - 1998)
Starring: Sadao Abe, Natsuo Ishido
Director: Hirokazu Kore-Eda
Plot: Before entering the after-life, recently-deceased people are asked by counselors living in this purgatory to choose only one memory which will be staged, filmed, and finally viewed, to take with them for all eternity.
Review: After Life poses the philosophical question of what is human experience, memory, and how we measure our own lives. The plot is simple, relying on the heart-warming scenes of individual portraits of people from different backgrounds and ages as their lives are condensed into one final defining moment. Nothing on-screen relates to the after-life or to the deceased, but the minimal sets and normal-looking and -acting cast doesn't really bother our suspension of disbelief due to the fanciful script. The last third of the movie, though, when all the memories are being staged and filmed (yes filmed) as if being prepared by a low-budget production crew, seems a bit too down-to-earth. In the end, After Life is an interesting film that evades tripe melodrama and just presents affecting moments of other people's lives, with a slow pace full of quiet moments that let the audience reflect on their own memories.
Drama: 7/10

After the Sunset (2004)
Starring: Pierce Brosnan, Salma Hayek, Woody Harrelson
Director: Brett Ratner
Plot: After a daring heist, a master jewel thief retires to the Bahamas with his paramour, only to be tempted to go after one last caper by an FBI agent desperate to capture him.
Review: As easy-going romantic capers go, After the Sunset starts off beautifully setting up its premise and characters well, promising a visually dazzling entertaining vehicle for its stars. Too bad is quickly turns to mush with both its romantic bits and the comedy falling far short. One can't blame director Ratner for trying, though - with a solid screenplay he can be quite effective as evidenced in Rush Hour and Red Dragon, and he has lost none of his touch here, giving up another gorgeous commercial effort, a great tourist brochure for the island and its luxurious resort. Unfortunately, there's little action to be found apart from the opening heist, and so the movie rests on the script to deliver thrills, tension, or laughs. And that's the main problem - the damnably predictable script sucks. With a tone that's all over the place, juvenile humor that falls flat, a double romance that's awkward, a promising agent/thief cat-and-mouse relationship that goes up in smoke, and a twist ending that's just plain silly, it's hard to take accept any of it. Worse, the film calls on the spirit of the much more successful The Thomas Crown Affair, and even tries to associate itself (however loosely) with the classic To Catch a Thief but only ends up as a lame-duck crime comedy. Worse, audiences will feel short-changed on the caper aspect, especially the climactic jewel heist. Thankfully, the film has assembled a fine, watchable cast: Brosnan does the grizzled thief to perfection, and the ditzy Harrelson provides the occasional comic relief. Leaving all dramatic aspirations aside, Hayek is in vixen mode donning multiple bikinis and offering gratuitous cleavage shots, and she's even pretty good with the comedy bits too. Don Cheadle, however, is given the short end of the stick in a short gangster role. Despite its failings the pacing never falters and fans of the actors might find some enjoyment, but even that can't help After the Sunset bring a disappointingly banal, tired effort considering the people involved, and there's only the script to blame.
Entertainment: 4/10

Agent Cody Banks (2003)
Starring: Frankie Muniz, Hilary Duff, Angie Harmon
Director: Harald Zwart
Plot: A high-school student secretly trained as a CIA operative must overcome his shyness in front of a popular girl while on a mission to stop a villainous syndicate from stealing dangerous nanotechnology from her father.
Review: Obviously influenced by the success of such family fare as Spy Kids, the teen-spy thriller / comedy Agent Cody Banks is another amusing, if less inventive, take on the James Bond spoof. If Disney did Bond, this is what you'd expect. The film is much more a straight homage than its precursors and less a parody than a teen-aged version of the classic 007 adventures. The sleek cars, the dastardly villains, the impossible gadgets and yes, even the tuxedos, are all in evidence. There's even some winks to SPECTRE and the volcano-base of You Only Live Twice which dependably blows-up nicely in the climax. Note however that the action / adventure is pretty toned down for younger kids and the appeal of the film is really its comedy elements and, of course, the tribulations of its expert but tongue-tied protagonist taking his first step towards being an adult. Faced with smothering parents, a lack of self-confidence and a miserable school life, our hero has to prove his mettle and this is the mission to do it - if only he could get a break and (for the necessary romantic bit) charm his target's daughter. All this works well thanks to lead Muniz's amiable charm and, as his CIA handler, perhaps Harmon's tight-fitting costumes too. As a 15-year old boy fantasy, the movie is perhaps a few years too late to really make a mark but director Zwart balances well the different aspects of the story. Though none of this is particularly original, Agent Cody Banks does fine as light-hearted adventure for kids and even grown-ups.
Entertainment: 6/10

Air Force One (1997)
Starring: Harrison Ford, Gary Oldman, Glenn Close
Director: Wolfgang Petersen
Plot: The American president must save his family and his aides after a well organized group of Russian rebels hijack Air Force One in mid-air.
Review: Director Petersen, best known for his nerve-jarring submarine drama Das Boot, uses every trick in his book to make Air Force One a Hollywood action thriller, and in that he succeeds brilliantly. Not to say that this is a particularly great film, but it knows what it is and plays well with the formula. The film is a collection of impressive, if absolutely ridiculous, over-the-top action scenes and special effects sequences that will make audiences laugh in disbelief, and enjoy themselves as if in a roller-coaster ride. The suspense is good and the story fast-paced, and there's enough clever elements in the script to almost override the incessant (and downright annoying) patriotic flag-waving that's on display. Ford is convincing in the lead role, and Oldman is appropriately villainous, but the rest of the cast is pretty wooden. But all that doesn't matter: Air Force One delivers all the elements necessary for a typical, vapid action / adventure film and as an audience-pleasing experience, it knows to push all the right buttons.
Entertainment: 7/10

*Classic* Akira (Japan - 1988)
Director: Katsuhiro Otomo
Plot: A teenage motorcycle gang living in post-apocalyptic Tokyo try to stop one of their members who has been kidnapped by a government agency and has gained telekinetic powers that could destroy the city and himself.
Review: Often repeated but rarely equaled, the high-concept sci-fi anime Akira put the international animation scene on its ear with its dynamic animation, large scope, existential plot and intense, graphic violence. And let there be no doubt: this is a mature, hard-hitting affair, not intended for kiddies. Based on his own classic comic book ("manga") series, first-time director Katsuhiro Otomo took three years to write the script and design the look of the film, and it's time well spent: from the giant structures to the sleek, futuristic bikes, it's obvious a lot of attention was put into the conceptual aspects. The visuals are just as intricate and impressive, putting to shame most of the "cartoons" that came before it with its sense of kinetic energy during the many action sequences and its feel of epic scale when it comes to the spectacular finale. Thankfully just as much effort was put on a script that seamlessly tackles psychic powers, gang wars, theological themes, while giving us interesting individuals and intriguing concepts. As a distillation of the huge comic series, the story can't help but be filled to the brim with characters, ideas and fascinating details, and if most of them don't get a chance to really be presented with the depth fans of the original might wish, there's no doubt that there's an amazing sense of wonder and imagination in this feature-length version. As such, Akira is not just a great watershed in Japanese anime, it's pure poetry, a genre masterpiece that is still to be surpassed and is well worth its classic status.
Entertainment: 9/10

Aladdin (1992)
Starring: Robin Williams, Jonathan Freeman, Scott Weinger
Directors: John Musker, Ron Clements
Plot: A street urchin is forced to secure a magic lantern for the Sultan's evil vizier only to end up calling forth the Genie to grant him the necessary wishes to win the heart of a young princess.
Review: Though Beauty and the Beast initiated the popular revival of Disney's animation fame, it was Aladdin with its terrific action set pieces, enchanting musical sequences and (most importantly) more adult-oriented humor. No longer just a children's outing, animated features became a definite attraction for a wider (read teenage) audience as well. Very loosely based on the fantasy tales of the Arabian Nights, the story is a hodge-podge of the usual Disney romantic adventure - the dastardly villain, the humorous sidekicks, the young boy / girl longing for something new (and, surprise, falling in love) - which in itself is entertaining enough, if not altogether special. As for most Disney theatrical productions, the animation is smooth, stylish and well executed, the songs are all good to great, and both young kids and adults will thrill at the many adventures and cliff-hangers. What makes it a standout, however, is the addition of the incomparable blue Genie; creating animated sequences to follow Robin Williams' voice portrayal which includes his usual trademark manic energy and machine-gun comedy, he is spectacular and unstoppable providing impersonations from a vast array of movie characters, anachronistic spectacle and transformations, and lots of clever laughs. Clearly calculated to be a crowd-pleaser and with the giant boost that is Williams, Aladdin delivers high-spirited entertainment and really is fun for the whole family.
Entertainment: 8/10

The Alamo (2003)
Starring: Dennis Quaid, Billy Bob Thornton, Jason Patric
Director: John Lee Hancock
Plot: In 1836, a ragtag group of independent Texans led by William Travis and legendary Davy Crockett defend the fortress-like mission of the Alamo from the vastly superior and better trained Mexican army.
Review: A rather generic re-creation of a turning point in US history, the latest cinematic adaptation of the story of The Alamo aims to be The Patriot in its intention to retell history but only ends up as another tired historical epic. Though most of the historical epic elements are all there, from period costumes and sets to large deployments and realistic warfare, the whole thing feels rather pedestrian. The battle scenes are well-staged if un-impressive, and the cinematography is adequate for the large canvas the film tries to paint. Similarly to Pearl Harbor, the overrunning of the fortress is also not the end, with an additional half hour of Texans' rousing victory against the Mexicans to gain their independence. The film could have used a bit more trimming in the editing room: many scenes suffer from being long-winded, exhausting the energy that would have carried the film through its drier moments. Still, though it ends up feeling more like a workmanlike job, director Hancock (who worked with Denis Quaid in The Rookie) tackles a much larger template and comes out mostly unscathed, delivering an engaging human tale within the context of an otherwise text-book event. More so than re-enacting the events that led to the historical stand-off, the films aims at being a more realistic look at the historical figures that influenced the tale of the Alamo. As such, instead of making them larger-than-life, the script seems to go out of its way to portray them as human beings - drunkards, egotistical, vain - yet ends up showing off their patriotic courage in stereotypical manner at the end. Though the cast is only decent at best, Thornton is a real standout playing the legendary Davy Crockett as a down-to-earth political opportunist, a man actually at the mercy of his reputation trying to live up to it when things turn to disaster. "Remember the Alamo" might be the now-famous war cry, but though it's able enough fare as a revisionist history lesson, there's little that's really memorable in this version of The Alamo.
Drama: 5/10

Alexander (2004)
Starring: Colin Farrell, Angelina Jolie, Anthony Hopkins
Director: Oliver Stone
Plot: A look at the life of Alexander the Great, the young Greek king who conquered most of the known world while still in his 20's but who succumbed to political pressures and ill health.
Review: Much maligned on its release, the lavish sword-and-sandal epic Alexander will most be remembered as director Oliver Stone's Heaven's Gate, and that's a shame. A staggering, impressive vision, it's meant to be a colossal epic that wants to humanize and demystify it's central figure. A throwback of older Hollywood historical epics such as Cleopatra and The Black Robe in its excesses and pageantry, the film even shares its penchant for ridiculous dialogue, and much has been said of the Scottish accents sported by the cast. Every scene is a vivid portrait of a long-gone era, full of lush scenery and fabulous production values, and the impeccable cinematography of frozen landscapes and desert vistas are a sight to behold. There are only two main battles, albeit long ones: his victory against a superior Persian army in the Southern deserts, and his defeat against the strange and frightening elephant armies of India in the jungle. These are incredible sequences that never feel staged or "spectacle"-ular like Troy - they're chaotic, vicious and terrible, where Death is mixed with the dust and blood. But the heart of the film is Alexander's internal struggles, the constant internal politics and power plays, all taking precedence over the conflicts and conquests he is most famous for. Shamefully, many key moments such as his victories over Egypt are only glossed over by ever-present narrator Anthony Hopkins. Yet going definitely against mainstream expectations and tastes, kudos to Stone for taking a chance on such a huge (and different) endeavor and giving it a personal, intimate look. He seems much more interested in focusing on his subject's downfall, and his obsession with Vietnam (as seen in such films as Platoon) seems to have pervaded his take on ancient times as well, as if making a parallel between the two eras. Yet by going so much to the other extreme with the character, the great leader is seen with derision rather than awe. And even filled with such intriguing ideas and concepts, it feels rushed and shallow despite its attentions and 3-hour running length. Farrell, sporting an outrageously bleached head of hair, wants to externalize the deep convictions, the pains, and the passions of the character and for the most part actually succeeds, though some scenes do get overly theatrical. Jolie, as mother Roxanne all draped in live snakes, steals every scene with an over-the-top (but deliciously enjoyable) performance. The rest of the cast only adds up to supporting roles, with the nubile Dawson as the conquered but defiant wife, a larger-than-life Val Kilmer as the father-King Philip, a bevy of cameos by the likes of Christopher Plummer, and Jared Leto as his confidante and male lover. Indeed, Alexander's bisexuality is never put in doubt here, what with the longing glances at the male servants and overly-loving camaraderie among the soldiers, yet this focus seems ultimately irrelevant. In the end, if Alexander is deemed a failure, then it's a worthy one. Flawed though it is, Oliver Stone has made something to remember.
Drama: 6/10

Ali (2001)
Starring: Will Smith, Jamie Foxx, Jon Voight
Director: Michael Mann
Plot: A biography on the life and times of world champion boxer Muhammad Ali focusing on a 10 year period between two of his most important fights.
Review: Following in the footsteps of both films and documentaries, Ali tries to bring the complexities of its subject to a new generation of movie-goers. There are some interesting insights into the life and times of Ali here, from his friendship with Malcolm X, to his romantic ties, to his Muslim beliefs, and these parts play well, but more than half of the running time seems to lack any momentum or direction, with few instances where one felt that the Champ's life was being recreated with total conviction. The camaraderie between Cosell and Ali is surprising, warm, and lively but the other relationships are all portrayed rather coldly. Most of the story focuses on two distinct periods in his career, with two of his more famous bouts taking up a good portion of screen time. The fighting in these scenes is well recreated and convincing, but seem to extend far beyond the point of drama or entertainment. The film is shot with the occasional choice cinematography, but little of the cinematic verve of Mann's past films such as Heat or The Insider seems to have been used, making the film feel more like a dragged out TV movie than a theatrical film. Worse, the film insists on inserting unbroken songs and irrelevant performances into the proceedings that only help to break the pacing. Smith tries hard to move, speak and act the part, even going so far as buffing up, but apart from the rare occasion, it's hard to shed the fact that it's Smith and not Ali on screen. The rest of the cast is solid, with Foxx and Voight impressing the most. Ali is a good introduction to the story of this legendary fighter and his place in American history, especially on the '60s racial issue, but one can't help feeling that a better, tighter script could have made this into a much better movie.
Drama: 6/10
Alien (1979)
Starring: Sigourney Weaver, Tom Skeritt, Ian Holm 
Director: Ridley Scott
Plot: A deep space cargo vessel is dispatched to answer an alien distress signal. Upon investigating, the crew unwittingly bring back on board a creature that starts preying on them.
Review: Seeing this movie again after more than 10 years shows that parts of it have aged well (the effects are still impressive, the script is suspenseful, the acting quite good), and other parts have not (the pacing is slow, the "horror" and gore scenes tame by today's standards). Still, high production values and a good script, combined with Ridley Scott's keen directorial sense, make this film a milestone in both the science-fiction and horror genre.
Action/Adventure: 6/10
Horror/Suspense: 7/10
Entertainment: 8/10

Aliens (1986)
Starring: Sigourney Weaver, Michael Biehn, Paul Reiser
Director: James Cameron
Plot: Rescued and re-awakened from hyper-sleep 57 years after defeating a nightmarish creature, Ripley is forced to act as advisor to a group of marines sent to investigate the planet where the aliens first appeared.
Review: Writer / director Cameron (Terminator 2, The Abyss) broke into the big leagues with Aliens, his own take on the Alien franchise. Right off, the script has all the elements necessary to make it a classic of the sci-fi / action genre - tightly plotted events, thrilling action sequences, crisp dialogue, and a touch of humor - and his direction of the material is impeccable. Though the film takes a while to get going to allow for quite a bit of exposition, Cameron is adept enough, and the story interesting enough, to keep the audience's attention even during this extensive set up. The film really pays off at the mid-way mark, though, as it becomes a real adrenaline rush of action, horror, and edge-of-your-seat suspense. The characters jump from one desperate situation into another, with the tension never breaking and even invariably turned up a notch as events race to their inevitable conclusion. The action sequences are well executed, impressive and quite memorable, especially the two effects-laden action finales pitting Ripley against the Queen. The Alien designs are chilling and impressive, and the effects only help add to the dark atmosphere, such as when they uncurl from the walls, or when the Queen makes her appearance in her nest. The mother-daughter relationship is a strong theme throughout and adds an emotional connection to the story. The bond of "motherhood" is, in fact, the very motivation for both the heroine, fighting for an orphaned girl, and the alien queen, fighting to preserve her own young. Sigourney Weaver embodies the very essence of the Ripley character, intelligent, warm, but dangerous to cross, and single-handedly ushered in a new era of action heroines to mainstream Hollywood. The rest of the cast is also good, all well presented in a one-dimensional sort of way, especially Lance Henricksen as the dutiful android and Reiser as the scummy company man. Aliens is one of the most intense and relentless action films ever produced, and is only more proof that James Cameron is a master at sci-fi action thrillers.
Entertainment: 9/10

Alien 3 (1992)
Starring: Sigourney Weaver, Charles Dutton, Charles Dance
Director: David Finch
Plot: Series' stalwart Ripley finds herself crash-landed in a remote penal colony world dealing once again with some unexpected alien company.
Review: Alien 3 has been much maligned by critics and viewers alike. My first impressions were, as well, less than enthusiastic. The main reason for this reaction was probably the fact that audiences were expecting another action-fest such as Cameron's Aliens. Instead, Alien 3 has gone back to the series' roots and has given us a moody, finely paced film where suspense is placed over action, very much like the original Alien. Taken on its own merits, the film is mostly successful: it is superbly shot, well-paced, it has some good atmosphere, some great creature effects, and definitely provides some good chills and decent suspense. This first feature from director Finch (Seven, Fight Club) also proved that he was a director to watch. In the end the film is too similar in its plot to the first, and the ending, though adventurous for a Hollywood film, seems too contrived. Despite this, Alien 3 makes for an interesting installment in the series.
Entertainment: 6/10

Alien: Resurrection (1997)
Starring: Sigourney Weaver, Winona Ryder, Ron Perlman
Director: Jean-Pierre Jeunet
Plot: Bug-hunter Ripley (this time along with a group of self-proclaimed space pirates) and the Alien menace are back on the rampage in a huge Navy spaceship after a group of army scientists clone the deceased Ripley along with the Alien queen inside her.
Review: As the previous sequels did, Alien: Resurrection takes the stalwart series into a new direction. It definitely has the look and feel down pat: though less claustrophobic than previous installments, the settings and events are still as dark and dangerous as the rest of the series. The premise of the Ripley clone is an interesting one, and the story plays on it well - mean-spirited and a tad insane, this is definitely not the Ripley we're used to seeing! Though the film has its share of action sequences, it takes a back seat to the story and characterization, working more as a suspenseful take on the sci-fi/horror genre than an action flick. The plot allows for a few pleasant and bizarre twists and surprises, and the character interactions are great fun to watch thanks to some witty dialogue and a varied, top-notch cast. Best of all, the story takes chances and mostly succeeds, thanks in part to a good script with its underlying current of very black humor, to some good special effects, and to French director Jeunet's (Delicatessen, The City of Lost Children) attention to detail, style and good visual sense. A good, and very different, addition to the series.
Entertainment: 8/10

Alien vs. Predator (2004)
Starring: Sanaa Lathan, Lance Henriksen, Colin Salmon
Director: Paul Anderson
Plot: A group of well-armed archeologists find themselves in the middle of a war between two alien species when they discover an ancient pyramid below the Antarctica ice fields.
Review: The premise of Alien vs. Predator is silly but workable, getting sillier as the movie goes on, but it delivers as promised: it's cool, it's loud, it's overly stylish, and it's an entertaining sci-fi action mess for those not overly panicked by the liberties taken with the franchise. Obviously, the whole thing is terribly predictable, and there's no going around it that director Anderson is a Hollywood hack (Resident Evil, Event Horizon being his best), but the pacing is fine and, surprisingly enough, it works. He hasn't really taken any of the material too seriously, and just has fun with it - audiences should know better than to do otherwise. Menacing face-offs, lots of crowd-pleasing moments (almost to ridiculous excess, in fact - the temple art, the slo-mo leaping facehuggers, etc.) and lots of in-jokes only add to the amusement. Highlight, of course, is the final Act, as last-standing human and Predator mentor team up against the Queen. From a decent start, the thin plot becomes very staid and banal, but as an excuse for the match-up, it works, the writers even taking cues from The Keep and The Thing for good measure. There's even some interesting ideas and very well realized flashbacks into the far past. The humans are obviously one-dimensional, and the heroine is no Ripley. Henricksen has been cast to link to the previous Aliens installments, but we don't have much time to really get involved with the humans and we don't care an iota for any of them. Let's face it, they're just quick fodder for the two sides. In fact, the movie picks up once most of the humans are put out of our misery. The effects are surprisingly good, with all the various Alien creatures magnificently rendered with a mix of live action and CGI, and the Predators looking the part. The action is a mixed bag: some of the fights are so jumbled and frenetically edited that it's a confusing mess, while others really get it right. Also, the more gory Alien elements have been toned down. If there's a downside, it's that it feels really short. Of course, this is all going to be disappointing to anyone expecting the quality of the Aliens series, but those who can come in with lowered standards will come out having a decent time.
Entertainment: 5/10

All About Ah Long (Hong Kong - 1988)
Starring: Chow Yun-Fat, Sylvia Chang, Huang Kun-Husen
Director: Johnnie To
Plot: A struggling single father discovers that his young son has been hired to shoot a promotion film by the child's mother who left her abusive husband years ago to start a successful career in America.
Review: All About Ah Long, though often compared to Kramer vs Kramer, is more a Hong Kong version of the John Savage melodrama The Champ, from beginning to ending, with some added Asian sensibilities. Directed by Johnny To, better known for his action films and violent thrillers such as Heroic Trio and The Mission, the drama is delicately captured, especially the touching relationship between struggling down-and-out father Chow Yun-Fat and his son. The story then follows the hardships of reconciliation between the alienated parents, both of whom want to keep custody of their son but also want what's best for him. These moments don't quite work as well, but it's an interesting take on a re-hashed story. More interesting is Chow's slow redemption for his errors as a youth and the film's realistic take on the squalor of the average HK denizen's quarters. Unfortunately, the story takes off on a tangent with a gratuitous motorbike race that ends the film on a pointlessly tragic, melodramatic note. Thankfully the lead actors are usually excellent and convincing, and the child actor Huang Kun-Husen is quite endearing in his own way, that the story development, while mostly predictable, is still interesting enough. With a solid script and good characters All About Ah Long is a decent melodrama.
Drama: 7/10

All About My Mother (1999)
Starring: Cecilia Roth, Eloy Azorín, Marisa Paredes
Director: Pedro Almodóvar
Plot: After the tragic death of her son, a grieving single mother travels to Barcelona following his last wish to find her ex-husband and tell him about the son he never knew.
Review: Almodóvar has always been known for his blends of melodrama and absurd comedy spiced with liberal amounts of eroticism and sexual situations (Women on the Verge of a Nervous Breakdown, The Law of Desire, etc.). While still keeping his trademark characters, situations, and humor, he steps back from his usual over-the-top style and brings a more serious (some would say mainstream) drama. What makes it so watchable, of course, is the terrific ensemble cast portraying endearing, multi-faceted female characters and our experiencing the circumstances and solidarity that binds them all together. In fact, the film seems to be Almodóvar's ode to women characters, showing them as mothers, artists, lovers, workers, etc. All About My Mother is easily his best, most mature work to date, weaving both tragedy and comedy in an eccentric, charming film. Winner of the Oscar for Best Foreign Language Film.
Drama: 9/10

All the Pretty Horses (2000)
Starring: Matt Damon, Penelope Cruz, Henry Thomas
Director: Billy Bob Thornton
Plot: In 1949, two young Texans ride across the border into Mexico to find work as ranch hands but get into trouble when one of them falls for the owner's beautiful daughter.
Review: With All the Pretty Horses director Thornton (Sling Blade) has made a credible, atmospheric, and readily interesting modern Western, one that had the making of a great film but ends up feeling surprisingly rushed. Indeed, what's left of Thornton's rumored four-hour epic adaptation of Cormac McCarthy prize-winning book is unfortunately too uneven, with scenes appearing rushed or slightly disjointed, jumping from one to another without the sense of mood and grand sweep that he was probably looking for. There's even a touch of much-hyped romance but the film never manages to show any real passion between Damon and Cruz - we accept it as part of the story, but it's not convincing. The story itself has less rebounds, and thankfully less clichés, than we'd expect, but by trying to cram in all the events of the book the narrative, which occasionally takes its time to set up its relationships, it appears hurried and rather uninvolving. It's as if the basic plot points are dramatized but at the same time neglecting the emotional and philosophical resonance that it craves. And that's too bad, because the film has much going for it - the beautiful cinematography, with its impressive vistas, some solid performances from its leads, an interesting tale to tell, and shows Thornton has a good mastery at directing. There are some good scenes, however, and the opening twenty minutes are a pleasure, as the boys cross the border and meet up with a young run-away; as is a particularly powerful scene as the boys are rounded up, taken to prison, and witness the revenge of a small town family. But this is really a coming-of-age story, and it's at its best when depicting the ranchers' existence, capturing the essence and attraction of their way of life. The horses also play an important part here, as much as the surroundings or characters do - the intro showing mustangs running in slo-mo across the screen is just beautiful to watch. One can only hope the extended version will one day be made available, but as it stands All the Pretty Horses is a film that doesn't live up to its great potential.
Drama: 6/10

Almost Famous (2000)
Starring: Billy Crudup, Jason Lee, Kate Hudson
Director: Cameron Crowe
Plot: A teenager sees a dream come true as he manages to get an assignment for Rolling Stone magazine to follow an up-and-coming rock band along their tour.
Review: With Almost Famous writer / director Cameron Crowe (Jerry Maguire) presents both a semi-autobiography of his youth and a portrayal of the '70s music scene, a time when many believe Rock 'n Roll was at its peak. It's obvious Crowe has a soft spot for the subject, as all of the characters and events are seen with a obvious sense of nostalgia, each with their own redeeming qualities, and all of them with a love of the people around them and of the music that got them together. The script manages to find the right mix of criticism, affection and comedy inherent in the subject matter and is buoyed by some great dialogue. The whole cast is perfect, but notable are Billy Crudup as the brilliant lead guitarist with a crush on a young groupie (or "band-aid" as these girls following the band called themselves), and Kate Hudson as the said groupie. Almost Famous manages to be a drama that is both interesting and entertaining, and harkens back to a time when music was a goal onto itself, and things were maybe a little more innocent.
Drama: 8/10

Along Came a Spider (2001)
Starring: Morgan Freeman, Monica Potter, Michael Wincott
Director: Lee Tamahori
Plot: A grieving Washington detective and a young Secret Service agent team up to recover a politician's young daughter when the abductor calls him to share his exploits and fame.
Review: A "sequel" to the rather bland Kiss the Girls, Along Came a Spider is another installment of a popular book series, and another disappointing, bland Hollywood quickie from director Tamahori whose first feature Once Were Warriors turned heads. From the opening scenes, the audience is made to expect a clever game of cat and mouse between this brilliant, deranged kidnapper and the police profiler, but this match ends up being rather tired, illogical, and formulaic. Worse, it's practically non-existent as the supposed criminal mastermind, and his would-be convoluted plans, are quickly given short-change by the story. While these banal events proceed and we start to lose interest, there is an unexpected twist two-thirds in, but without a proper set-up this, and the rest of the film, just falls flat. The only suspense comes in the form of the young, spunky kidnappee's efforts to free herself which gives the film its only tense moments. The cast does their best with little and even Freeman, the only reason for the film, doesn't have enough screen time or things to do here to make a difference. As a thriller, Along Came a Spider is a by-the-numbers affair, one that fails to show any style, originality or sense.
Entertainment: 3/10

*HOT* Amélie (France - 2001)
Starring: Audrey Tautou, Mathieu Kassovitz, Dominique Pinon
Director: Jean-Pierre Jeunet
Plot: A shy and innocent Parisian waitress spies on her neighbors and the café's patrons before deciding to do what she can to lift the spirits of the people around her.
Review: How to explain the magic, the delightful, endearing romanticism and human comedy, the dazzling, dizzying imagination on display that makes up Amélie? Well, you can't, really; it has to be seen and enjoyed by each one individually. Director Jeunet (Delicatessen, The City of Lost Children) is best known on our shores as the creator of Alien: Resurrection, but here he returns to his roots and offers a delicate, memorable, heart-warming film. This is a fairy tale that works as well for youngsters who haven't lost all sense of innocence and for grown-ups who haven't forgotten what it's like to be a kid at heart. It's like a zany, surreal comic-book brought to life: visually inventive, every scene brings something new to admire set up like a dynamic tableau, all helped by the exquisite, careful art design. The film also presents a dreamy version of the Parisian district of Montmartre as it should be, the way fuzzy memories of a familiar place can leave us with pleasant memories, alive and larger-than-life. The palette of this place is tinged with green, with colors never subdued, sometimes bordering on the electric. Throughout we are introduced to a plethora of charmingly eccentric, well-rounded characters and amusing situations, all revolving around the radiant performance of Tautou a perfect choice as the kind but slightly mischievous waif, a role that has punctuated her career. Most impressive, however, is that the film maintains its tone throughout, never devolving into sappiness or melodrama, always staying fresh and lively. It's whimsical, and fluffy, and thouroughly enchanting; only a curmudgeon would find fault with the film, and only a grinch would not fall in love with Amélie.
Entertainment: 9/10

Amen. (France / Germany - 2002)
Starring: Ulrich Tukur, Mathieu Kassovitz, Ulrich Mühe
Director: Costa-Gavras
Plot: During the height of World War II, a devoutly Catholic SS officer, with the help of a young Jesuit priest, tries desperately to inform Pope Pie XII about the Reich's programmed mass extermination of the Jews.
Review: Based on Rolf Hochhuth's play The Representative, the historical thriller Amen is politically-minded director Costa-Gavras' (Music Box, Missing) denunciation of the Vatican under Pope Pius XII. Gavras doesn't need melodrama to make the tension apparent, alternating between the world of the SS officers grimly set to their horrifying deeds, to the immaculate corridors of the Vatican where the Roman Catholic authorities turn away from their obligations of moral condemnation. Indeed, more concerned about the threat of Communism than to the fate of "a few" Jews and worried about their own neutrality, the Vatican refused to speak out against the Nazis. The film doesn't show any of the atrocities directly (audiences have already had their fill), but alluding to them is just as powerful (the empty trains coming back from the camps, the crematorium chimneys billowing dark smoke, the powerful close-up reactions of the eye-witnesses). Though the realization that the world governments knew of the truth but did (or could do) little about it is not surprising, the film is at its most harrowing when showing the efficiency at which the task was taken by those involved, from the engineers to the bureaucrats, men whose conscience had been put on hold for their country. There are no Jewish characters in evidence here, those extras that we see limited to being powerless, anonymous victims of the Holocaust, a statement that is all the more terrifying by its blandness. The unlikely hero is the dramatized real figure of Kurt Gerstein, an SS officer who's testimony was crucial during the Nuremberg trials, superbly played by Tukur. As for the fictional young priest, played with intense idealism by Kassovitz, he is necessary to take us around the Vatican community, showing the urgency of the situation reduced to being politely dismissed. A powerful, well-acted true drama, Amen is an important testament to another side of a dark chapter in human history.
Drama: 8/10

American Beauty (1999) 
Starring: Kevin Spacey, Annette Bening
Director: Sam Mendes
Plot: Les, a middle class dad, hates his work, is irritated by his go-getter wife, and is estranged from his teen-age daughter but is too weak-willed to do anything to change his situation. Upon meeting his daughter's sex-pot friend, something awakens in him and he goes through a mid-life crisis that is more akin to a regression into his care-free adolescence, much to the annoyance of the people around him.
Review: The film blends some truly dramatic moments with its black comedy to show that Les' search for happiness is doomed from the start. Not since Happiness has there been two more dysfunctional families, and a more biting satire on American middle-class suburbanites. First-time director Mendes doesn't shirk away from showing, with great visual style, the maliciousness, and the occasional compassion, of his characters. Oscar worthy performances by Spacey (arguably his best to date) and Bening along with a strong cast, great script and artful cinematography make this easily the best American film to date this year.
Drama: 8/10

 

American Gangster (2007)
Starring: Denzel Washington, Russell Crowe, Chiwetel Ejiofor
Director: Ridley Scott
Plot: Given the opportunity to create his own vice squad, a small-time officer guns for the real source of the narcotics business in New York, a seemingly untouchable drug kingpin living in Harlem.
Review: The story of the rise and fall of real-life drug kingpin Frank Lucas is given the full Hollywood crime-epic work-out in American Gangster, the latest film teaming the director and star of Gladiator (and A Good Year). And it doesn't feel like a Ridley Scott film - the same man who gave us films like Kingdom of Heaven and Blade Runner - though it's slick, well shot, and as ably directed as ever. Taking a note on past crime dramas established in the 1970's, the movie plays out like a sort of Black Godfather mixed in with shades of Serpico with all the verve and surprisingly muted tension that the director can muster. The script, adapted and dramatized by screenwriter Zaillan (Gangs of New York) from an article that appeared in the New York Magazine, blends police corruption, fraternal loyalty, the NY drug trade, racial confrontations, and the criminal corporate mentality as "American Dream", all vying for attention against a backdrop of the Vietnam war. Thanks to a tight script that manages all the elements seamlessly and rounds out the two main characters without missing a beat, none of this ever gets tiring or repetitive even at over 2:30 hours. As for the leads, Crowe has the beefy-loser-cop role down pat, and you can feel the weight of things on his shoulders, but this is really Washington's show; he's been given a meaty role as the calculating, business-like gangster that exudes a veneer of charm and much simmering rage; yet while he's convincing enough, he seems to show only a limited range in his performance. The two stars are on-screen together only for a few scenes, but those moments are terrific thanks to the build-up that brings them together: The meticulous by-the-book police procedurals of the one contrasted against the larger-than-life exploits of the other, their paths ultimately leading to the final, surprisingly low-key confrontation as cop and crook face off each other across a prison table. Mind you, it also helps to have a stellar cast that includes the likes of Ejiofor and a despicably greedy Josh Brolin as a cop on the take, among other notables. All told, it may not be a classic in the making but as a sprawling, engaging crime drama, American Gangster is a fine example of the genre from some great name talents.
Drama: 7/10

American Pie (1999)
Starring: Tara Reid, Jason Biggs, Chris Klein
Director: Paul Weitz, Chris Weitz
Plot: Four high school friends make a pact to lose their virginity by prom night, but must face some seemingly insurmountable odds first.
Review: There's nothing quite as funny as seeing other people in embarrassing situations, and there's nothing more embarrassing than teenagers trying to surmount the peer pressure of having sex. American Pie, then, succeeds brilliantly, with all the makings of a good teen comedy: you care for the characters, the story keeps taking funny turns, the situations are terribly embarrassing and hilarious, and there's more than a bit of self-referential humor. Yes, much like There's Something About Mary before it, there are some gross jokes (though very few), and most of the humor is definitely "low-brow", but the film never bottoms out in its humor and it's all fun to watch. What's especially refreshing for this type of comedy is that the female characters are smart, savvy, and know what they want. American Pie ends up being a sometimes daring, but always good-natured, comedy.
Comedy: 7/10

The American President (1995)
Starring: Michael Douglas, Annette Bening, Martin Sheen
Director: Rob Reiner
Plot: A widowed president falls for an energetic career-lobbyist and finds his affair with her spread out all over the news to the detriment of his political reputation.
Review: From the get-go it's obvious that The American President is a going to be a mostly light-hearted affair, and one that's expertly put to the screen by director Rob Reiner (A Few Good Men, When Harry Met Sally). This is a romantic comedy that's actually engaging and funny without reducing to the usual clichés (or at least not too often), and there's actually more romance than comedy to be found - and that's not necessarily a bad thing. Oh sure, realism takes second seat, and the dash of political maneuvering on display is there just to add some tension to the budding relationship. However, the dating game takes a very different meaning when one person is the President, and the film manages to milk the idea to good potential without going overboard. Some terrific dialogue, a bevy of amusing situations, and some aptly Capra-esque political moments (especially the requisite final address-to-the-nation) round-up an entertaining effort by all involved. Most of this is quite predictable, of course, but it's all done in such an easy-going manner that it's easy to be taken in. Much of the success, of course, is due to Douglas and Bening who have never been as charming as they are here, and actually have some great chemistry together. Add to this a solid supporting cast including a terrific turn by both Michael J. Fox and Martin Sheen as the president's advisors, and Richard Dreyfuss, suitably ornery as the Republican antagonist. In the end, the only thing to say is that, as far as more adult-oriented romantic-comedies go, The American President is an enjoyable romantic fable with a touch of class.
Entertainment: 7/10

American Psycho (2000)
Starring: Christian Bale, Chloe Sevigny, Willem Dafoe
Director: Mary Harron
Plot: A wealthy young executive in 1980's New York spends his days persuing the yuppie lifestyle and his nights as a morally bankrupt serial killer.
Review: Based on Bret Easton Ellis’s novel, American Psycho is a very biting satire on the soulless '80s, with a character that is the embodiment of the worst of the decade. Bale is excellent as a man totally desensitized to the world around him, portraying the deranged yuppie as shallow and morally corrupt with great gusto. There is no glamour in this character, and there is no way to see him as anything but twisted and desperate. The film ably, and often amusingly, shows this in almost every scene, from the detailing of the endless stream of beauty products he uses, to his taste in music and his minimalist anti-septic condo and, above all, his obsessions for cleanliness, one-upping his peers and getting a good seat in trendy restaurants. As the narrator, we only get a view of his thought processes, but actually all the people in his social circle seem to be exactly the same. Film-wise, some of the sex scenes may seem a little risqué for censors, but it's nothing explicit and is necessary to show the degradation of the character. As for the violence, it's always executed off-screen and left to the imagination, but because the whole film is shocking in its premise, and the deaths so horrifying in their banality, it appears worse than it actually is. The film takes on surreal connotations mid-way through, and ultimately turns the whole situation around, giving us an ending that can be interpreted in more ways than one. However one takes the ending, though, American Psycho remains a great black comedy on the "me" generation and the excesses of a decade.
Drama: 9/10

Amores Perros (Love's A Bitch) (Mexico - 2000)
Starring: Emilio Echevarria, Gael Garcia Bernal, Goya Toledo
Director: Alejandro Gonzalez Inarritu
Plot: The fate of Mexico City residents from different social levels is linked to the relationship with their dogs as their lives become entangled after a violent, tragic car accident.
Review: Amores Perros, director Inarritu's first film, is an absolute gem, a passionate, mature film that forces its audience to stand up and take notice. The story grabs us from the opening sequence, depicting a terrifying car chase through Mexico City, then doubles back to focus on the events leading up to it, and shifts forward again to visit the aftermath. The first story is by far the most fascinating, giving up a piece of Mexico City that is violent, hectic, and in-your-face. Though the inescapable tragedy is predictable, the energy, cinematography and set-up on display are mesmerizing. The very different relationship between dogs and humans in each segment is almost as important to the film's perception of our human nature as the one between people, and allows for a much more interesting description of the dynamics between the characters and their own moral core. This is a film that is physically and emotionally brutal, and sparks the senses with its passion and its portrayal of a gritty reality. Yet there are moments of grace, beauty, and even touches of the surreal throughout, especially in the last segment. The colorful, interesting cinematography is at times startling and always atmospheric, inserting the viewer right into the lives of the protagonists. As for the cast, they all give fine performances, most especially legendary actor Echevarria as the decrepit hobo earning his life as a hit-man who longs to reconcile with his estranged wife and now-adult daughter. Well shot, well structured, and absolutely fascinating, Amores Perros is a powerful and down-right thought-provoking experience. (Check out the extended review!)
Drama: 9/10

An American in Paris (1951)
Starring: Gene Kelly, Leslie Caron, Oscar Levant
Director: Vincente Minnelli
Plot: A struggling American painter living in Paris is torn between his duty to his rich patron and his love for a young French girl engaged to one of his friends. 
Review: The otherwise banal romantic plot to An American in Paris is no more than an excuse for some light-hearted chuckles and as a springboard for the characters jumping into song and dance. The then-"exotic" Paris setting, the impressive sets, the colorful costumes, the engaging choreography, and the catchy Gershwin score make up for a well staged, classic musical. Gene Kelly is at his prime here and he and first-timer Caron are delightful to watch. The final, surreal sequence is worth the film, bringing about a cavalcade of wonderful, different dancing routines to the themes and backdrops of French impressionist painters. Not quite as original as Singin' In the Rain which followed by the same creative team, An American in Paris is still great entertainment. Winner of seven Oscars, including Best Picture.
Entertainment / Musical: 8/10

America's Sweethearts (2001)
Starring: John Cusack, Julia Roberts, Billy Crystal
Director: Joe Roth
Plot: An estranged celebrity couple is forced to act chummy for the press during the premiere screening of their latest film while pursuing new love interests.
Review: America's Sweethearts is a by-the-numbers Julia Roberts vehicle, a feather-light romantic comedy with moments of insider satire. The film pokes fun at showbiz (from the over-the-top press junkets to the diva-like stars and directors) while still keeping the comedy light enough, and the commentary shallow enough, to avoid offending anyone, setting it simply as a backdrop for a silly romantic triangle. The A-list cast plays their roles well enough, but the story doesn't allow for any real development, ending up with a set of characters that are barely formed and only a tad sympathetic. Crystal, as the cynical PR vet, has some of the best moments and all the good lines and constantly saves the film from falling into screwball trash - the rest of the cast is simply there as filler. In fact, the supporting actors, from Christopher Walken to Stanley Tucci, are more interesting than the leads. What's worse, the film suffers from a script that simply fails to engage. There are some funny moments, sure, but there aren't enough of them to make up for the rest of the ho-hum shenanigans. For biting industry satire, try The Player instead - America's Sweethearts only fits the bill as purely Hollywood fluff.
Comedy: 4/10

Amistad (1997)
Starring: Anthony Hopkins, Matthew McConaughey, Djimon Hounsou
Director: Steven Spielberg
Plot: In 1839, after a bloody revolt against their Spanish masters on a ship at sea, a group of 50 African slaves lands in America where they are quickly put on trial, a trial that has grave political repercussions.
Review: Based on the true story of a slave revolt, Amistad tackles a difficult period of American history, where the issue of slavery and creed divided a nation. It's a tale ready-made for Hollywood fare: earnest lawyer fighting the crooked political system to free imprisoned slaves. The story touches upon many different subjects, from the issue of slavery, politics, period law, and more, and adheres surprisingly well to historical facts, at least for its main plot points. Where it diverges is in all the details that make or break a film of this sort, and the end results are mixed: the scenes on the slave ships are clearly, brilliantly horrifying, and there are minor indications that the script attempts at a balanced approach to the subject, yet many more showcase only a shallow, re-imagined presentation of the material. As always, the production design and technical savvy on display is excellent, as is the cinematography, yet Spielberg's storytelling here has more to do with his manipulative, sentimental entertainment vehicles than his restrained dramas like Schindler's List. The stereotypes abound, from the naive young lawyer, boorish politicians to courageous, heroic slaves. Thankfully, the solid cast makes the best of it, most especially first-timer Hounsou showing a passion that crosses the language barrier, and Hopkins, playing the eccentric aging John Quincy Adams who defends him at the Supreme Court with a grand monologue. Seen for what it is and not what it could have been, the film comes off as a rather well-executed courtroom drama and there are enough powerful moments on display, and enough period detail, to make for an interesting lesson on American history - and an engaging one at that. Clearly meant for Academy nomination, Amistad has its heart in the right place but it's just too simplistic in its approach to make for a truly great film.
Drama: 6/10

An Autumn's Tale (1987)
Starring: Chow Yun-Fat, Cherie Chung
Director: Mabel Cheung
Plot: A young woman goes to New York to study acting and find her two-timing boyfriend. A distant cousin now living in the Big Apple helps her get settled in to her new life and falls in love with her.
Review: An Autumn's Tale is a charming, romantic drama with two wonderful, amiable characters played by a young Chow Yun Fat, and the beautiful Cherie Chung. The development of their relationship and the simplicity of the events surrounding it, without the usual over-blown emotional or soap-opera tragedies, are what make the film so enjoyable. By filming in New York, and especially in Chinatown, the film also adds some interesting local color to the story. Yes, at it's heart it's a typical boy-meets-girl story, with the usual romantic stumbling blocks to overcome. But the film adds more depth to its narrative. It's an examination of Chinese immigrants in America and how they cope with the change in culture and surroundings, of how their cultural identity is maintained in an alien place. It's also a film about class and social status, and how two people from different backgrounds can find a connection with each other. By the end, both must reconsider their lives and change their expectations before the class distinctions between them evaporate and allow them to start afresh. A finely done, disarming romance.
Drama: 7/10

Anchorman: The Legend of Ron Burgundy (2004)
Starring: Will Ferrell, Christina Applegate
Director: Adam McKay
Plot: His position challenged by an ambitious female reporter, a top-rated local-TV anchorman n 1970's San Diego does all in his power to undermine her.
Review: Another quickly-realized high-concept comedy that follows the usual ex-SNL thespians, Anchorman is tailor-made as a star vehicle for funny-man Ferrell.. A battle of the sexes spoof of the '70's, male machismo, and local news coverage, it aims to mock much but only occasionally rises to the challenge: neither its silly plot nor its nutty characters can really save it from being mostly drab, if never quite dull. Ferrell - who co-wrote with director McKay - plays dumb and naive with perfection, and the addtion of ludicrous chauvinism and narcissism to the mix proves something that we can all laugh at. It's too bad the jokes are so limited, because there's lots of material here. In fact, the whole affair keeps its aim low, going after easy laughs and slapstick. There's little gross-out humor, thankfully, but it still won't be to everyone's taste - most of the comedy comes from the sexist attitudes of its male characters, and from the half-improvised antics Ferrell has become famous for. One particular scene does redeem most of the film: a funny, chaotic and completely surreal face-off between all the competing San Diego news teams that comes out as a mix of Gladiator-style combat and West Side Story gang strife. Some surprising cameos from the likes of Ben Stiller, Tim Robbins and nemesis Vince Vaughn only add to the fun. All told Anchorman is easy-going and well-paced, and though it's not particularly good it is worth a few laughs.
Comedy: 4/10

The Andromeda Strain (1971)
Starring: Arthur Hill, David Wayne, James Olson
Director: Robert Wise
Plot: After a village is wiped out by an extra-terrestrial virus brought to Earth by a downed satellite, a team of government scientists inside a high-tech research facility race against the clock to stop it spreading across the country.
Review: Working off the nail-biting scientific thriller from novelist Micheal Crichton, this faithful adaptation of The Andromeda Strain is top-level science-fiction, albeit a tad dated. The premise is still interesting, even after more modern bio-thrillers as Outbreak, and there's no faulting the extenuating detail and attention in doling out the decontamination process or the scientific methodology required. After such classics as West Side Story and The Sound of Music, director Wise goes back to his SF roots which he so ably presented in The Day the Earth Stood Still. He is a consummate story-teller whose old-school directing is more substance than style, and this works to present events and situations in convincing, matter-of-fact manner. There are some logic faults in the script, mostly done to add a dose of suspense at the end, but this is a minor quibble. Unfortunately, the computer and robotics technology that are so meticulously detailed and explained was wondrous in the early 70's, but from a modern perspective, this extended look at now-primitive tech just bogs down the pacing. Surprisingly, despite its love for all this high-tech stuff there's a note of pessimism that runs throughout the film: scientific methods may be at the forefront, but it's clear that our own overconfidence in technology brought about the disaster in the first place. Thankfully most of the film focuses on the mystery of the virus, unraveling it much like one would a detective story. Add to this some rising tensions between the team-members (all played with convincing seriousness by the cast), secret political agendas, and an anti-military-establishment stance, and you've got a well-rounded flick that's a true product of its times. Despite a few lengthy bits, The Andromeda Strain is still a smart and relevant, if slightly outdated, SF thriller.
Entertainment: 6/10

Angel Eyes (2001)
Starring: Jennifer Lopez, James Caviezel, Victor Argo
Director: Luis Mandoki
Plot: After being saved from a gun-toting criminal by a bizarre, quiet stranger, a lonely female cop falls for him and tries to discover his past, something he would rather forget.
Review: Though marketed as a drama with supernatural undertones, Angel Eyes is actually a pretty basic romantic drama, one that has loads of potential but that eventually succumbs to overly sentimental claptrap. The story's main surprise "revelation" (how does the film's opening crash scene connect them?) is pretty much obvious from the get-go to everyone but the characters, and if the whole exercise wasn't mostly tied up to avoiding the issue it would have worked better. Surprisingly, the relationship between the two damaged souls, the eerie loner who hides a painful secret even he has shut out from his memory, and the socially-inept cop who has been disowned from her family, is actually the film's high points and their delicate, fragile courtship is quite engaging. Things fall apart and veer to the maudlin, however, when they are meant to break through their shell to wrap things up for the film's ending. Caviezel, playing the part of the shell-shocked Catch with a frozen expression making him appear like one of the walking undead, actually fits the bill. To be honest, though, the film works almost solely due to Lopez's radiance evident in every scene - though she overacts the body language of the "tough female cop", her charm shines through even during the most excruciating scenes. Angel Eyes eventually plods through familiar territory, but there's enough Hollywood fluff, enough Lopez, and even some genuine heart-warming moments, to almost accept the heavy-handed script and direction.
Entertainment / Drama: 4/10

Angel Heart (1987)
Starring: Mickey Rourke, Robert De Niro, Lisa Bonet
Director: Alan Parker
Plot: Hired to track down a forgotten singer by a mysterious client, a sullen detective enters a strange world of voodoo and dark forces in 1955 New Orleans and realizes, as the bodies start piling up, that things are not what they seem.
Review: Dark, graphically violent, and genuinely disturbing, Angel Heart was one of the peaks of the 1980's horror genre. Both a hard-boiled mystery / thriller and a horror / suspense, it manages to successfully mix the two genres into one slick, well-paced product. This is a world on the edge of decay, one that is but a shadow of the 1950's, and one populated by bizarre personalities and the presence of a palpable danger. The story itself is a single-twist affair, and the whole film is much more of a "style over substance" type of experience, but the script holds its own for a genre piece. What really distinguishes it, however, are the fabulous production values, and cinematography that add an extra dimension to the chills. Parker has had lots of experience directing some bizarre, off-kilter films that make us feel like we're plunging into a different world (Midnight Express, Pink Floyd: The Wall) and here he uses the best of the horror genre techniques, as well as his own keen visual style, to provide a creepy atmosphere and a definite sense of dread. Rourke is at his best playing nervous, unkempt, desultory and shady characters, and here he's all four, easily taking the spotlight. De Niro does his bit with a trademark calculating menace as, what else?, "the bad guy". The rest of the cast, including a sexy Bonet (in some very risqué scenes that caused a furor at the time of the film's release) and the classy Charlotte Rampling, makes do with the limited lines they have. Taking a chance by integrating a story that's part Film Noir, part gory horror, Angel Heart still stands as a landmark of the genre, and one that's well worth checking out.
Entertainment / Horror: 8/10

Anna and the King (1999)
Starring: Jodie Foster, Chow Yun-Fat
Director: Andy Tennant
Plot: An English widow comes to Siam with her young son to teach the King of Siam's 58 children and soon gets caught up in the life and intrigues of the country and his court.
Review: A modern remake of the oft-told story, the most popular of which was the musical The King and I. Jodie Foster is excellent as usual, and so is Chow Yun-Fat, finally appearing in a decent American production, and the two are charming to watch as they grow closer to one-another. The story itself is probably as far from any actual events as is the norm for American productions, but the film still delivers some fine entertainment akin to the grand Hollywood productions of the '50s and '60s. The sumptuous decor, costumes, and lush scenery distract from the otherwise too politically-correct rendering of the story, and the script, though it avoids any difficult subjects and holds few surprises, still provides enough romantic, adventure, and dramatic interest to keep one involved. It may end up a bit unsatisfying, but Anna and the King is still worth a look.
Drama: 6/10

Antz (1998)
Starring: Woody Allen, Sharon Stone
Directors: Eric Darnell, Tim Johnson
Plot: A neurotic, individualistic ant searching for a better life tries to win the affections of the colony's future queen while getting implicated in a nefarious plot to destroy the worker force.
Review: One of the first full-length computer animated features out of the gate after the success of Toy Story, Antz is a daring example of the genre, an anthropomorphic comedy-adventure that has a very adult slant. The film got short-changed after Pixar's more family-firendly triumph A Bug's Life, the "other" ant adventure, which came out the same year. Yet this film has its charms, and it's nice to see one that is much more geared towards a grown-up audience than most present CGI fare, what with its Starship Troopers-like battle against termites (which will scare younger kids), its audacious wit, quick dialogue, and in-jokes. Poking great fun at both totalitarian / communist regimes and playing on the "workers unite" theme (funny socialist slogans abound), the film provides some political commentary that is exploited to amusing results, along with the usual ones of "one individual can make a difference" as our unsuspecting hero becomes the focus for social revolution. The hero of the tale is a part ready-made for it's dweebish leading-man as Allen is perfectly matched with the character, his age-old self-obsession and neurotic persona working wonders here as an ant with an inferiority complex. In fact, he hasn't been this good in his own movies since Hannah and Her Sisters. An all-star array of voice actors ranging from Stone as the pampered princess, Hackman as the callous general, to Sylvester Stallone, Anne Bancroft, Christopher Walken and Jennifer Lopez all do a fine job. Despite its brief running time, the film manages to be both breezy, lively, and quite funny. Though the then-impressive computer animation already seems rather primitive, it's stylish and good enough to work with the solid script and even allows for some beautiful scenery (especially the nature vistas or underground long shots). Kids might find only a modicum of repeat-viewing appeal in Antz, but adults will delight in a slightly more high-brow affair.
Entertainment: 7/10