Movie Review Library - R

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Rabid (1977)
Starring: Marilyn Chambers, Frank Moore, Joe Silver
Director: David Cronenberg
Plot: After a horrible accident, a woman is given an experimental skin graft leaving her with a craving for human blood that unleashes a plague that turns people into mindless killers.
Review: Though the plot of Rabid is almost non-existent, director / writer Cronenberg's (Dead Ringers, Videodrome) usual themes pop up again, adding more sexually deviant bizarreness and stabs at the medical profession. Though never adequately explained, porn-star Chambers plays a modern-day medical vampire who has the ability to suck blood from (and infect) her victims through an vagina-like orifice in her armpit! Unfortunately, what starts off as another bizarre, twisted film unfortunately veers into familiar zombie-movie territory mid-way through. Not that it's badly done; the whole exercise looks slicker than most pictures of the genre, the rabid killers go on an appropriately violent rampage, and the martial law in Montreal is well depicted (with body disposal crews in biohazard gear roam the streets in garbage trucks!). There's also a great sense of dread throughout, and Cronenberg shows his growing mastery of the medium, from the direction of the cast, to the more refined camera shots, to the better general flow of the film compared to his earlier Shivers. And let's not forget the gratuitous amount of nudity and ample amounts of required gore, of course. Thanks to Cronenberg's touch, Rabid is more interesting than the usual living-dead fare and for fans of horror it's an interesting outing.
Horror: 6/10

The Raid (Hong Kong - 1991)
Starring: Dean Shek, Tony Leung, Jacky Cheung 
Director: Ching Siu-Tung, Tsui Hark 
Plot: During the 1930's time of turmoil, a rag tag team of people led by a retired healer join China's revolutionary army to stop the forces of the dethroned emperor and his Japanese allies from unleashing a deadly poison gas upon his enemies.
Review: Based on a popular Asian comic series, The Raid offers up a great deal of fun for those in the mood for some Hong Kong mayhem. Produced and co-directed by Tsui Hark (Peking Opera Blues, Once Upon a Time in China), the film shows his fingerprints all over the screen: above average production values, high on entertainment, humor, and crowd-pleasing moments, and filled with epic-like Hollywood sequences inventively done on a low-budget. In fact, the movie is less a recreation of 1930's China than it is a fantasy world of lawless bandits and diabolical military men, co-existing with spies, ninjas and martial arts masters. Much like the Indiana Jones series it tries to emulate (including its own Temple of Doom-styled musical number), the film is filled with cliffhanger moments akin to the old serials, including impossible escapes. Better still, the pacing is surprisingly steady even through the slower moments (give or take a few exceptions). Though nothing particularly original, the action set pieces involving gunfights, swordplay and multiple explosions are numerous, engaging, and energetic relying on wires, stuntmen, and a good measure of suspension of disbelief. There are also the "necessary" comic moments as well, including some bedroom hi-jinks, as well as an amusing (and thankfully short-lived) interlude where romantic misunderstandings abound. These are incredibly familiar, but they work better than those found in most HK offerings. Also important, the entire cast is just right, hamming it up and exaggerating the silliness and seriousness of the moment as required. There's nothing to really set The Raid apart from many of its contemporaries, but for some entertaining action / comedy as only HK can provide, it's another fine example of the genre.
Entertainment: 6/10

*Classic* Raiders of the Lost Ark (1981)
Starring: Harrison Ford, Karen Allen, Paul Freeman
Director: Steven Spielberg
Plot: In 1936, an adventurous archeologist, helped by an old flame, is hired by the US Government to find the biblical Ark of the Covenant in Egypt before the Nazis can take possession of it to drive their war effort.
Review: More so than any other action film, perhaps, Raiders of the Lost Ark deserves it's high ranking in audience's hearts: it's a rarity, a thrill-a-minute crowd pleaser that gained high critical praise, and one that still works as well now as it did over 20 years ago. Conceived as a loving homage to the B&W cliff-hanger shorts, the film plays out like a mix of the best Saturday matinee serials and the most modern action flicks. From the get-go, the movie is structured like a series of short 10-15 minute films, with every chapter ending with one of these cliff-hanging moments. This is a Spielberg picture through-and-through, however, and the director's patent humor, energy and fine story-telling talent developed over his previous projects (Jaws and Close Encounters of the Third Kind) is obvious in every scene. The pulp-like feel of the narrative, the larger-than-life characters and adventure, and the exotic locales (helped by some terrific production values), all add to the successful mix. Relying less on special effects and more on impressive stunts and story, the script imbues the classic adventure yarn with enough daring-do, witty repartee, and smarts to make it watchable over and over again. Harrison Ford's performance makes Indiana Jones the ultimate action hero blending macho hero with a self-effacing manner. The spunky Allen does a good job of keeping up her end by being just as smart and aggressive as her companion. Even the supporting characters, villains and allies alike, have personality to spare, a rarity in this sort of affair. The ending is the only low point of the film, providing what is probably the ultimate deus ex machina ever put to screen, leaving our hero's fate to a greater power. Much-copied but never equaled, Raiders of the Lost Ark brought together the best talents and elements possible for a terrific, joyful bit of entertainment that has become a tried-and-true classic. (See extended review).
Entertainment: 10/10

The Rainmaker (1997)
Starring: Matt Damon, Danny DeVito
Director: Francis Ford Coppola
Plot: An idealistic young lawyer fresh out of school goes up against some powerful lawyers to expose an insurance company's refusal to pay a claim for a young man dying of leukemia.
Review: The Rainmaker follows The Firm as best adaptation of best-selling author John Grisham's novels. Trying to encompass "important" issues, the film is more a drama than a thriller, one lacking any surprises in the narrative or the typical courtroom battles. The story simply provides another rather tepid, rehashed take on the "good, inexperienced" lawyer vs. the "bad, powerful" ones. What it lacks in originality, though, it makes up in good storytelling and the use of a fine cast, especially a then-unknown Matt Damon as the wet-behind-the-ears lawyer and Jon Voight as his nemesis. Danny DeVito arguably has the best role here as his cynical street-wise partner, and easily has the most memorable moments of the film. This is a step backward for famed director Coppola (The Godfather, Apocalypse Now), but his keen eye and filmmaking sense are still obvious. The Rainmaker may not be a great film, but in its engaging plot and characters it manages to keep our interest, and ends up being much more enjoyable than one would expect.
Drama: 6/10

Rambo: First Blood Part II (1985)
Starring: Sylvester Stallone, Julia Nickson, Richard Crenna
Director: George P. Cosmatos
Plot: An incarcerated veteran is given another chance to return to his old battleground to retrieve photographic evidence of US soldiers still being kept prisoner in Vietnam.
Review: Whereas First Blood was an action-oriented anti-war film that presented us with a veteran lost and outcast in his own country, Rambo immediately and whole-heartedly distances itself from its dramatic predecessor from the get-go offering up an un-apologetic, jingoistic fervor. After his role as Rocky, Rambo is Stallone's trademark character, the sneering, muscle-bound machine that can fire a .50 caliber machine-gun with one-hand, one that has become an international icon for the '80s. Poorly made by modern standards, with rather cheap production values apparent throughout, it's a movie that aims for carnage and violence, one that knew how to satisfy an American public desperate for a hero to win them a Vietnam victory. Considering the success of the film, a template for countless cheaper imitators, it definitely hit a nerve. Looking at it now, one can only roll one's eyes at the dumb script (by Stallone and a post-Terminator James Cameron), an efficient pastiche of atrocious dialogue and ridiculous situations that constantly ups the ante for energetic blood-letting. There are knifings, bullets flying, a myriad variety of explosions, all culminating into a helicopter showdown as Rambo goes up against Vietnamese, Russian commandos, and even traitorous US officials before our protagonist can bring his MIAs home. As a mindless action flick, Rambo set the standard for the genre and though its hard to call it a classic, it still provides some satisfying moments for those willing to leave their brains at the door.
Entertainment: 6/10

Random Hearts (1999)
Starring: Harrison Ford, Kristin Scott Thomas
Director: Sydney Pollack
Plot: A detective becomes obsessed with finding out the depth of his wife's betrayal after a fatal plane crash leads to the revelation that she was having an affair with a congress woman's husband.
Review: Random Hearts starts off with an interesting premise that could have played well on the subjects of loss and betrayal, but the mystery and intrigue only lasts for the first half-hour or so. From then on, the film tries to be both sentimental and dramatic, but ends up being only bad romantic junk-food. There is even a bad-cop sub-plot tacked on to the main story that is not only badly done, but is completely out of place with the rest of the narrative. The worst offender, though, is the forced romance that builds between the two leads. It doesn't help that Ford is just wooden here; thankfully Thomas makes up for his short-comings and even for the bad dialogue when she's on screen. The pace is slow but never ponderous, but the lack of either deeper emotional resonance or more melodrama will alienate viewers. There's the seed of a good script somewhere, but by avoiding any challenges inherent to the story it just fails on all counts. As it is, Random Hearts might have made a decent TV-movie, but with the caliber of creative people behind this it should have been much better.
Drama: 4/10

Ransom (1996)
Starring: Mel Gibson, Rene Russo, Gary Sinise
Director: Ron Howard
Plot: An airline tycoon becomes desperate after his only child is kidnapped by an experienced band of criminals and starts to believe that they have no intention of returning his son alive after the ransom is paid.
Review: Ransom, an updated remake of the 1956 crime drama, is director Howard's (Apollo 13, Backdraft) first try at a conventional thriller, and in everywhere it counts, it's quite effective. By eliminating the mystery behind the kidnapping and showing both sides, the film becomes much more of a suspense piece, playing out a mostly tense game of cat and mouse between its two male players. There's an appropriate amount of suspense, human melodrama, and surprises to the proceedings, and the plot twists are believable and well set-up. The film aims for more than this, however, by inserting a few sub-plots to round out the characters, and even adding some hints at social class struggles, but these are unfortunately quickly discarded once used. The cinematography also enhances the shadowy, urban mood and sense of claustrophobia. As for the performances, they are solid all around, especially by a chilling turn by Sinise and a surprisingly emotive Gibson. The film could have dwelled a little more on the relationships between the kidnappers, especially the bond between Sinise and his criminal girlfriend, something that would have made the conclusion more powerful. As well, the climax pitting the two adversaries is a little too convenient and takes the conventional Hollywood "way out". Still, Ransom is a tightly plotted, well made film with enough twists and turns to make for a smarter than usual crime thriller.
Entertainment: 7/10

*Classic* Rashomon (1950)
Starring: Toshiro Mifune, Machiko Kyo, Takashi Shimura
Director: Akira Kurosawa
Plot: In ancient Japan, a brutal rape and murder in a forest is recounted by four witnesses, each with a very different perspective as to what actually happened.
Review: Rashomon first garnered Kurosawa (The Seven Samurai, Ran) widespread international attention, and with just cause. What starts off as a simple story, soon becomes a complex character study, combining the best aspects of a finely crafted mystery and a deliberately paced drama to create a veritable cinematic tour-de-force. The cast is excellent, providing very different, stirring performances as the events are retold. It is soon obvious that trying to piece together the actual events in the woods is futile: the film does not provide an answer. Instead, it plays with the idea that perspective distorts reality, that the truth is a subjective thing, and a universal Truth impossible. The film ends on a note of hope, which seems at odds with the dark, often cynical, tone of the rest of the film. Winner of countless international prizes, including the 1952 Oscar for Best Foreign Language Film.
Drama: 9/10

The Raven (1935)
Starring: Boris Karloff, Bela Lugosi, Irene Ware
Director: Louis Freidlander
Plot: A brilliant, spurned surgeon seeks revenge on his peers by using Edgar Allan Poe's literary torture devices and the help of a hideously disfigured criminal.
Review: Though named after Edgar Allan Poe's famous poem, with the exception of the torture device from "The Pit and the Pendulum" The Raven has little to do with Poe's stories. Done under the infamous 1930's Production Code guidelines (a sort of Hollywood-imposed censorship), the film lacks the thrilling sense of its earlier contemporaries. In fact, this is less a horror film than a murder / thriller, and for all intents and purposes it feels like a quick, cheapie production meant to be sold on the strength of its two leads. There is little here that is the least bit memorable: the production values are minimal, the plot predictable, and the script lacks any wit or defining style. To be fair, the story does move along well, and despite its failings, is quite watchable despite its derivative plot. One of a handful of collaborations between icons Karloff and Lugosi, at a time when both their stars had already started to wane from the heights of Frankenstein and Dracula, respectively. The movie lacks a meaty role for either performer, though Lugosi, as an obsessed eccentric driven to madness, does have his moments. One of the lesser efforts of the classic Universal age, The Raven is really only recommended to fans of the B&W genre or late-movie insomniacs.
Entertainment: 4/10

Ray (2004)
Starring: Jamie Foxx, Regina King, Kerry Washington
Director: Taylor Hackford
Plot: Biography of the early years of music legend Ray Charles who, though blind since childhood, became one of the most successful musicians of the 20th century.
Review: A recap of key events in the blind musician's incredible career during his rise to fame in the 50's and 60's, Ray is both an inspirational portrayal of an R&B legend and a loving homage of the times. Though evidently dramatized for cinematic effect, the script recalls his addiction to heroin, his philandering ways, his love for his family, and the demons that haunted him throughout his life without excusing his ways or his decisions. If the real complexity of the man gets short-changed for expediency's sake, well, at least his music shines through. Director Hackford (who did a similar stellar job with the life of Ritchie Valens in La Bamba) brings the era to life with a good sense of what made him special, capturing the period details and intimate relationships, along with the sweeping political and social events that encompassed his rise to fame. But though the film itself is well done - solid production values, strong cast, rich cinematography, lots of terrific, toe-tapping musical numbers - it's star Jamie Foxx who really makes this exercise special. In an amazing performance, he manages to make us believe he really is the young Ray Charles, capturing the mannerisms and unbridled energy of the man at his peak while always keeping both his disability and his emotional struggles clearly in the forefront - this is what Oscars are made of. Even if the movie, clocking at 2 1/2 hours, does seem to stretch a bit the terrific music and its leading man's charisma make sure it never outstays its welcome. And for that alone, Ray is a must-see.
Drama: 7/10

*Classic* Rear Window (1954)
Starring: James Stewart, Grace Kelly, Thelma Ritter
Director: Alfred Hitchcock
Plot: Confined to his New York apartment, a wheelchair-bound photographer spies on his neighbors from his rear window and starts to suspect that one of them may just have committed murder.
Review: One of Hitchcock's best suspense thrillers, Rear Window is a superbly constructed movie that manages to use its limited setting to best effect. From a simple premise, the film unfolds into a cleverly orchestrated and well set up series of events, that not only gives us a glimpse of the lives of the surrounding neighbors from afar, but soon focuses on a possible murder as well. The suspense and tension builds slowly, interspersed with some interesting, but rather tepid, romantic moments between the two leads, and we never know for sure if a crime truly occurred or if the characters are only overreacting. The camera moves inside the apartment but is always trapped alongside the main character, showing every scene outside from his point of view, as we join in his voyeuristic, and totally passive, experience. In fact, this forced immobility, this lack of control over his surroundings, is what creates the suspense in the latter part of the film. This point is driven into us during the tense scene when the supposed murderer returns to his abode while the protagonist's girlfriend is still there, and he stays unmoving, terrified, powerless to do anything but watch. The script, pacing, cinematography, and directing are top notch and, with a well created urban setting, help make the story intriguing and believable. Stewart, one of Hitchcock's favorite actors, does a fine job with the limited range of the role portraying both the boredom of someone trapped in his room, as well as the terror when things go terribly wrong. Gene Kelly is radiant, as always, though she has rather limited material to work with here. Rear Window remains a classic of Hitchcock suspense and as such it is also one of the great works of Hollywood cinema.
Entertainment: 9/10

The Recruit (2003)
Starring: Al Pacino, Colin Farrell, Bridget Moynahan
Director: Roger Donaldson
Plot: A gifted and athletic MIT graduate gets recruited by the CIA and ends up in a covert operation to apprehend a double agent working in Langley, a woman he has fallen for during training.
Review: Much of The Recruit will feel familiar to just about any movie-goer who has seen his share of spy thrillers, but then the real selling point here is its two leading men (and leading lady). The thriller elements are well in place, including the paranoia, the backstabbings and the usual twists, though the identity of the film's true villain is much too predictable, eliminating much of the suspense. Still, those willing to excuse a sometimes lazy script will enjoy the cat-and-mouse game played out, even if the characters aren't quite believable. Despite the fact that the movie touts the fact that it had expert advice to make it as true as possible, the sense of realism is in short supply here, with the needs for a more cinematic feel taking precedence. And in that the movie works: it moves along well without ever being boring, the training scenes are well set up, and though there's nothing that's really memorable, it's an entertaining enough 90 minutes. Though not nearly as satisfying as his own political thriller Thirteen Days, director Donaldson knows the tricks of the trade (Dante's Peak, No Way Out, Species) and offers up a professional, controlled mainstream flick. As for the cast, Farrell makes for a charismatic hero, Moynahan feels like a fresh face, and Pacino does a surprisingly restrained performance (save for a misbegotten climactic monologue). For those in search of some light entertainment, or who get a kick out of seeing its two leads, The Recruit is an effective enough little thriller that will fit the bill.
Entertainment: 6/10

Red Dragon (2002)
Starring: Anthony Hopkins, Edward Norton, Ralph Fiennes
Director: Brett Ratner
Plot: To catch a vicious serial-killer whose victims are entire families, a retired FBI profiler must seek the help of a dangerous, manipulating murderer who he helped put behind bars.
Review: Instead of the over-the-top visual gore and caricature that marred Hannibal, Red Dragon safely goes back to the chilling formula of Silence of the Lambs with a script from the same Oscar-winning writer. And it's a hit. More than just a remake of Michael Mann's critically acclaimed 1986 adaptation Manhunter, this is another version of the Thomas Harris novel. The story might be rather formulaic, including an agile plot with some required surprises and double ending, but what elevates the film is its attention to atmosphere, one that inescapably gets under your skin. This prequel finds the more interesting psychological suspense and horror of the material instead of relying on bloody shock value. For sure, though for the most part it is more alluded to than seen, the violence quotient is still high: there are shootings, stabbings, and even a bizarre death in a flaming wheelchair! Director Ratner, who made his name with a very different type of movie material (Rush Hour, Family Man), does a surprisingly effective job at conveying the tension inherent in the various situations and sets up well the required mood along with the thrills and brutal action sequences. The assured, stylish cinematography also helps increase the unease. Kudos, of course, go to the stellar cast who make this Hollywood effort a fine addition to the series. The pairing of Hopkins opposite the affable (and perhaps too-young) Norton is good, with Hopkins easily slipping back into the role of the wicked, brilliant doctor - it's a pleasure to see him playing the mannered cannibal once again. As for Fiennes, he does a great turn as the depraved schizophrenic serial killer, and Emily Watson, as his blind would-be girlfriend / victim, is convincing and raises the supporting part to an important role. Red Dragon may not be as impressive as Silence of the Lambs, but it is, on its own, a smart, memorable thriller that's sure to make an impression.
Entertainment: 8/10

Red Eye (2005)
Starring: Cillian Murphy, Rachel McAdams, Brian Cox
Director: Wes Craven
Plot: On a national flight, a young hotel manager is threatened by another passenger to assist in the assassination plot of a high-ranking politician.
Review: A speedy, efficiently paced affair that is at times clever, at times clichéd, Red Eye is another in a series of modestly-budgeted thrillers released in the down period of the movie-going year. Despite its larger scope of homeland security, terrorists, etc the real focus is on the two characters, the menacing villain and the plucky young woman, and our society's new-found fear of flying. Thankfully, Murphy and McAdams work well enough off each other that even the rather predictable scenes of attempted escape during the flight provides some suspense. Once the story gets grounded (pun intended) there's a bit more action, with a game of cat and mouse in a large house as a climax, a sequence where Craven's experience comes in handy. Unfortunately, one can't help feel like something more should be happening, that there's something missing in the linear progression of events, one with no twist or turns to bring it out of the ordinary. Director Craven, better known for his horror flicks like The Nightmare on Elm Street and Scream, extends his range to the suspense thriller and comes up roses, but the material clearly isn't up to what he's capable of. The main culprit is that the script lacks any real punch, and - apart from having one of the most inefficient assassination plots in recent memory - at a brief 75 minutes the film is surprisingly short and lightweight, never taking the time to flesh out its situations. In other words, Red Eye is the cinematic equivalent of junk-food: amusing while it lasts yet leaving little lasting impression.
Entertainment: 5/10

Red Heat (1988)
Starring: Arnold Schwarzenegger, James Belushi
Director: Walter Hill
Plot: A cynical cop and a tough Soviet police officer have to put their differences aside to stop a violent Russian criminal from finalizing a major drug deal in Chicago.
Review: The by-the-numbers Red Heat is another take on the tired "high-concept" cop-buddy genre, a specialty of director / writer Hill. A terrible clichéd plot that drops into what seems to be inadvertent self-parody takes the place of any actual tension, suspense or characterization. The paper-thin story is there only as an excuse for the two leads to swagger around and tie together some ineffective shoot-outs and car chases. The dialogue is atrocious and any witty banter between the two is limited to lots of swearing - this may have worked on Hill's own 48hrs because Eddie Murphy could get away with it, but here it's just tiring and un-amusing. Some violent action sequences are provided, including a rather fun finale as the two Russian adversaries chase through Chicago streets and play chicken in twin buses, but there's more posturing than action here and none of it is very original or very impressive to make up for the lack of content. For some odd reason, this is the first American production to be allowed to shoot in Moscow's Red Square, and that's one of many opportunities squandered. Worse, Belushi and Schwarzenegger lack any comic timing and, even more importantly, any chemistry whatsoever. To be sure, this is clearly efficient film-making with things moving along quickly enough, and it will hold some appeal for fans of Arnie and the genre, but it's one made with little, if any, apparent interest in the proceedings from all involved. Shallow and only occasionally entertaining, Red Heat is for aficionados only.
Entertainment: 3/10

Red Planet (2000)
Starring: Val Kilmer, Tom Sizemore, Carrie-Anne Moss
Director: Antony Hoffman
Plot: A six-astronaut research team sent to Mars to determine why terra-forming attempts have failed, but after a freak accident leaves them stranded on the Martian surface it becomes a more personal struggle for survival.
Review: Red Planet may have been a flop at the box-office but it still keeps up audience interest, managing to move the narrative along nicely with the help of some terrific visuals. It's a nice change of pace from the typical outings of the genre - though there's a decent dose of action, there aren't any real villains and it does try, at least, to keep everything within pseudo-scientific bounds. In fact, it feels very much like an update to the '50s-era Mars sci-fi films. The desert cinematography is excellent and does a fine job of placing the action on another world. There are some convincing, first-rate special effects throughout that are surprisingly low-key and judiciously used in service of the film instead of the other way around. The crash landing on Mars, for one, is particularly effective. Of course, the film's occasional stabs at originality are marred by the dreary B-movie plot points and themes such as the traitor in the midst, machinery going against its creators, a bit of God-over-science gibberish, the crew dying off one by one, all this on top of an unsatisfying romance and some terrible characterizations. Yet there are more similarities to 2001 than Star Wars, as the main struggle and goal isn't so much survival but on discovering why the massive amounts of transplanted algae have disappeared without a trace. It's too bad the suspense isn't really kept up, and that there are so many ill-fated attempts at making the film more akin to more high-minded science-fiction. The resolution is relatively satisfying, with no bug-eyed aliens to diminish the more cerebral approach to the narrative. Kilmer does a decent, subdued performance as the hero, and Moss is excellent as the tough commander. Others, like Terence Stamp, are severely underused and only fodder for the mill. Red Planet is perhaps a second-rate story told better than its script deserves, but all told it's a surprisingly entertaining straight-forward adventure yarn.
Entertainment: 6/10

Red Scorpion (1989)
Starring: Dolph Lundgren, M. Emmet Walsh, Al White
Director: Joseph Zito
Plot: A Soviet commando sent to infiltrate and assassinate an African rebel leader ends up joining the freedom fighters to help liberate their country from Russian rule.
Review: Made as a major vehicle for its imposing star, the Cold War thriller Red Scorpion comes out as one of the more successful imitations of its obvious template, Rambo. Sure the storyline is completely forgettable, the plot (involving Cubans (!) taking over an African country) is ridiculous, the dialogue laughable and the sidekicks (even one as over-the-top as Walsh) are annoying, but when it gets to the nitty-gritty - which it does often - it's a definite guilty pleasure. For true connoisseurs of action schlock, this holds everything you'd hope for from an 80's action movie: a macho, no-nonsense hero who gets beaten to a pulp and then gives some of that back, overly-violent combat, dozens of gunfights involving tanks and helicopters, and lots and lots of explosions. To play it safe, they even throw in a "noble cause" (fighting for the tiny country's independence no less) and a dash of Bushmen mumbo-jumbo into the mix. Though the pacing isn't perfect, most of the film zips pleasantly by, the slow parts being an excuse to capture the desolation of the African desert. Director Zito (Missing in Action) is no stranger to low-brow testosterone flicks, and here he brings all his limited skills to bear. That is, the dramatic or interpersonal sequences are plain lousy, but the action sequences are well worth the show - they're a bit repetitious and predictable, perhaps, but there's a definite aim to please its target audience. As the Soviet version of Stallone's most famous role, Lundgren plays to his strengths: he looks the part and drawls with a thick, hilarious Russian accent. Red Scorpion can't really hold up to more recent action blockbusters, for sure, but for those nostalgic for the good old days of mindless action flicks, this one's a hoot.
Entertainment: 6/10

Red Shadow (Akakage) (Japan - 2001)
Starring: Masanobu Ando, Megumi Okina, Jun Murakami
Director: Hiroyuki Nakano
Plot: A love triangle brings complications amongst three young ninja warriors, friends from childhood, who try to bring peace among warring clans by going on various missions for their Samurai lord.
Review: A kind of modern re-telling of a popular Japanese television show, Red Shadow wants to be a swords flick for the pop generation. Director Nakano is an interesting talent who showed his mettle in his debut feature Samurai Fiction - his work is clever, sometimes inspired and usually quite entertaining. This is evident as the film begins, an affair that's so light-hearted and enjoyable that we're immediately taken in. Indeed, the first half is a pleasantly fast-moving, tongue-in-cheek affair with CGI-enhanced action and acrobatics galore wrapped around a semi-serious plot filled with silly antics, slapstick comedy and over-the-top anachronisms (check those leather mini-skirts!). Fans looking for more "serious" ninja movies may be disappointed by the lack of blood (this is almost a PG-rated affair), but everything else is definitely on display: super-powers, ninja tricks, sword fights, flying stars, etc. Add to this a very modern-sounding track, from groovy to pounding, and you know you know it's going to be boffo entertainment. The whole production feels more like something out of an, admittedly slick, made-for-TV series with its colorful tones and zippy pacing, and the director's music video roots are quite obvious, mostly working in the film's favor. The lead cast is fine, taken more for their clean good looks than their acting talent, and the supporting actors know to have fun with their roles. Unexpectedly however, the second half changes tone, humor and pace and doesn't fare anywhere near as well, a schizoid attitude change that leaves the fun and frolic behind and will leave most audiences disappointed, with only a half-decent showdown to make up for it. Still, Red Shadow is half of an amusing, light-hearted action / comedy and for some that might be enough.
Entertainment: 5/10

The Red Violin (1999)
Starring: Samuel L. Jackson, Greta Scacchi, Carlo Cecchi
Director: Francois Girard
Plot: The life and events surrounding a famous violin is followed through the centuries and the continents as it changes owners, from its creation in 17th century Italy to its final auction in present-day Montreal.
Review: The Red Violin by second-time director Girard (32 Short Films About Glenn Gould), is a remarkable, ambitious and well composed anthology surrounding the title instrument. Five different eras and places are visited, each with its own flavor, style, and story. The episodes all surround the famed red violin, but in fact the events are completely unrelated save for the object tying them together, as if we were watching five separate films with the instrument acting as focus for each protagonist's passion for music. Cramming so many stories in two hours would seem difficult, but apart from the segment during the Chinese cultural revolution which feels rushed, each manages to grasp the richest most important elements of each period, of each culture to work within the tight time limits. The final, suspenseful ending, played almost like a mystery and a crime caper with Jackson in the role of the expert called in to verify the violin's origins, tops off a production that has already run through the dramatic range. It's a surprisingly lavish production, with a great use of costumes and decor to set the tone of the piece without distracting from the human emotional and intellectual conflict present on screen. The inventive, sometimes stunning cinematography also adds much to the appeal of the film, as does the extensive, and accomplished, international cast, all well chosen for their roles. Of course, a film on music must have some of its own and the score by John Corigliano is haunting and beautiful. The Red Violin may reach for epic scope yet it stays intimate and fascinating throughout its trip through time and place.
Drama: 8/10

Reign of Fire (2002)
Starring: Christian Bale, Matthew McConaughey, Izabella Scorupco
Director: Rob Bowman
Plot: After mythological dragons and atomic fallout have razed civilization, a small community of survivors encounter a group of well-armed soldiers who plan on killing the largest creature in London.
Review: Mixing post-apocalyptic visions with fantasy may seem a bizarre choice, but Reign of Fire tackles the job in true block-buster manner. The plot may not be convincing, the character development near zero and the plot holes big enough to drive a tank through, but thanks to the steady hand of director Bowman (The X-Files: Fight the Future) and the very dark, gothic look and tone of the production, it works well enough. One of the reasons, perhaps, is that everyone takes the events deadly seriously (for good or bad) as the rag-tag band of humans try desperately to survive, and the story never dips into any kind of campiness - in fact, there's little humor to be had here. The real attractions, of course is to see humans and monsters battling it out. There are a few good action sequences helped by some terrific creature computer effects (especially an intense hunt involving motorcycles, net-toting parachuters jumping off a helicopter and a whaling spear gun mid-way through), but there aren't quite enough of them. What's really missing, though, is what audiences expect to see: dragons flying around and burning cities. The civilized world is destroyed as a quick prologue in a quick newspaper montage that feels a bit disappointing. The real focus of the story is on the uneasy alliance between its two protagonists, a beefed up, haunted Bale and a head-shaved, cigar-chomping McConaughey who, as the insanely intense commander of the remains of a US Army battalion, comes out as a genius casting choice. In the end Reign of Fire isn't quite as fun as it could have been, but those looking for some serious summer fare could do worse.
Entertainment: 6/10

Reindeer Games (2000)
Starring: Ben Affleck, Charlize Theron, Gary Sinise
Director: John Frankenheimer
Plot: An ex-convict pretends to be his dead cellmate to romance his gorgeous pen pal but only ends up entangled with her brother's criminal gang who wants him to help them rob a casino where his deceased friend worked.
Review: The concept for Reindeer Games, though not original, is promising but the script just isn't up to it. It tries to be too clever in its plot twists while still mixing in film noir and black comedy elements, a combination that would be hard to maintain even for the best of films. It's unfortunate that this small-scope thriller / caper movie came off so poorly. It's not badly done, but it all seems to have been done by-the-numbers - a real shame considering the talent involved, notably director Frankenheimer whose films such as The Train and The French Connection II showed a real mastery for storytelling and film technique. Here, it all seems like he's trying to learn new tricks, and it doesn't come off right. Theron has a thankless role here, but Sinise is appropriately crazed and villainous, Affleck makes a decent hero with just the right amount of charm, and the rest of the cast is stereotypically fun to watch. Reindeer Games isn't a terrible film, but with its schizophrenic script and bland directing, it's a big disappointment.
Entertainment: 4/10

Remember the Titans (2000)
Starring: Denzel Washington, Will Patton, Wood Harris
Director: Boaz Yakin
Plot: A black football coach is placed at the head of a high-school team and tries to lead them past their bigotry and onto victory during the early days of racial integration in 1971 Virginia
Review: With Remember the Titans director Yakin (Fresh, A Price Above Rubies) tries to mix sports, drama and social commentary into an easily-digestible package, and it works. The film knows the exact formula that is required for this type of crowd-pleasing drama - a good cast of characters given just enough depth to care for, a nostalgic soundtrack, some spontaneous comic moments, and a tad of melodrama. The story, mostly invented from its "true story" roots to allow for a more widely acceptable movie, is nothing we haven't seen before and is desperately predictable, but the script has good pacing and enough twists, melodramatic moments and rousing spirit to make up for it. Its unfortunate that the socially-conscious message of prejudice, though ever-present throughout the film, is delivered in so diluted a form, but it's obvious it would have taken away from the "feel-good" Hollywood mould the film attains. Where the film really shines, though, is in the scenes where the team actually plays ball. Taking a cue from recent football films like Any Given Sunday, the football plays are rough and tumble, with quick-cut editing of dynamic camera shots to make us feel the confrontations in the field. Denzel Washington does his standard forceful and confident job, and Will Patton does a good subdued performance as the demoted head coach. The rest of teen-age cast is also fine, but the real scene-stealer is undoubtedly the young Hayden Panettiere as Patton's 9-year-old daughter who prefers vociferating about football than playing with dolls. It may not be a memorable portrait on race relations in the 1970's, but as a feel-good sports movie, Remember the Titans succeeds in all the places that count.
Entertainment / Drama: 7/10

Requiem for a Dream (2000)
Starring: Ellen Burstyn, Jared Leto, Jennifer Connelly
Director: Darren Aronofsky
Plot: Four Brighton Beach inhabitants - a widowed mother, her twenty-something son, his girlfriend, and his cohort - all see their modest dreams shattered by a slow descent into self-destruction due to their own brand of addiction.
Review: Based on the novel by Hubert Selby Jr., Requiem From a Dream from the director of the dark, paranoid indie hit Pi, is an incredibly depressing and thoroughly unsettling tale of fevered addiction. The narrative bears witness to the disastrous effect the addiction has on the lives of these different people, how their dreams drift further away to be replaced by their single-minded, primal need for another fix. The intensity builds up into a horrifying, harrowing crescendo - the last 20 minutes rapidly inter-cuts scenes of the foursome's final individual fates, a final, devastating climax. There's a shocking brutality and bleakness to these psychologically disturbing images and a clinical honesty in the script that makes for a film experience that is painful to watch and yet morbidly captivating. Aranofsky demonstrates an excellent grasp of visually dramatic methods to make us experience how their drug use is affecting them psychologically and physically. There's a raw, edgy style to the proceedings that actually borders on the surreal and that is deliberately cut and paced to disturb, providing an amazing interpretation of the dementia of their burned-out psyche. Even the choice of colors, of lighting, of camera shots are simply terrific. Wayans and Leto are surprisingly convincing in straight, dramatic roles, and Connelly does an incredible, heart-wrenching performance. But it's Burstyn who really stands out in a bravura role that is simply superb. With its shocking visuals and uncompromising portrayal of physical and mental degradation, Requiem For A Dream is just an amazing piece of work that gets under your skin and stays in your mind. (Check out the extended review!)
Drama: 9/10

The Rescuers (1977)
Starring: Eva Gabor, Bob Newhart, Geraldine Page
Directors: Wolfgang Reitherman, John Lounsbery
Plot: Two mice from an international rescue society answer the bottled call of a young orphan girl who desperately seeks to escape the clutches of an evil woman and her two pet crocodiles.
Review: The animated Disney flick The Rescuers, taking its cue from the children's books by Margery Sharp, may not be a classic, but it has its share of fans, and for good reason. The beginning is more than a little slow going, as the mice (and the audience) rev up for the actual rescue, but once past the half-hour mark, it moves along nicely. Some of the meanderings are rather silly, and much of the thrills and humor might best be suited for very young children. However, the unnecessary addition of sappy songs may induce sleep or boredom to younger, more modern audiences. This is still a Mouse House production, though, and the film has its moments of delirious fun and good-natured humor, including a scene when the mice try to hide from the crocs in an organ, and the frantic fireworks-filled 10 minute finale. The characters aren't nearly as memorable as Disney's best efforts, and even the villainess is a rather bland copy of 101 Dalamations' Cruella DeVil, with expressions and body movements intact. As for the animation, though a tad crude perhaps, it is fluid and well done throughout even if the backgrounds lack detail, and the voice acting is just fine, thank you. Easy-going, light-hearted, and just as easily forgettable Disney animated adventure, The Rescuers is still worth a look for those looking for some family entertainment.
Entertainment: 6/10

Resident Evil (2002)
Starring: Milla Jovovich, Michelle Rodriguez, James Purefoy
Director: Paul Anderson
Plot: A crack commando team must enter a secret biological laboratory run by a shady corporation to shut down the murderous computer that has turned the lab personnel into mindless zombies.
Review: Another video game-turned movie, Resident Evil takes a cue from its predecessors by offering up a shallow, stylish effort that tries to keep the action rolling. Indeed, the film jumps into the gunplay almost immediately, and the first 20 minutes of the film promise one hell of a ride, one that the rest of the film fails to deliver. The film wants to be a modern-day zombie thriller, taking a heavy cue from Night of the Living Dead and its sequels and there's a bit of guilty pleasure here, and it's all visually well presented, but one can't shake off the feeling of déja vu. The problem is that the essence of the zombie movie has been diluted giving us a series of well executed action scenes (for the most part), all tied together with a very loosely plotted script that never makes good use of the possibilities of the material. The special effects are well-enough done, and there's some good stuff here, but the action becomes quickly repetitive and the horror quite limited. Jovovich, in the role of the heroine, stands out as the very center of the film. Unfortunately the effort to create engaging character interaction fails miserably thanks to some hopeless stock personalities and utterly predictable plot twists. Resident Evil does have its moments, but with its unengaging plot and characters, it's another wasted effort.
Entertainment: 3/10

Resident Evil: Apocalypse (2004)
Starring: Milla Jovovich, Sienna Guillory, Thomas Kretschmann
Director: Alexander Witt
Plot: After a secret lab experiment goes horribly wrong, an elite soldier with enhanced powers meets up with a small group of survivors making their way through a zombie-infested city to rescue a young girl trapped in a grade school. 
Review: Part Terminator, part George Romero-inspired zombie flick, Apocalypse is a sci-fi zombie action flick that relies heavily on its video-game roots for its semblance of plot and action. Surprisingly enough, it's better than one would expect, and much more fun than the original Resident Evil adaptation. Whereas the first film felt derivative and bland, this latest installment is more excessive, more over-the-top, and a lot more fun than the first. It's still derivative, mind you, and the genre clichés abound but there's an obvious energy and willingness to please that its target audience will gobble it up. First-time helmer Witt has lots of second-unit director experience with such impressive films as Speed, Gladiator, and The Bourne Identity, and here he brings a "who cares as long as it's cool?" attitude and style which works fine for much of the running time despite the large plot holes. There's also a solid variety in the action sequences, and most of it is fast and furious, if sometimes not perfectly executed. If there's a downside it's that he seems so eager to show-off in his first outing that he packs it on a bit too thick to the detriment of pacing and cohesion. Running in tight-fitting costumes or mini-skirts and packing large weaponry, model-turned actress and returning lead Jovovich and series newcomer Guillory make a great pair of "Chicks with Guns". Despite circumstances they, and all the other supporting players, are typically genre cut-outs which voids any tension to their outcome. The climactic fight scene, a mano-a-mano fight against the hulking Nemesis is a bit long-winded, and the final wrap-up is altogether sillier than the rest of the film. But then Apocalypse isn't high filmmaking by any means, as audiences going into the film will know, and as a big screen video game it makes for decent fast-food entertainment.
Entertainment: 5/10

Resurrection (1999)
Starring: Christopher Lambert, Rick Fox, Robert Joy
Director: Russell Mulcahy
Plot: Two cops are on the trail of a twisted serial killer who is dismembering his victims, hoping to use the body parts to recreate a complete corpse and bring about Christ's resurrection.
Review: Though the idea sounds ripe for a supernatural thriller, Resurrection (once again pairing Highlander vets Mulcahy and Lambert) is actually played as a straight-out crime drama. Though the first half of the film will immediately bring another similar movie, Seven, to mind, there are some interesting bits here, but also a lot of unused potential. The film actually seems to be two very different movies tied together, and the effect is a bit jarring, before finally breaking down in the end. Still, the movie progresses at a good clip with the help of some great camera shots, some shocking moments, and a decent script. Predictable, yes, but mostly entertaining.
Entertainment: 6/10

Return of the Dragon (1973)
Starring: Bruce Lee, Chuck Norris
Director: Bruce Lee
Plot: Using his martial arts expertise, a Chinese man comes to Rome to help his family protect their restaurant from criminals.
Review: Probably the cheesiest of all Bruce Lee films. The first half of the film is dreadfully slow, as Lee goes through the motions of being the "fish out of water" in a new city. Once past this, the action quickly picks up, showing off some of his best work on screen, especially the final showdown with the very young Chuck Norris.
Action: 6/10
Entertainment: 3/10 

Return of the Jedi (1983)
Starring: Mark Hamill, Harrison Ford, Carrie Fisher
Director: Richard Marquand
Plot: Now a Jedi, Skywalker must save Han Solo from the clutches of an evil warlord and help the Rebellion stop the Empire from rebuilding another planet-buster battle station.
Review: A disappointing step back from the dark, mature The Empire Strikes Back, and easily the weakest of the original trilogy, the warm-and-fuzzy Return of the Jedi is the flashiest, most mainstream of the lot, but the least character-driven and least innovative. The story continues, but the originality is no longer in evidence, the risk-taking replaced with what feels like a canned exercise. The rather silly prologue in Jabba the Hut's abode (meant to top the original's space-port Canteen sequence) comes off as tired and false, filled with new creatures that are without character. And what's with Princess Leia in a harem costume and chains? The worst offender is by far the excessive amount of forced humor inherent in the unbearingly cute 'n cuddly Ewoks (creatures created to boost toy sales) which dampens much of the excitement of the proceedings. The space-opera basics are still in evidence, however, and the action scenes are bigger and showier, the production values are high and, like the others, it's fast-paced and full of great-looking stuff. Technically, the special effects have been upped a notch, and the space battles are suitably complex and spectacular. The assault on Jabba the Hut's anti-gravity barge and the final attack on the Death Star are especially fun to watch. Still, it's the Skywalker / Vader scenes that are the best part of the film, and there's a palpable tension between them along with the solid swordplay. To be sure, much of the enjoyment of the film comes from seeing these characters back together again for one last adventure, and the maturing actors seem quite comfortable in their roles. Of note is Ian McDiarmid, as the evil Emperor, who is fabulously villainous. Though missing the magic of the first two installments, Return of the Jedi is still part of the Star Wars mythology and, as such, is still an engaging space-opera adventure that's a step above the usual Hollywood fare.
Entertainment: 7/10

Return to Me (2000)
Starring: David Duchovny, Minnie Driver
Director: Bonnie Hunt
Plot: A lonely widower falls in love with a waitress without either of them knowing that his deceased wife's donated heart now beats inside her.
Review: Return to Me is yet another entry in a long series of straightforward Hollywood romantic-comedies with a low-key and typical ho-hum story. There's really nothing new here - the characters are suitably charming, the supporting cast equally eccentric, and the occasional amusing situation peppers the otherwise banal plot. Indeed, apart from the idea of the heart moving from one woman to another and the implication that part of the wife's soul went along with it, there's nothing really exciting or interesting here. Thankfully, Duchovny and Driver are well cast and fun to watch on screen, and director Hunt does an adequate job of providing all the expected ingredients for the genre. Watchable but a bit slow-moving, Return to Me is only a minor effort.
Romantic-Comedy: 4/10

Star Wars Episode III: Revenge of the Sith (2005)
Starring: Ewan McGregor, Hayden Christensen, Ian McDiarmid
Director: George Lucas
Plot: The evil would-be Emperor uses a raging Civil War to take over the Republic and destroy the Jedi Order that opposes him, manipulating a young but powerful adept in the Force to become his apprentice, Darth Vader.
Review: With Star Wars Episode III: Revenge of the Sith at last, the whole story is now told and the curtain closes on an amazing pop phenomenon. Though very much in the spirit of the first two prequels, it's much darker and grimmer in tone, both visually and story-wise - the stakes are higher, the tale more serious - and a comparison with the series' high point, The Empire Strikes Back, is not uncalled for. Technically speaking, this is another masterpiece of digital special-effects filmmaking: the art direction, cast of alien characters, and impossible landscapes blend seamlessly with the gee-whiz vehicles and live actors. If it's perhaps too much at times (there's a feeling that everything is pushed to extremes into over-production), it never fails to amaze. And there's loads of action set-pieces, too: from the sprawling opening sequence, a roller-coaster ride of a space battle, to the many lightsaber duels and more, there's little time for humor or reflection. If the dialogue sometimes provides some clunkers, the story at least never pauses, and the script ties all the pieces together to make them all fit into place with the classic trilogy. Of course it's all predictable - we've all seen Chapter IV: A New Hope (the new title for Star Wars), so we know how it all ends. But there's a true epic grandeur to it all, from the startling combat scenes to the wide-ranging political changes, to the larger-than-life emotional turmoil of Anakin's turn to the Dark Side that reminds one of Shakespearian tragedy. And what fan won't get a thrill from seeing the appearance of the quintessential Vader costume? The acting is on par with the previous chapters, with McGregor really getting into the skin of Obi-Wan and McDiarmid as the dreaded Emperor, really playing it to the hilt. Not so impressive is the now-lovelorn Portman and the dreadful emoting by Haydenssen, which puts a damper on much of the film's enjoyment. And, surprisingly enough, much of the battle sequences are too much, too fast, providing commercial (almost cartoon-level) overload. Yet despite its faults, there is no denying that this is Space Opera at its finest. As the final chapter in this generation-sprawling saga, creator / director George Lucas has come full circle with one of pop culture's greatest creations, and for that Revenge of the Sith is definitely worth the trip.
Entertainment: 8/10

Righting Wrongs (Hong Kong - 1986)
Starring: Yuen Biao, Cynthia Rothrock
Director: Corey Yuen
Plot: After witnessing the bloody murder of his mentor, a young prosecutor turns vigilante to bring the murderers to justice but is soon pursued by a female detective who doesn't agree with his methods.
Review: Corey Yuen (Fong Sai Yuk, Enter the Eagles) offers up another great action-fest pitting Yuen Biao against Cynthia Rothrock. Rothrock is good but she's easily eclipsed by Biao - with his incredible acrobatic and martial arts skills, he brings a vitality and energy to the screen that is unmatched. The fists fly, the choreography is impressive, and the action sequences intense. Though the fighting is first-rate, there's nothing terribly new here, and the thin plot is once again just an excuse for some good pummeling. Righting Wrongs delivers just what Hong Kong action filmgoers expect: some great action with minimal distractions.
Action: 7/10
Entertainment: 6/10

The Right Stuff (1983)
Starring: Sam Shepard, Scott Glenn, Ed Harris
Director: Philip Kaufman
Plot: Trying to catch up with the Russians in the "race for space", The U.S. launches an experimental program in the late 50's and early 60's to train the best test pilots to become astronauts.
Review: Well acted and beautifully crafted, The Right Stuff is a humorous, fascinating, and exhilarating look at the very beginnings of America's bid into space. Based on Tom Wolfe's semi-journalistic account of the men behind the Mercury space program, the film manages to retain much of the irreverence of the original material. It was an era where the race for space against the Russians made the world cheer at these media-hyped heroes; by placing these men off their pedestal the film brings out the real human beings behind the glitz, warts and all, making their drive, valor and courage all the more important. Adding to director Kaufman's usual fluid and interesting story-telling is some excellent cinematography which captures the larger-than-life events and the intimate moments equally well. Due to the large cast, each individual is painted with only brief but descriptive characterizations, clearly outlining the life of these early astronauts. Much of the success of the adaptation is also due to the absolutely first-class cast, but most especially Sam Shepard as the legendary Chuck Yeager. The Right Stuff may be epic in length as well as drama, but it manages to remain fascinating throughout.
Drama: 9/10

The Ring Two (2005)
Starring: Naomi Watts, Simon Baker, David Dorfman
Director: Hideo Nakata
Plot: Haunted by their escape from the clutches of a supernatural force, a journalist and her son relocate to a small coastal community only to realize that a videotape of the vengeful spirit has resurfaced - and it's become personal.
Review: To Ring Two's credit, the filmmakers decided to push aside the slick thrills of the US remake by trying to bring the original Ringu style to a Hollywood production, including lots of ominous atmosphere, and some occasional creepiness. The problem is that the Americanized production of the initial installment of Ring was smarter, scarier, and much more captivating while Ring Two is, well, rather boring. Surprisingly, director Nakata is the man who brough the original Japanese effort to the screen and he keeps the minimalist approach of his original Ringu classic to this one, but it doesn't work as well. Too bad, because even Ringu 2 (also by Nakata) got into more depth of the story. The long-winded tale of big-town girl trying to adjust in small-town community may have been added to enhance the idea of the horrific elements (the theme of the break in normalcy) but it doesn't bring anything new to the table and feels more like filler. It doesn't help that the script insists on getting reactions from its characters that border on the stupid; after everything that they've lived through in the first installment, you'd think mother and son would be acting differently to events but their lines seem to force them to standard clichés. What comes out is a staid, unnecessary sequel that owes more to Poltergeist and The Exorcist than the original Ring mythology. Not that it's necessarily bad, mind you. Those looking for more subtle terror and genuine creepiness will fare better here than most recent gore-filled horror offerings. And, though answering the mysteries of the child fiend makes it less scary, it does have its share of chills. Watts is back and she does a great war effort to make it all seem relevant, but she's probably here more for contractual reasons than because of a good script. On the plus side, we've got some interesting, short supporting roles from Elizabeth Perkins, Sissy Spacek, and Gary Cole. All told, while Ring Two may be at odds with its predecessor and its Japanese origins, it still delivers where it counts.
Horror: 4/10

Ringu (Japan - 1998)
Starring: Nanako Matsushima, Miki Nakatani, Hiroyuki Sanada
Director: Hideo Nakata
Plot: After hearing rumors linking a mysterious video cassette to some horrible deaths in rural Japan, a reporter searches for clues to the origins of the tape to help avert her death and that of her son's.
Review: One of the most unsettling, creepy, well-crafted films I have ever seen. The direction and camera work is impeccable, the story is intelligent and scary, and the editing is superb. The film has no scenes of gore or the grotesque relying instead on the audience's innate fears and imagination. I still have shivers remembering some of the scenes! A smart horror film that will delight any fans of the genre.
Horror: 10/10

Ringu 2 (Japan - 1999)
Starring: Nakatani Miki, Matsushima Nanako, Sanada Hiroyuki
Director: Hideo Nakata
Plot: More people are falling prey to the "video curse" that kills anyone who watches it. One of the victim's assistant decides to discover the reason behind the deaths and befriends a young orphaned boy who is inhabited, and being taken over, by an evil spirit. The race is on to stop the spirit and the propagation of the tape.
Review: The producers were obviously trying to one-up the previous film and had more resources at their disposal, but the sequel seems a bit contrived and not nearly as scary. Where Ring had a constant sense of foreboding which made the scary scenes truly frightening, the sequel seems to have gone for the more conventional Hollywood approach (quicker pacing, more killings, more in-your-face horror scenes) limiting its effect. True fear comes from the unknown - once explained or seen, it does not hold the same power. Taken on its own, though, Ring 2 has much to offer, providing a captivating story and enough disturbing and frightening scenes, helped by some good camera work and editing, to give most people nightmares. Not as good as the original, but still far, far better than the standard horror fare.
Entertainment: 8/10

Ripley's Game (2003)
Starring: John Malkovich, Dougray Scott, Ray Winstone
Director: Liliana Cavani
Plot: To get even with a local villa owner, a slippery, amoral con artist intices an innocent neighbor dying of leukemia to take up a contract to kill a Russian druglord for an old acquaintance.
Review: One thing is clear: Ripley's Game was not meant as a sequel to The Talented Mr. Ripley but as a new adaptation of a series of books by Patricia Highsmith involving the same protagonist. Yet it's hard not to make the connection, to the film's disadvantage. So much more interesting, insidious, and morally deviant was Anthony Minghella's version, and so much more vibrant its cinematography. What we get here, a film made with a much more modest budget and intentions, can only pale by comparison. The story is still involving in that we know some of Ripley's character and are curious of the final outcome. Other than that it's a rather banal, though never boring, thriller that has all the right elements but comes off as a very formal, British-TV take on the material. No surprises, no real new insight, and as cold in its execution as its anti-hero. Not to say it's badly done - the direction is professional and tight, the production suitable, and the pacing adequate. But there lies the real issue: The plot may be dastardly in concept but the emotions are tame, the narrative lacking a certain energy and soul. Cast-wise, there's no mistake as Malkovich makes for a great, older version of Matt Damon's character (think Hannibal), and he sleepwalks through the role with an agreeable menace. Scott, as the innocent forced into a life of crime, shows off an innocence and desperation that's tangible. Too bad the story isn't quite as interesting, and the character interaction not quite up to the original material.
Drama / Entertainment: 5/10

Rising Sun (1993)
Starring: Sean Connery, Wesley Snipes, Harvey Keitel
Director: Philip Kaufman
Plot: Two detectives become immersed in a high-tech business conspiracy when they investigate the murder of a young prostitute in the American offices of a Japanese corporation.
Review: Based on Michael Crichton's best-selling novel, Rising Sun is a mostly faithful adaptation of the corporate thriller. The usual Hollywood blockbuster formula seems an odd fit for director Kaufman (The Right Stuff, The Unbearable Lightness of Being) and the seams do show. This is true during the various (necessary?) mainstream elements, such as the required action scenes and confrontations - these are well done but for the most part they seem tacked on to the main story to keep mainstream audiences interested. When the film focuses on the crimes of corporate culture, and specifically the frightening details of the business war between Japanese and American concerns, it really shines and provides a narrative that's both fascinating and scary with real-life commentary. It's in presenting this culture clash that Kaufman shows his real talents. Though the book worked as a scathing comment on the cut-throat Japanese way of business and its ethically weak American targets, the film tones down the controversial anti-Japanese sentiment. However the real emphasis was never on differences of race or traditions but on those in business culture, attacking not only the way Japanese do business, but on the hypocrisy of America's own principles. To make this more palatable, the film presents this with all the trimmings of a typical thriller and it's a fine little murder-mystery to boot, a complex tale replete with dangerous people, red herrings and violence. The high-tech video gadgetry on display - an important part of the plot - seemed impressive just 10 years ago, and still works. The best part, however, might well be the pairing of Snipes and Connery, both of whom play slightly against expectations. Snipes, then a rising star, never gets relegated to being a sidekick and Connery, ever suave and charming, simply has a mesmerizing screen presence as the . Throw in a strong cast (including the emotionally-charged Keitel as a bigoted cop), and some great dialogue and you've got a film that provides for some great character interaction. Though high in production values and well-paced, Rising Sun doesn't quite get it all right but it's got smarts and it's got Connery, and that's enough to make for an above-average thriller.
Entertainment: 7/10

RKO 281 (1999)
Starring: Liev Schreiber, James Cromwell, John Malkovich
Director: Benjamin Ross
Plot: A semi-fictional account of the creative and production woes behind the making of young Orson Welles' masterpiece Citizen Kane, made against the wishes of powerful newspaper mogul Hearst.
Review: The made-for-HBO feature RKO 281 is an amazing, insightful look at the production woes of a major Hollywood epic, of the lives that were swept up in the battle to create it and show it to the public, and of a young man whose creation and ideas were ahead of their time. The story of the Kane character may have been based on Randolph Hearst, as portrayed in the film, but it's also a fitting, parallel examination of Orson Welles himself. True, the film, whose title was the production name of Citizen Kane, is a fictionalized account, based on probable conjecture and rumors as much as actual events. Still, it makes for a successful character-driven drama due in large part to the the top-notch script and the first-rate cast. Indeed, Schreiber, Malkovich and Cromwell are terrific, as is the rest of the all-star cast. Well acted, well staged, and fascinating, combining politics, conspiracies, and personalities, RKO 281 is a vignette of Hollywood at a turning point in American history as well as a fascinating look at the making of a film classic.
Drama: 7/10

The Road Home (China - 2001)
Starring: Zhang Ziyi, Sun Honglei, Zheng Hao
Director: Zhang Yimou
Plot: A Chinese businessman returns to his native village for his father's funeral and reminisces about his parents' courtship, of how the prettiest girl caught the eye of the new village teacher.
Review: The Road Home is a surprisingly chaste romantic melodrama, with a rather straight-forward story, especially considering director Yimou's previous politically-charged works such as Ju Dou or Raise the Red Lantern. But Yimou is a talented artist and, thanks to some wonderful cinematography, an engaging script, and the performance of his then-unknown young leading actress, the film comes off as a well realized, beautiful romance. The story that bookends the tale of the parent's courtship, and the fable itself, are very different in style and content. The present is seen as drab black and white, while the past recollections are given the fairy-tale treatment with lush colors, bright exteriors, beautiful vistas, and a heart-warming, simple tale. This latter segment, which makes up most of the film, relies much more on the visuals on screen than on any dialogue to advance the narrative, while the body language and facial expressions of its terrific lead actress gives us the emotional bond to the story. Here the film reaches the level of cinematic poetry, offering a very sentimental story that encompasses universal themes of perfect love, tradition, filial obligations, and inevitable change. Politics mostly take a back seat here, though it is an everyday aspect of Chinese life that still eventually comes up to separate the young lovers. As for the actors, they are all convincing, but Ziyi clearly outshines them all with a joyous innocence that the lingering camera captures perfectly. Though not as powerful as any of his earlier films, The Road Home still captures the audience and provides a simple, charming love story.
Drama: 8/10

The Road to El Dorado (2000)
Starring: Kenneth Branagh, Kevin Kline
Director: Don Michael Paul, Will Finn
Plot: Animated tale of two second-rate Spanish conmen who accidentally end up in South America during the Conquistador period and their ensuing misadventures in the Lost City of Gold.
Review: Dreamworks seems to be trying for a piece of the Disney pie here, only with slightly more mature sensibilities, including some scenes that may seem a little risqué for U.S. children raised on Disney-only films. There's nothing really new to the plot or situations but there are some funny and clever moments, just not enough of them. The animation is good, incorporating some flamboyant fantasy elements and the use of computer animation to enhance parts of the scene. There are quite a few particularly nice scenic shots in the first half of the film, though the lengths of the sequences will probably bore youngsters. Branagh and Kline do a good job with the voices, as does most of the cast. Unfortunately, the songs by Tim Rice and Elton John, the winning team who's work on the Lion King was so admired, are mostly quite forgettable, with some of them being downright terrible. With some dull moments and uneven pacing, The Road to El Dorado is not quite as good as the first Dreamworks animated effort Prince of Egypt but it's still entertaining enough.
Entertainment: 5/10

The Road to Perdition (2002)
Starring: Tom Hanks, Paul Newman, Jude Law
Director: Sam Mendes
Plot: After his son witnesses a mob killing, a hitman and his eldest son escape the murder of their family and take to the road looking for revenge and a path to redemption.
Review: Based on a graphic novel of the same name by crime writer Max Allan Collins, The Road to Perdition, director Mendes' second feature after his Best Picture effort American Beauty, is a real treat. Revisiting the 1930's gangster flick, the film eschews the usual summer action direction and brings an evenly-paced, sometimes touching father-son drama to the fore, along with its stylized, violent gunfights and underworld dealings. The look of the film is terrific - dark, brooding, the colors seemingly washed out by rain - and the cinematography is top notch, giving a real sense of the Depression-era. Best of all, the story itself, a kind of mix between the Japanese Lone Wolf and Cub and Beatty's Bonnie and Clyde, is a solid, straight-forward tale of betrayal, revenge, and eventual redemption with a good touch of humor and the occasional sentimentality added in. There are no real surprises to be had and there's not enough character development to really make any of it outstanding, perhaps, but it is constantly engaging. Though it's no stretch for the Oscar-winning actor, Hanks takes up the role of the kind-hearted family guy who happens to be good at being a hitman and renders the character sympathetic. Law also does an eerie (if one-dimensional) take as a corpse photographer who moonlights as a killer. The young Tyler Hoechlin, the narrator and son, is good and believable. Newman, however, gets the best, most complex role here as a conflicted father and mob boss who really does seem torn between his real son and his adopted one. All in all, The Road to Perdition is a fine addition to the American gangster lore and, though not as memorable as classics of the genre like The Godfather, it's an enjoyable, light crime drama.
Entertainment / Drama: 8/10

*Classic* The Road Warrior (1982)
Starring: Mel Gibson, Bruce Spence
Director: George Miller
Plot: In post-apocalyptic Australia where petrol is more precious than gold, a mysterious drifter becomes involved in a battle between a small community and a band of savage marauders over an oil refinery.
Review: The sequel to the cult hit Mad Max, The Road Warrior almost single-handedly spawned the post-apocalyptic action/adventure genre. The action is relentless, reckless, and violent, with motorized vehicles being destroyed with amazing abandon. A young Mel Gibson plays the likable anti-hero, and it's easy to see here the attributes that made him a star. The characters and the larger-than-life struggles seem to be heavily influenced by Joseph Campbell's mythology books, and it's played to the hilt. The camera-work, costumes, and even the scenery adds to the eerie, mythic-like quality of the film. A violent, exciting film that easily tops the lists of best action films anywhere.
Action: 8/10
Entertainment: 9/10

Robin Hood: Prince of Thieves (1991)
Starring: Kevin Costner, Morgan Freeman, Mary Elizabeth Mastrantonio
Director: Kevin Reynolds
Plot: An English nobleman returns from the crusades to find his father killed and his castle destroyed and rallies a band of displaced peasants against the tyrannical local sheriff who plans to overthrow the absent King.
Review: An Americanized, modern re-telling of the classic legend, Robin Hood: Prince of Thieves includes the familiar elements and characters but gives them all a darker updating, creating a much grittier and violent picture than one would expect. The film is definitely entertaining, with a good dose of humor, stunts, and amusing characters, but the tone switches from grim to campy constantly, ending up with an uncomfortable mix of slapstick laughs and distasteful scenes. The plot is a little tired as well but the script tries hard to wring some freshness into the oft-told story by putting forth as many far-fetched alterations to the original story and crowd-pleasing moments as it possibly can, and often enough they work fine. Director Reynolds (Waterworld) evidently created this as a vehicle for Costner, who plays the role in his usual easy-going manner, never convincing and never really stretching his acting abilities. This new Robin is more of a guerilla fighter than the usual classic role of thief and all-around do-gooder. Alternately, Rickman's Sheriff is a joy to watch, flamboyant, incensed, and wicked, his performance and dialogue is completely wrong for the period and yet fits in nicely with the rest of the story's inconsistencies. As for Freeman, he is a consummate actor, and he plays the role of the fish-out-of-water Moor to perfection with the right degree of nobility and panache. Robin Hood: Prince of Thieves is more a silly action blockbuster than a swashbuckling adventure, and the fairy-tale charm of the legendary tale is somewhat missing from the proceedings, but as mindless popcorn fare, it's an entertaining version of a popular tale.
Entertainment: 7/10

Robocop (1987)
Starring: Peter Weller, Nancy Allen
Director: Paul Verhoeven
Plot: A slain police officer is recreated by a mega-corporation as a new breed of cop, half-human, half-machine, to battle it out against the criminal element ravaging a near-future Detroit.
Review: Like most of Verhoeven's Hollywood films, Robocop is a violent, disturbing, and extremely exploitive satire of American society - especially its huge Big Money corporations and its dumbed-down media-for-the-masses. Mixing a dark story-line of overpowering big business presence with some impressive, but incredibly graphic, even repulsive, action sequences and some tongue-in-cheek black humor, the film manages to stay exciting and fresh even through some clichéd plot twists. An interesting, well-told and visually striking vision of the standard action / crime story that's both entertaining and provoking.
Entertainment: 9/10

Robocop 2 (1990)
Starring: Peter Weller, Nancy Allen, Dan O'Herlihy
Director: Irvin Kershner
Plot: In the middle of a city-wide police strike, a half-man, half-robot cop must face an increasingly uncotrollable crime wave as a violent, messia-like drug lord brings a new addiction to the streets.
Review: Robocop 2, the sequel to the near-future satire Robocop, goes for Hollywood's "more is better" credo of blockbuster sequel creation. Comic-book writer Frank Miller (who brought the "Dark" to Batman) and screenwriter Walon Green (The Wild Bunch) are the perfect pair to raise the bleak cartoon urban future up a notch. They imbed the proceedings with some tongue-in-cheek black humor, and a lot of interesting moments and subplots. Unfortunately, with so much thrown in it seems there wasn't any time (or apparent need) to flesh it all out. Even the human drama evident in the first film is gone, except for some minor melodramatic moments at the very beginning that appear more than a tad forced. It tries hard to one-up the original's satire quotient (in its take at corporate greed vs. public need, bleak look at the future, etc.) but lacks the freshness of the original. To be fair, the film offers up exactly what crowds want to see: violent excesses combined with dark humor, and in that it delivers in spades. While the first film was disturbing in its ultra-violence, the violence found here is more showy and presented for "fun" - it's harrowing, but you're supposed to chuckle, too. The story seems a mishmash of ideas and unrealized potential, but the last third is a no-holds barred battle between Robocop and his would-be successor, featuring some furious fire-power and lots of carnage. The extended use of stop-motion model animation à la Ray Harryhausen is definitely a step ahead of the previous installment in its implementation. As for the returning cast, it's obvious they're only going through the motions and following the would-be clever script. It's surprising to think that Kershner (of The Empire Strikes Back fame) directed this, but he does coordinate the stuntmen, effects and animators efficiently. While the first movie was a vicious satire, Robocop 2 comes off as a violent, desensitizing cartoon; it's a vicious, often campy affair, but it does deliver the goods.
Entertainment: 6/10

Robots (2005)
Starring: Ewan McGregor, Halle Berry, Robin Williams
Directors: Chris Wedge, Carlos Saldanha
Plot: In a world populated solely by robots, a young mechanical inventor tries to find his destiny in the big city only to come up against a corporate tyrant bent on power.
Review: The latest computer-animated feature from the folks who brought us Ice Age, Robots is an energetic vehicle that's cold at heart but sleek in execution. The coming-of-age story makes obvious parallels to the "real" world, from corporate greed to the theme of being true to one's self, but none of it is particularly original. In fact, the script is but an amalgam of ideas, plot points, and more from dozens of different films. But so what? What we get is a huge scrap-heap of amusing stuff for those willing to give up on story: there's the imaginative details of the mechanical world; the witty, pun-infested dialogue; and the sequences involving a Rube Goldberg like transportation system, an inspired roller-coaster ride that will make kids gape in awe. Indeed, with such stylish and spectacular animation with color-scheme to match, retro has never looked so good. It's all presented in such break-neck pacing that even attentive-deficient children won't be able to keep their eyes off the screen. The jokes also comes on so fast and furious that audiences are sure to miss a few, including a slew of referential gags that only adults or real sci-fi fans will get. Berry and McGregor do a workmanlike job as the two leads, but it's the large supporting cast that really shines as the eccentric blend of robotic characters brought to life by the great voice acting of such luminaries as Mel Brooks, Jim Broadbent, and Drew Carey. But the real attraction is the zany motor-mouthed Robin Williams who is in top comic form as the cranky, cynical Fender getting all the best lines and even the best musical number with "I'm Singin' in Oil". True, there's a complete lack of any emotional core, but for fans of CGI animation and stand-up routines there's enough stuff in Robots to keep anyone entertained for repeat viewings.
Entertainment: 7/10

Rock Star (2001)
Starring: Mark Wahlberg, Jennifer Aniston, Timothy Spall
Director: Stephen Herek
Plot: The obsessive lead singer of a heavy metal tribute band has his dream come true when he is asked to join his idols on tour as a replacement to their departing front man.
Review: Full of big hair and studded leather wear, Rock Star is an unabashed, light-hearted nostalgic trip to the "me" decade of music mayhem. To be honest, ridiculing the '80s heavy metal movement is like shooting fish in a barrel, and the story is satisfied with going for the rather banal rags-to-riches story and fluffy melodrama that comes with the territory (surprisingly, loosely based on a true-story): young fan gets his wish to perform with his idols, lives life of debauchery, comes to his senses and grows up. And yet the film is done by people who are obvious fans of metal-mania's hey-day, carefully poking light-hearted fun at the obvious stereotypes while showing off, indeed sharing with the audience, the energy and fantasy that made it so popular, especially in the lively well-choreographed stage numbers. The main reason for the film's success is Wahlberg, oozing a certain innocent charm and dogged earnestness that is perfect for the role, one that easily garners audience sympathy as our guide to this fantasy world of sex, drugs and rock-n-roll. The cast, which includes members of real metal bands, is solid with Aniston playing our hero's girlfriend / manager with more smarts than we'd expect. Though not as charming or clever as Almost Famous' look at the '70s, Rock Star is surprisingly fun and enjoyable as a hard rock fairy-tale.
Entertainment: 7/10

Roger & Me (1989)
Starring: Michael Moore, Bob Eubanks
Director: Michael Moore
Plot: Documentary revolving around a working-class filmmaker's attempts at getting a video interview with the Chairman of General Motors regarding a recent auto plant shut down and the devastating effect on the small town.
Review: The unlikely popularity of Roger & Me is most likely due to its blue-collar first-time director, Michael Moore, a man who has become synonymous with mainstream shock-documentaries after Bowling For Columbine and Fahrenheit 9/11. The tenacious Moore is quite a character, and he brings a certain guerilla film-making and snarky interviewing style to the proceedings with a certain sense of defacing, if always cynical, humor. The film takes us on a short history of Flint, Michigan, along with his own life story, from its ups as a booming GM hub to its descent into a virtual ghost town, peeling the veneer of 80's Reaganomics and shows the ugly face of corporate America. It's a very socialist take on the problems of giant corporations and the government system's responsibilities to its citizens. The left-wing politics may jar some die-hard capitalists (industry is seen as this soulless monster, and the real "evil" behind it - the shareholders who push for profits above all else - is never addressed) but there's no mistaking Moore's patriotism or his intentions to bring these events to light. Though his quest to talk to the mysterious CEO never bears fruit, his attempts garner some occasional laughs, and the movie works better this way: the constant rebuttals and blank walls makes the film all the more engaging. If Roger & Me is packaged with some humorous elements and many of its denizens - no matter the social status - are rarely seen in a pretty light, it remains a very humanistic and damning look at the social devastation of a town that was left in the wake of GM's decisions, and a strong statement on the issues of globalization and big business.
Documentary: 7/10

Rollerball (2002)
Starring: Chris Klein, Jean Reno, L.L. Cool J
Director: John McTiernan
Plot: A star player in a violent game involving motorcycles and roller-blades has a hard time leaving the when the discovers the owners have started staging accidents to increase their ratings.
Review: The latest unnecessary remake, the stunts-driven Rollerball, comes off as a cheap rip-off of the original 1975 film and is too simplistic even for Hollywood. The film does have its rare moments of entertainment value, especially the well-paced climax, but for the most part this is a blatantly silly, stupid, and often ridiculous affair. Too much kitsch, decadence, fast cars and fast women make this big-budget film look more cheap than it actually was. There's an off-hand attempt at the original film's social commentary (violence sells, the masses play sheep to the media, sports are crooked, gambling is evil, etc.) but it's all so shallow as to be practically irrelevant. Worse, the arena scenes are so quickly edited and shots done at such close-up that the whole action part of the film comes off as a confused jumble that's barely exciting and never gives a sense of speed. In other words, another disappointing product from action-meister director McTiernan (Die Hard, The Hunt for Red October) who seems to have lost his touch. The cast doesn't embarrass itself too much, though, and lead star Klein may not be terribly convincing, but he's not that bad. Unfortunately, we never get any real sense of team spirit (or that there's even a team, for that matter), something that would appear to be a necessity for a sports flick. With a better script this could have been interesting, but as it stands the paper-thin plot, bad characterizations and bland action only make Rollerball a third-rate experience.
Entertainment: 3/10

Romancing the Stone (1984)
Starring: Michael Douglas, Kathleen Turner
Director: Robert Zemeckis
Plot: A mousy romance novelist travels to Columbia to trade a treasure map in exchange for her kidnapped sister and falls for a dashing, but opportunistic, rogue who helps her escape countless perils.
Review: Romancing the Stone hit the 80's Raiders of the Lost Ark-wannabe band-wagon running with a different take on the adventure genre. The story, full of eccentric, barely-defined caricatures and campy dialogue, provides a good dose of tongue-in-cheek humor combined with some surprisingly violent stuff. The Indiana Jones-type action bits are decently realized and entertaining enough, with some clever moments throughout. The real attraction however is the inclusion of the light-hearted romantic push to the story, helped along by the terrific chemistry between Douglas and Turner, something that still works better than any other aspect of the film. There isn't much meat here for repeated viewings, but with its fine cast and easy-going pace Romancing the Stone is an amusing piece of fluff.
Entertainment: 6/10

Romeo + Juliet (1996)
Starring: Leonardo DiCaprio, Claire Danes, John Leguizamo
Director: Baz Luhrmann
Plot: Two teenage lovers from opposing clans secretly meet and marry but they cannot escape their families' long-lasting hatreds, leading their lives to tragedy.
Review: A dazzling re-imagination of the classic Shakespeare play, Romeo + Juliette has been unjustly maligned by critics for "dumbing down" Shakespeare's play. But making it broadly appealing has made the story accessible to a whole new generation of film-goers. Though the popularity of its young charismatic stars made it a box-office draw, there's more to it than pretty faces. Shot in Mexico, the Verona of old has become a kind of Miami, where the beach is primordial, a world slightly different from our own where criminal gangs fight for territory and where emotions run high; it's a finely-tuned alternate reality that makes the events of the play sound true, where guns and blades exist with souped-up sports cars and riot police. With director Luhrman's (Strictly Ballroom, Moulin Rouge) flair for the dramatic and technical prowess, the film takes on a life of its own, and his famous, stunning visuals are evident from the get-go. As per most of Luhrman's films, the art direction is brilliant (both figuratively and literally); the colors and textures are rich and bold, the camera work dizzying, and the effect sometimes breath-taking. This is meant to be radically different from other versions, and sometimes the magnificent style is almost enough to drown out the story, but Luhrmann takes careful control to ensure that audiences get a chance to focus on the text just as much as the imagery. Shakespeare's mostly unaltered prose doesn't necessarily flow easily, but the script and dynamic camera work allows audiences with short attention spans to stay attentive even during long-winded speeches. Even through the rough patches the filmmakers have hit on the right combination of talent and inventiveness to provide an adaptation that proves that the Bard's tales are indeed timeless. One disappointment, however, is that the romance between the two lovers isn't always convincing, the two not quite have the chemistry to really pull it off together (too bad, since this is the crux of the story), but apart they shine in their respective roles. DiCaprio, before his Titanic stardom, proves he's a fine actor, as does Danes, but its the supporting cast that elevate the work to a real pleasure. Of note are the inimitable Leguizamo as the hot-blooded Latino cousin, Pete Postlethwaite as Fatgher Laurence and Paul Sorvino as the Capulet patriarch. Purists may have seizures viewing the dizzying, hard-rock adaptation, but for everyone else, this is an engaging ultra-cool modern updating of the classic romantic tragedy. Beautiful people, great soundtrack, and a fantastic look, is there any doubt that this grand version of Romeo + Juliette was so popular?
Entertainment: 7/10

Romeo Must Die (2000)
Starring: Jet Li, Aaliyah, Delroy Lindo
Director: Andrzej Bartkowiak
Plot: An ex-cop escapes from a Hong Kong prison and comes to America to avenge his murdered brother, only to land in the middle of a gang war and falling in love with the rival leader's daughter.
Review: Romeo Must Die is a film that tries to tie in Hong Kong action films, and especially star Jet Li, into American mainstream hip-hop films. The scenes with Li are a joy to watch. It may not be his best martial arts work, but they're definitely worth the price of admission. Everything else, though, reeks of a typical haphazard gangsta film, with a terribly banal, slow-paced script and even worse dialogue, a constant barrage of rap / hip-hop tunes, unconvincing cookie-cutter characters (especially pop-singer Aaliyah who makes a bad Juliet), and worse, no romantic moments! From a film that wants to assume even a passing reference to the Shakespeare play, there is just no romance, the producers seemingly shying away from any interracial intimacy between the two leads, very much to the film's detriment. The film wants to be something for everyone, and ends up disappointing just as universally. Still, the first 30 chaotic minutes, and the last 15, are great fun, and so are the amazing action sequences - enough to make Romeo Must Die worth a look.
Entertainment: 5/10

*Classic* Rome, Open City (1945)
Starring: Aldo Fabrizi, Anna Magnani
Director: Roberto Rossellini
Plot: A leader of the Italian Resistance tries to escape capture during the German occupation of Rome in 1944 by finding refuge with other people involved in the underground movement.
Review: Deemed the first true Italian Neo-Realist film, Rome, Open City is an emotionally powerful production. Co-written by Rossellini and Federico Fellini using actual witnessed events as the basis for much of the story, the film captures the lives and the suffering of the different characters with a gritty and realistic style. Indeed, the success of the film comes from the depiction of the characters as normal people, living their day to day lives under oppression and seeing how the war has affected their lives. The film was actually shot during the Nazi occupation with scraps of film stock and many non-professional actors with an almost documentary feel to many of the scenes, all of which only adds to the effect of making the events depicted on screen seem true. Some images, such as the scene where Magnani races after the truck taking her husband away, leave an indelible mark. The acting by all involved is just right for the tone of the film, with star Magnani shining brightest of all. There are some spots where the "realism" is pushed aside for dramatic purposes, but the film always remains poignant and fascinating. A masterpiece of Italian cinema.
Drama: 9/10

Ronin (1998)
Starring: Robert De Niro, Jean Reno, Natascha McElhone
Director: John Frankenheimer
Plot: A group of ex-intelligence agents are brought together by an Irish terrorist faction to steal a mysterious silver case before it can be sold to the Russians.
Review: Ronin is a convincing, edge-of-your-seat thriller that has more suspense and white-knuckled action sequences than any six-pack of standard genre films combined. The film quickly immerses us into the world of these modern-day Ronin, men who, after the end of the Cold-War, find themselves and their training ready to be hired out to the highest bidder. Famed director Frankenheimer is a master at this sort of thing (The Manchurian Candidate, The Train) and here he shows that even after 40 years he hasn't lost his touch. The first hour leaves one breathless in exhilaration. The pacing slows down a bit after that as the story begins its complex twists of crosses and double-crosses with