Movie Review Library - So - Sz

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(Reviews, Sa - Sn)

Solaris (USSR - 1972)
Starring: Natalya Bondarchuk, Donatas Banionis, Yuri Jarvet
Director: Andrei Tarkovsky
Plot: Sent to investigate strange happenings, a cosmonaut arrives on a nearly-deserted space station in orbit around a mysterious ocean planet. He soon realizes that some alien power has the ability to take their most painful memories and give them physical form when his long-dead wife re-appears.
Review: More a philosophical and sentimental science-fiction journey than the typical space opera, Solaris (based on a novel by acclaimed writer Stanislaw Lem) is director Tarkovsky's answer to Kubrick's 2001: A Space Odyssey, a film which he deemed too cold and calculating. Here, Tarkovsky (The Sacrifice) has crafted a visually poetic tale of memory, loss, and longing, one that tugs at our own nostalgia and tries to involve us as much by what is said as by its long silences. The science-fiction elements (indeed, even the at times confusing plot) are there only to provide an output for the philosophical drama that plays amongst this handful of people, faced with their own subconscious. In fact, it is quite limited in its special effects, ones that are nonetheless efficient in creating a sense of alienation. For such a large running time, though, there's surprisingly little dialogue or activity of any kind, with Tarkovsky indulging in the cinematic, in the slow (at times dreadfully so) camera pans of Nature scenes, of communal life. It is intentionally languid, always well shot, capturing the ambiance of being lost from society, of the slow desperation of its characters. It is as if the narrative focuses on the emotional and humanistic aspects of life, forcing a contrast with the stoic researchers and their quest for that immoral grail, Science. At odds with most genre films, this is a rather pessimistic view of man's efforts to reach the stars, one that asks: how can we explore space when we can't even understand ourselves? There are no answers to be had here, no heroics, and little of what Hollywood has entertained as "sci-fi"; this is a serious, if somber, meditation on Man's place in the Universe. It's not easy to sit through this glacially paced endeavor, but those with enough patience will be rewarded for the effort. Winner of the Jury Grand Prize at Cannes.
Drama / Science-Fiction: 7/10

Solaris (2002)
Starring: George Clooney, Natascha McElhone, Jeremy Davies
Director: Steven Soderbergh
Plot: Sent to investigate problems with the crew, a psychiatrist arrives on a nearly-deserted space station orbiting a mysterious planet and soon realizes that some alien power has the ability to take their most painful memories and give them physical form when his long-dead wife re-appears.
Review: Audiences going to see Solaris might expect an intricate or grand space opera, but will be shocked to see a film that's not meant for mainstream tastes. Though the story starts off with all the trappings of a possible SF thriller, this is really an existential, even metaphysical affair. This is a love story first and foremost, one encased in science-fiction trappings perhaps, but whose sci-fi elements are limited, focusing more on the psychological, emotional aspects of the story than on its setting. Based on the SF novel by Polish author Stanislaw Lem, and greatly inspired by the original, long-winded 1972 Russian adaptation of Solaris by director Tarkovsky, this big-budget remake is a thoughtful meditation on life, love and what makes us human. The impressive production values mixed in with the polished, sleek visuals make every scene beautiful to look at. In fact, in its desolate, cold steel surroundings, its casual glances at technology, with its terrific spectacular sci-fi imagery and intricately designed sets, the film reminds one often of 2001: A Space Odyssey, a bizarre trait since the original was deemed an anti-2001. Writer / director Soderbergh (Traffic, Erin Brockovich) goes for delicate mood, pervasive anxiety, and a certain intimacy, and mostly succeeds; though incredibly subdued and lacking the usual hysterics Hollywood is known for, this is a slick, watchable affair that slowly, deliberately gnaws at you. Much more ably paced than its forebear, the film also diverges from Tarkovsky's take in the last act and tries to throw in too many surprisingly predictable twists into the narrative. There are more questions than answers here but the mysteries are secondary; it's the ideas presented, even half-formed, that will bring about heated discussion. True to Soderbergh's usual flair and cinematic insights, it's a far more intelligent experience than we've come to expect from Hollywood, but even he has difficulty reaching the critical mass necessary to properly evoke the grander underlying themes or to bring the story to final fruition. Only a handful of actors make an appearance, but the cast is quite able to hold our attention; Clooney manages to convince in a performance where his dark side mingles with his usual charm, McElhone does a fine effort in a difficult role, while supporting stars Davies and Viola Davis (rounding up the whole cast of the film) provide some memorable, if cardboard-like, figures. To be fair, this is a difficult subject matter to pass on convincingly, but this new version of Solaris tries hard, and ultimately if it's a mild failure, it's an interesting, sometimes fascinating one.
Drama: 6/10

Someone Like You (2001)
Starring: Ashley Judd, Hugh Jackman, Greg Kinnear
Director: Tony Goldwyn
Plot: After losing her new boyfriend and moving in with a handsome womanizer, a television producer becomes famous by publishing anonymously an article that compares men's sexual behavior to that of bulls.
Review: Like most recent Hollywood romantic comedies, Someone Like You is a light, predictable affair with a heart of marshmallow. Based on the novel "Animal Husbandry" by Laura Zigman, the rather banal script seems to re-hash old battle-of-the-sexes themes without bringing anything new to play. It doesn't help that the film seems to lack any focus, and that, without a proper build-up, the obvious ending feels forced. Still, there are the requisite clever dialogue and snappy come-backs, and the parallel with the comic "scientific" bovine theories and cow scenes adds a little necessary twist to the proceedings. The saving grace for most films of the genre is the cast, and Judd and Kinnear are fine in their respective roles, if a little wooden and heavy, but Jackman as the womanizing co-worker and roommate who's trying to mend his own broken heart is simply the best thing in the movie, displaying an easy charm that makes the scenes with him and Judd work well. Marisa Tomei, who seems be popping up more and more in minor roles, again does wonders in a thankless role. Someone Like You is about what one would expect from another cookie-cutter romantic comedy, a sometimes tired, sometimes charming, and always predictable vehicle for its lead actress.
Entertainment: 4/10

Someone to Watch over Me (1987)
Starring: Tom Berenger, Mimi Rogers, Lorraine Bracco
Director: Ridley Scott
Plot: A New York detective puts his marriage in jeopardy when he gets intimately involved with the rich murder witness he's been assigned to protect. 
Review: The idea, perhaps, with the romantic thriller Someone to Watch Over Me was to create a modern film noir using the backdrop of the city than never sleeps - New York. Trying to expand his scope out of the SF genre that made him famous (Alien, Blade Runner), director Scott shows he's a great visual storyteller, and his keen eye for sumptuous visuals does the trick once again with the lavish parties and the excessive lap of luxury. No doubt, it's definitely an accomplished, professional looking work. Too bad the story isn't really very interesting and the characters purely one-dimensional - doing such a banal work just seems like a waste of Scott's talent. The main problem is that the romance between educated high socialite and raw detective is sudden and unexplainable. Not to blame Berenger, with his thick fake Queens accent and puppy-eye look, or Rogers, making the most of a limited script, but considering the whole story is really about their relationship and the issues with their class differences it's just not convincing, especially after such a loving setup with the cop's blue-collar wife and kid. The crime drama elements are present almost as an afterthought, and are really meant to take a back seat to the love story. In fact, the illogical, violent climax with the one-note villain is clearly only a poor excuse to get all the cast together for an emotional showdown. The direction by Scott does much to redeem an otherwise poorly conceived and wholly unoriginal story, but even so this can't help but be a disappointment.
Entertainment: 5/10

Something's Gotta Give (2003)
Starring: Jack Nicholson, Diane Keaton, Keanu Reeves
Director: Nancy Meyers
Plot: After suffering a heart attack while visiting his 30-year old girlfriend's beach home, a rich, aging swinger falls for her accomplished mother but must compete for her attentions with his young doctor.
Review: Something's Gotta Give is a rather standard romantic comedy with one very special twist: its two leads are over their prime, something that must have been a hard sell, considering Hollywood's stigma with showing older women as sexually active. Kudos, then, to the filmmakers for the courage to make a romantic comedy that doesn't pander to the usual young demographics and proves that even older couples can have relationships and affairs, and - more importantly - that even mature women can still be attractive. Jack Nicholson, more or less playing himself, manages to be sympathetic in the role almost as well as he did in As Good As It Gets, but it's Diane Keaton, as the playwright who believes herself past the dating age, who really shines here. It's no wonder, considering much of the script seems to have been written as a semi-autobiography by writer / director Meyers. If she can't quite match the sparkle of her last film, What Women Want, Meyers knows how to best work her actors and keeps it from ever getting theatrical. The supporting cast doesn't get much screen time - Reeves is only there as a plot complication and Frances McDormand is her sister's conscious - but then the charm (and the focus) is in seeing the film's star couple animosity towards each other at first, then their softening up as they discuss their dilemmas and finally discovering their mutual attraction. If the film does tend towards the melodrama and the plot towards the cliché, the script is down-to-earth and light-hearted, with dialogue that is full of barbs and wit. Though it's sentimentality is worn on its sleeve and it doesn't contain the same amount of gags as one would expect, Something's Gotta Give is an amusing and always engaging affair.
Entertainment: 6/10

The Soong Sisters (Hong Kong - 1996)
Starring: Michelle Yeoh, Maggie Cheung, Vivian Wu
Director: Cheung Yuen-ting 
Plot: The three daughters of an American-educated Chinese revolutionary grow up to play pivotal roles in the history of modern China, each in their own particular way.
Review: As a historical-based epic co-produced by China, The Soong Sisters has met with heavy censorship and one wonders what the original film could have been. As is stands, the film is full of great scenes that are worthy of Hollywood epic productions, with some lavish period recreations, well-staged large-scale events, and some beautifully cinematography, all punctuated by a ponderous musical score. The story seems to force itself to keep a fast pace, which is detrimental in such a wide-ranging epic, never allowing us to get engaged with the happenings or the characters except through a series of blatantly theatrical instances. The film wants to portray the protagonists as political players on a large historical canvas, but it feels as if the characters are only buffeted by larger events. The filmmakers have even added some fictional moments to enhance the personal dramas, with only partial success. However, by turning the three sisters into respective embodiments of "money", "power", and "country", it delivers three barely rounded characters that act more as themes for the filmmakers than individuals. The film does try hard to juggle different elements, but by trying to reduce so much complex political history into mainstream melodrama it loses much of its power. The large cast gives some solid performances, especially Cheung who ends up being the main protagonist and manages to shine through by doing her best with the material. As for Wu and Yeoh, their parts are so small one wonders how they got primary billing. Despite its short-comings, this is an interesting film on one of China's most important periods and the impeccable larger-than-life stagings, as well as Cheung's performance, makes it all the more watchable.
Drama: 6/10

*Classic* The Sound of Music (1965)
Starring: Julie Andrews, Christopher Plummer, Eleanor Parker
Director: Robert Wise
Plot: An aspiring Austrian nun becomes the governess for a widowed captain's seven children and brings music back into their gloomy lives, but the imminent arrival of Nazi rule puts a shadow over their hopes.
Review: Loosely based on the true account of the Von Trapp's escape from Nazi rule, The Sound of Music is easily one of the most beloved musicals of all time, a joyous, uplifting film that has stood the test of time, as people who have seen the film every year of their childhood can attest. An adaptation of the hit Rodgers & Hammerstein Broadway show, the most memorable aspect of the movie, of course, are the songs, including "Do Re Me", "My Favorite Things" and, of course, the title track. The energetic, engaging musical numbers dispenses with a lot of dancing and instead focuses on more original choreography and editing to make them work. Director Wise, who also won accolades for another popular musical West Side Story, shows a deft handling of every aspect of the film. The beautiful widescreen cinematography of the Austrian scenery creates a terrific background to the plot, including a memorable long opening sequence as we fly across the mountains to reach a singing Andrews. As for the actual story, a rather flimsy melodramatic ensemble of family drama, romance, and World War II politics imbued with a dash of adventure, it's surprisingly quite effective and engaging in the best Hollywood manner and only adds to the charm of this rousing feature. In fact, it's a perfect example of the American family film, full of effervescent energy, overblown sentimentality, and expertly filmed and edited making the 3-hour running length just fly by. The performances of the seven way-too-cute kids are uneven, but the adults are excellent, and most especially the irresistible Andrews in a bravura role as the strong-willed but charming nun-turned-nanny. For all these things, The Sound of Music is a classic, going on to win Oscars for Best Picture and Best Director among other prizes, as well as a place in the heart of every child, both young and old.
Musical: 9/10

South Park: Bigger, Longer and Uncut (1999)
Starring: Trey Parker, Matt Stone
Director: Trey Parker, Matt Stone
Plot: South Park first started as a politically incorrect animated TV show featuring four foul-mouthed young kids. In South Park: BLU, the four kids sneak into an R-rated Canadian movie and, imitating the actors, start swearing at every opportunity. The town parents are not too happy about this development, and, after a series of events, force the US to declare war on Canada.
Review: Just like the TV show, a lot of subversive material sneaks in amongst the crude jokes, and this is where South Park shines. The movie stalls on the last 25 minutes, though, and some scenes (especially the ones with Satan and Saddam Hussein) bog the movie down. As the title says, this film is more South Park, revisiting characters and gags already seen on the TV show. There are lots of new catchy songs and the foul language gets cranked up, of course, but in the end, South Park: BLU is just an extended episode. Of course, that's not necessarily a bad thing.
Comedy: 7/10
Entertainment: 7/10

Space Cowboys (2000)
Starring: Clint Eastwood, Tommy Lee Jones, Donald Sutherland
Director: Clint Eastwood
Plot: 40 years after their dreams of space flight were cut short, a team of retired test pilots must fly the shuttle to stop a Russian communication satellite from crashing to Earth. 
Review: Calling Space Cowboys "Grumpy Old Astronauts" is tempting, but, thanks to Eastwood's usual laid-back and good directing sense, the film manages to avoid the usual pratfalls and low-brow comedy routines. Sure, there's the expected geriatric jokes and situations, and more of Eastwood's "growing old" sentimentality that was first in evidence in Unforgiven, but most of the film is quite a lot of fun on this drama / comedy level, never pushing too hard in either direction. The cast is solid, affably charming, well balanced, and has some good chemistry together, but it's Sutherland that has by far the most interesting role, and all the best moments. Seeing the characters go through the rigorous NASA training, face their past, and eventually beat their younger counterparts would usually be enough for a film of this type, but the film suddenly switches gears as the team starts their mission. Of course, everything that can go wrong goes wrong, and there's some thrilling moments here along with some first-rate effects, but the Armageddon-like situations, some of which had the audience howling in disbelief, seems too out of place with the rest of the story. In the end, the script tries too hard to play it safe and keep things a bit too simplistic (and predictable) to make the film really special. Still, the film is engaging and provides some good, varied moments, making Space Cowboys an entertaining summer romp.
Entertainment: 7/10

Spartan (2004)
Starring: Val Kilmer, Derek Luke, Tia Texada
Director: David Mamet
Plot: A military officer is recruited by the Secret Service to find the President's daughter who might have been kidnapped by an unsuspecting white slavery ring, only to uncover a conspiracy within the highest levels of government.
Review: Fast-paced, efficient and brutal, Spartan is a capable thriller that blends political conspiracy and special forces-like operations, and offers it up with an exemplary script. In the hands of writer / director Mamet (House of Games, The Spanish Prisoner), even the most common of plots turns into something interesting, and it's obvious he's trying to give the genre his own unique spin by playing a game of deception and double-crosses as much with us as with his characters. Though it occasionally falls for the common clichés and fortuitous coincidences, nothing is ever perfectly predictable and the violent, always gritty proceedings elevate it beyond the usual fare. Mamet is also a capable director, and with the help of a fine cinematographer makes the events immediate and the narrative engrossing. If there's one thing that nags it's his approach to the characters which distances audiences from the events. Just like the film, Kilmer plays it cool and clean with a tough-guy performance that is believable, if not quite sympathetic as a man ready to do anything to retrieve his target, never shying away from killing as necessary. The rest of the cast, with stalwarts such as William H. Macy and Ed O'Neill as the "heavies", are all exemplary with the little they have to work with. Though it's not as accomplished or clever as one would have hoped coming from the talented Mamet, Spartan remains a finely-tuned above-average thriller that's worth a look.
Entertainment: 7/10

Spawn (1997)
Starring: Michael Jai White, John Leguizamo, Martin Sheen
Director: Mark A.Z. DippePlot: Killed by his employer, an elite government assassin is given a new scarred body and supernatural powers after making a pact with demons to lead the hordes of Hell against Heaven in exchange for seeing his wife one last time.
Review: Spawn, based on the popular, brooding comic-book super-hero, has a premise with lots of potential for some mature drama and action (think a darker and more dysfunctional Batman). Unfortunately, the film just can't quite pull it off. Comic artist / creator Todd McFarlane acted as producer on the film and much of the story's feel still comes through, but it's evident that it was a battle trying to be as faithful as possible to the comic-book and to make it palatable to mainstream audiences, ending up being a tad confusing for non-genre fans. One of the most blatant casualties is the loss of the moral ambiguity of the "hero", which was one of the most interesting points in the original material, robbing the story from some necessary depth. Mind you, the script packs pathos, intrigue, and as much comic-book action and events as the budget allows into what could be deemed an "origin" story, and for that it's never boring. Visually, the film tries for an extravagant comic flair with its sets, production, and cinematography (in the vein of The Crow or Batman) and at times manages to appear gritty and gothic enough to pass muster. Though the effects by ILM are usually decent enough and effective, some of them come off a little flat (the computer stuff also looks a little dated) and it's obvious that they were done on a tight budget. Former effects guru-turned director Dippe does well with the action and SFX sequences, but only gives a workmanlike job with the rest. One bright point is the great, way-over-the-top turn by Leguizamo who plays the fat, demon clown with wise-cracking political incorrectness. The rest of the cast, however, is just going through the motions playing what add up to cardboard characters. There's some campy fun to be had with Spawn and it's a decent, dark super-hero flick, but without the required character development of the series it just comes off a little flat.
Entertainment: 5/10

Speed (1994)
Starring: Keanu Reeves, Sandra Bullock, Dennis Hopper
Director: Jan De Bont
Plot: In revenge for putting a stop to a nefarious bomber's attempt to collect ransom, a police officer must now save the passengers of a Los Angeles bus that has been rigged to explode if it slows below 50 mph.
Review: On the outside, Speed seems to be a typical summer-time action picture, promising the typical heroic characters, thrills and action. Surprisingly, it delivers much more: from a simple concept and straight-forward plot, the film evolves into a spectacular one thanks to a clever, intelligent script filled with great suspense, intense, fast-paced narration and amazing stunts. One gets caught into the story from the get-go, as one nefarious predicament follows another, and our heroes are thrown from one incredible situation to another. Sure, the plot twists and the exciting predicaments get elevated to almost ridiculous proportions, but thanks to a no-nonsense, serious-toned approach the proceedings still stay utterly convincing. In terms of filmmaking, first-time director De Bont (Twister) manages to use all the techniques he's learnt as an assistant in other productions, combined with some excellent, tight cinematography and editing to produce a film that knows exactly how to keep its audience at the edge of their seats. Though his acting abilities are often questioned, Keanu Reeves is particularly good in his first major role as the young, dedicated and focused cop. Bullock also does the best and most endearing turn of her career, a role that shot her to stardom, while Hopper does his typically convincing role as the dastardly villain. As pure, manic entertainment, Speed is easily one of the best and most satisfying American action films ever produced.
Entertainment: 9/10

Spider (2002)
Starring: Ralph Fiennes, Miranda Richardson, Gabriel Byrne
Director: David Cronenberg
Plot: Newly released from an asylum where he's spent most of his life in, a mental patient is placed in a London half-way home where his childhood memories of his mother's violent death come back to haunt him.
Review: Winner of the Genie award for Best Canadian Film, Spider is a much more low-key than what we've come to expect from director Cronenberg, and some may say it is more mature than his more famous exploits (Scanners, Videodrome). Cronenberg has had lots of practice making disturbing films, and he does succeed in getting us into the mental state and world view of a disturbed man. The tight, oppressive atmosphere is ever-present, as is a certain sexual anxiety, and the film gives a decent feeling of a drab, depressing world, as seen through the eyes of the protagonist. This feeling is enhanced by the apt cinematography which is appropriately somber and claustrophobic. Adapted from his own novel, Patrick McGrath keeps the most relevant parts of the story perhaps, but one can't help feeling that most of the substance is missing. The scenes with Fiennes are well done; unfortunately, his character's childhood recollections, flashbacks with Byrne and Richardson, are mostly rather bland and uninteresting. Other sequences are startling and filled with uneasy tension (a flashback to an incident at the asylum is terrific) but for the most part, the film seems to drag along. The final revelation is predictable (and perhaps it's meant to be), and we never get an empathic feel for what is going on. In fact, the whole thing seems rather distancing. Fiennes' acting abilities are limited to bringing out the character through the sole use of body language and incoherent mumblings, but he manages to convince for the most part of someone lost in the torment of schizophrenia, even if it looks like he's playing a meticulously planned part. Richardson has a grand old time playing different characters including the prim housewife and the blonde floozy (a role she takes with wild abandon). As for the rest of the cast, Byrne as the father does a pretty shallow performance, Bradley Hall does a fine, tempered turn as the young boy, and John Neville, in a small supporting role as a fellow patient, is a pleasant addition. More mainstream audiences will come out simply non-plussed or bored by the proceedings - and that's really too bad. Those willing to give it the patience it deserves may be rewarded by the fact that Spider is an interesting exercise, but one would have hoped for better things from the talented individuals involved.
Drama: 5/10

Spider-Man (2002)
Starring: Tobey Maguire, Willem Dafoe, Kirsten Dunst
Director: Sam Raimi
Plot: After being accidentally bitten by a genetically-enhanced spider, a mild teenager exhibits super-human powers which he uses to fight crime and soon comes to the attention of a flying, costumed villain, the Green Goblin.
Review: Director Raimi (Evil Dead, Darkman) and screenwriter David Koepp (Jurassic Park) have crafted a great comic-book adventure with the long-delayed Spider-Man adaptation, one that manages to stay true to its roots and will please fans and non-fans alike. The script manages to cram a surprising amount of story into a mere two hours, from the necessary origin, to Parker's facing his responsibilities and his first villain, all the while throwing in many of the popular situations and characters (Aunt May, Flash, J. Jonah Jameson, etc.) that fans have come to know over the years - and that's no mean feat. Gone are the usually dark, brooding, or often campy elements that marred previous adaptations - this is a fun, humorous flick, to be sure, but it keeps an even-hand on the dramatic moments, too. Raimi uses his whole bag of tricks, from the cool visuals, the impressive choice of shots and the dynamic camera movements to get us into the swing of things, and it works. The big-budget is instantly obvious on-screen, from the terrific costumes, to the large-scale art direction - even New York has never looked so good! The action is grand, with the battles between the villainous Green Goblin showing off a cinematic quality that's amazingly brash and colorful. The CGI effects are a little too prominent and evidently fake during these moments, perhaps, often breaking the illusion, but then most of these stunts would be impossible without them. The film is at its best, however, when it focuses on Parker learning to adapt with his new powers and, of course, on Spider-Man as he web-slings across town stopping crime. The introspective, quite Maguire is a perfect choice for the nerdy, shy Peter Parker, and he takes the role with just the right amount of wide-eyed innocence and wit to make it work. Dunst, as Mary Jane, is OK, but seems to lack the right vibe. Dafoe, in the Jekyll and Hyde role as the Goblin, does a solid performance as the villain. Some of the quieter bits, while necessary to give a rounded view of the character, are a bit awkward and could have used some editing, especially the romantic interludes with Dunst. But this is quickly forgotten with the final 30-second wild ride through New York on Spidey's back; it's a parting treat that beckons us to the next chapter. As a first installment, Spider-Man works wonders in what is sure to become a successful franchise and it's an excellent way to start the Summer movie season.
Entertainment: 8/10

Spider-Man 2 (2004)
Starring: Tobey Maguire, Kirsten Dunst, Alfred Molina
Director: Sam Raimi
Plot: Torn between a life of fighting crime as a super-hero and his love for a childhood friend, a young man is forced to fight an evil scientist welded to monstrous mechanical arms over the fate of the city.
Review: Spider-Man 2 is more a continuation of the first film than a sequel, and fans of the first will be more than enchanted by returning director Raimi's efforts. Much like the first film, this is more a coming of age film than a balls-out action flick. In fact, for much of the middle portion, Parker doesn't even have any powers, with the bit of comedy the situations incur. In fact her goes through such a pathetically bad day that we can't help but sympathize. Not to say action enthusiasts will be bored - when the action scenes do come, and there's quite a handful, they're as dynamic and thrilling as any comic book adventure. And check out the amazing shots of our hero swinging across New York! The special-effects, especially the terrific mechanical appendages and the afore-mentioned swinging, are for the most part well done. The exception however is on the character CGI effects which, on the big screen, still look terribly fake, a case made worse in that most of the one-on-one battles make use of computer animation. Still, this is a minor point. One scene of note, the villain's wake-up in a hospital room as the arms maim all the surgeons around him, is a hilarious homage to Raimi's own Evil Dead 2, including zooming cameras, comic deaths and a chainsaw. There's no doubt that the film could have done with some editing to provide a tighter narrative but, just like the original, the movie is just as interested in the human aspect as it is in the "blockbuster-movie" sequences. The idea of the "super-hero with real-life problems" so inherent in the comics is much more fleshed-out here, as is the important theme of "with great power comes great responsibility" - the dilemma facing Parker becomes living his life as a normal man or living it as Spidey, and this is the real heart of the film. There are also some amusing moments relating to the New Yorkers' fascination with their home-grown vigilante - from adulating young women who want to swing with the Man, to a really poignant one as they defend their fallen hero. Various sub-plots, including his on-off relationship with Mary Jane, also keeps things interesting. Maguire and Dunst have an odd chemistry together, but it works, both growing into their roles. Like the Green Goblin before him, Doctor Octopus is a villain torn between two personalities, and Molina is a solid choice to make these two work. All the supporting characters are also back, from Jamieson, the editor you love to hate, to Aunt May, all a bit more fleshed out just as new ones are brought to the fore. Look also for a cameo by Raimi alumni actor Bruce Campbell as an annoying usher. The cliff-hanger ending preludes a definite sub-plot for the expected future sequels, and if Spider-Man 2 is any indication, we can't wait.
Entertainment: 8/10

Spider-Man 3 (2007)
Starring: Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church
Director: Sam Raimi
Plot: While getting adulation from the city for his super-hero alter-ego, Peter Parker must face deadly villains old and new just as his relationship with Mary Jane takes a turn for the worse.
Review: A summer blockbuster meant to upstage the first two chapters by every means, Spider-Man 3 delivers chills, thrills, incredible special effects and more personal tension than you can shake a web at. Three major comic villains are on-board this time around: the Hobgoblin, the Silver-Age Sandman and the more contemporary Venom. Director Raimi goes all out, yet maintains that comic-book center and gives it a vibrant, colorful cinematic adaptation. Using an incredible canvas he's managed to summarize years worth of comic-book stories into a little over two hours and for the most part it works, and geeks of all ages will adore it. Every bit of its $250M budget is on-screen - it looks fantastic, moves at a breakneck pace and, though this is the longest installment, there's always something new around the corner. The returning cast knows the drill and seem to coast through the grand melodrama of Parker’s struggles with his romantic life, work rival, friend-turned-nemesis, all leading him to be influenced down a darker path by the Venom symbiote. This last one brings up the best of the humorous touches sprinkled throughout, that of the dark Parker strutting his stuff on the NYC streets doing an earnest, laugh-out-loud rendition of Travolta in Saturday Night Live. There is, however, such a thing as too much of a good thing: there's just too may things going on - too many characters, too many villains, too many problems for the story to adequately (or satisfyingly) cope with in it's running time. Oh, it does a bang-up job trying to juggle it all, but ultimately it just doesn't connect in one cohesive whole, and cramming a resolution to the last 10 minutes (in a mushy, teary conclusion) makes it feel too abrupt. Still, where it lacks the grace and spontaneity of the first two it makes up in sheer spectacle: If the CGI effects aren't always quite right, they do give an exhilarating sense of speed and movement. The creature creations are amazing (especially Sandman in a scene where he turns into a giant fist in the middle of a construction zone). And the effects-laden fights are incredible, climaxing with a traditional super-hero / super-villain team-up that's worth the price of admission alone; this is the four-color medium given life. Despite some flaws one can't blame it for over-reaching, and Spider-Man 3 is a tremendously entertaining blowout of all things Spidey, and a great finale to one of the best comic-book franchises.
Entertainment: 8/10

Spirited Away (2002)
Voice Actors: Daveigh Chase, Jason Marsden, Suzanne Pleshette
Director: Hayao Miyazaki
Plot: While on a trip with her parents to the suburbs, a young schoolgirl wanders onto a deserted fairground that ends up being the entrance to a magical world ruled by spirits and wizards, one where humans are not accepted lightly.
Review: Easily the most popular film in Japan history, Spirited Away is simply a wonderful fantasy adventure for all ages, one that bids you to enter a magical world full of wild happenings, humor and strange, mystical characters. Legendary writer/ animator / director Miyazaki has a way of creating richly textured, imaginative worlds where we can lose ourselves in (Castle in the Sky, Princess Mononoke) and here he's at his whimsical best, creating a fully-formed alternate reality. The animation, which retains the richness of hand-drawn artwork, is excellent, both colorful, fluid, and incredibly detailed in the tradition of the best anime. Like all of his works, Miyazaki inserts a strong environmental message into the main plot. As such, though perfectly suited for young ones as well, the overall story shows a definite maturity and a real sense of wonder (and even something of a dark side) that is lacking from most animated features. Indeed, even at over two hours (a rarity in animated films) this is a tale that never fails to enchant adults as well. One of the reasons this works so well is that the story's protagonist is based on Miyazaki's template for all of his heroines: a plucky girl who surmounts her fears and the hardships of her strange new surroundings; it's something that always has universal appeal. Another is that all the inhabitants are not straight stereotypes, and the story never strays into predictability. And there's always something interesting going on! Immensely entertaining and endearing, Spirited Away is another instant classic by Miyazaki to be cherished and watched over and over again. Winner of an Oscar for Best Animated Film.
Entertainment: 9/10

SPL (Hong Kong - 2005)
Starring: Donnie Yen, Samo Hung, Simon Yam
Director: Wilson Yip
Plot: Forced to retire due to a terminal brain tumor and anchored by a by-the-book replacement, a stubborn detective and his team decide to go for broke to get a ruthless triad boss behind bars before daylight.
Review: Along with the popular Infernal Affairs, SPL marks a much-anticipated return to form for Hong Kong thrillers after a disappointing series of bubble-gum-level flicks. Professionally shot and ably directed, writer / director Yip (Bullets Over Summer) provides a very "noir" crime drama that brims over with dark atmosphere and impending violence. The familiar tale focuses on the personal rivalry between cop and gangster but there's also a surprisingly effective underlying theme of fatherhood (indeed, every character has an issue being a father, or dealing with their fathers, and the film unfolds during - you guessed it! - Father's Day) and the attention given to the drama elevates the story a notch. It's all a set-up for a final showdown, however, and an ironic, tragic ending. Fans expecting wall-to-wall action will be mildly disappointed, as most of the film is limited to a few car crashes and quick pummelings, at least until the final act which is highlighted by a dynamic improvised fight between trained cop and a sadistic killer. But the real treat is the finale, and what HK fan isn't dying to see a mano-a-mano fight between the two kung-fu legends that are Sammo Hung and Donnie Yen? They may have past their prime, but their fighting skills remain impressive and they're still awesome to behold. As the triad boss, Hung does a rare villainous role, and - sporting hair extensions and beard - he's appropriately despicable. As for the heroes, Yen is in fine form and Yam proves again why he's been pigeon-holed in cop roles - he's good at it. Sure, there's nothing very new in SPL but more than other recent productions it does deliver the goods, and for that alone it's worth a look for fans of the actors and the genre.
Entertainment: 6/10

Spriggan (Japan - 1998)
Director: Hirotsugu Kawasaki
Plot: Using super-powered soldiers, two warring factions fight for control of what seems to be Noah's Ark, a device that can control Earth's weather.
Review: Katsuhiro Otomo, the animator best known for his classic Japanese anime feature Akira, shows off his talents by combining great imagery, pacing and impressive backgrounds with some great action and an interesting story-line. The scope aims to be grand, and mostly succeeds, but too much time is given to (admittedly impressive) battle scenes to the detriment of the more interesting mystery of the Ark itself. Fans of well-made anime, though, will not be disappointed.
Entertainment: 7/10

Spy Game (2001)
Starring: Robert Redford, Brad Pitt, Catherine McCormack
Director: Tony Scott
Plot: On the day of his retirement, a master spy goes against his CIA chiefs to rescue his young protege who has been captured while trying to break into a Chinese prison and faces imminent execution.
Review: Spy Game is another decent, entertaining thriller from director Tony Scott (Top Gun, Enemy of the State), one that fits somewhere between the mainstream Hollywood flick and the more morally ambiguous British spy thrillers. The present (1991) drama is inter-cut with flashbacks of their past operations, from Pitt's recruitment in Vietnam to their eventual ideological split in war-torn Beirut over a botched mission. Much of the tension is unfortunately dissipated by these tangents into the past, but they provide a good overview of the relationship between the two spies and are quite interesting on their own merits. There is little in the way of actual action, with the focus being more on the the behind-the-scenes manipulations of the craft, but Scott's efficient, kinetic camera-work and the rapid editing makes it all seem to fly by in a flash of cinematic style. And that's also the problem with the film: the suspense is well crafted and it's all great to watch, but there's not enough character development to understand anyone's motivations. There's the potential for a really excellent story here, and with the time- and planet-hopping of the narrative there's a lot of material as well, but the film never stops long enough for us to appreciate it fully. All that said, the slick, fast-paced production never allows for a dull moment, and it's all quite engaging. A sure plus is Redford who is quite convincing as the grizzled, cynical veteran and the scenes between him and Pitt are just plain fun to watch. In the end, there's enough entertainment value here, as well as a decently engrossing story, to recommend Spy Game as a solid espionage thriller.
Entertainment: 7/10

Spy Kids (2001)
Starring: Alexa Vega, Daryl Sabara, Antonio Banderas
Director: Robert Rodriguez
Plot: A married spy couple come out of retirement only to be captured by a toy creator and his silly bio-engineered henchmen leaving their two young kids as the only ones who can save them and the free world.
Review: Mixing light-hearted comedy and cartoon-inspired action, Spy Kids is a breath of fresh air in the family film genre that doesn't end up playing down to either generation. In fact with such a zany plot, large dose of humor, and incredible situations the film comes out as a sort of pre-teen James Bond adventure, and that's a good thing. The film is a surprisingly non-violent effort from a director who has made a niche for himself with blood-soaked action flicks (Desperado, From Dusk 'til Dawn). In fact Rodriguez has put on all the creative hats here from writing to editing, and has managed to create a fast paced, well thought-out vehicle that will please everyone, but with added on-screen touches and bits of humorous dialogue that will leave adults chuckling. The fabulous gizmos and gadgets themselves are worth the price of admission, with one imaginative creation after another only adding to the magic. The characters also break the mold for this type of film - the young heroes are cute, sure, but they're not perfect or cuddly, and they have a personality and enough eccentricities that kids and adults can relate to them. The grown-up cast, including cameos by a bevy of TV stars, play their comic roles well, with an especially fine turn by Alan Cumming as the Pee-Wee-type villain. It's unfortunate that the computer effects aren't well integrated, probably due to the relatively low-budget, but they are still effective in capturing the fantasy elements of the story and work well within the confines of the cartoonish goings-on. Fun-loving, light-hearted, smart and thoroughly amusing, Spy Kids is an entertaining adventure that's fast-paced enough for kids and clever enough for adults.
Entertainment: 8/10

Spy Kids 2: The Island of Lost Dreams (2002)
Starring: Antonio Banderas, Carla Gugino, Daryl Sabara
Director: Robert Rodriguez
Plot: Two under-age spies compete with another pair of young agents to recover a powerful technological marvel and discover the mystery behind an invisible island populated by genetically mutated creatures.
Review: Spy Kids 2: The Island of Lost Dreams is everything a sequel should be: fast paced, inventive, and able to build on the strengths of its predecessor without re-using the same elements or gags. The gadgets now are more far-fetched and intricate, the story more complex, and the pacing so much faster and energetic. The CGI effects are even more prominent this time around, and it's great fun to see such surreal fantasy elements running amok, including imaginative vehicles and a slew of bizarre creatures. Thankfully none of it takes over the heart of the film, which is full of intimate moments and surprising (if quick) character development, though the story itself is really just an excuse for some clever ideas and some slapstick fun. One thing that hasn't changed it's the strong sense of family, and the great tongue-in-cheek humor that's to be found throughout, making this a fine family-friendly adventure while spoofing all kinds of cinematic icons, from Indiana Jones and the classic stop-motion creatures of Ray Harryhausen, to James Bond (of course). It's obvious writer / director / producer and all-around doer Rodriguez (Spy Kids, Desperado) had a blast coming up with new ideas and creating a film that he would want to watch with his own kids, and it shows on every frame. The visuals are stunningly rendered, if obviously fake, and Rodriguez has a dynamic style that shines in every frame. Though it sometimes feels like you're watching a kid's show, there's so much packed in every moment, such a sense of fun, that it's hard not to be carried along. This is family fare that will excite young ones and adults, even ones with acute attention disorders. The kids are getting older, but they're still just right; though kid actor Sabara is a little stiff as an actor, Alexa Vega as his older sister makes up for it. As for the adults, Banderas shines outright here in a starring role and is both suave and amusing. The supporting cast makes for an excellent selection, including roles from fan-favorite weirdo Steve Buscemi, Bill Paxton, Ricardo Montalban and Alan Cumming in a returning cameo. With more of all the qualities that made the first a success, and with a infectious energy all its own, Spy Kids 2 is a very entertaining and worthwhile sequel.
Entertainment: 8/10

Spy Kids 3-D: Game Over (2003)
Starring: Daryl Sabara, Sylvester Stallone, Ricardo Montalban
Director: Robert Rodriguez
Plot: An under-age secret agent enters a virtual reality game to save his older sister caught in the clutches of a crazed programmer and tries to stop the game from taking over the minds of youngsters everywhere.
Review: A throwback to the '50s phenomenon with a modern twist, the release of this latest Spy Kids installment uses the 3D gimmick to make its mark, but fails to provide the enjoyment of its James Bond-ish siblings. Writer / director / producer / effects supervisor Rodriguez has let loose on a 3D premise and does a fine job providing some popcorn summer thrills on a relatively low-budget (by Hollywood standards). But the charm and inventiveness of the first two installments are missing; there are a few moments that remind us why the series has become so popular, but for the most part this is just nothing more than a movie version of a video game. Though it spoofs the arcade genre, it doesn't really push any envelopes. This is all just an excuse for Rodriguez to experiment with the 3D genre and enhance his CGI skills. The effects, for those who can stand the sometimes blurry visuals and the tinted view due to the provided red / blue glasses, are pretty good and the arcade sequences (including a speed race and some giant robot combat) are fun. It's just unfortunate that the age-old technique hasn't been enhanced with half a century of technology. The child actors aren't very convincing, but then no one here really has to be - they're all playing second-fiddle to the 3D stuff. Stallone doesn't really stretch his chops but he's actually OK as the comic villain and Montalban adds a touch of class to the film. Though Banderas barely makes an appearance there is, however, an impressive line-up of star cameos to be had. As a 2D sequel, Spy Kids 3D just isn't up to the smarts and chutzpah of the original, but thanks to the mostly effective 3D it gives some added life to the proceedings and makes this an enjoyable, clean family outing. Let's hope it doesn't start a trend, though.
Entertainment: 6/10

The Spy Who Loved Me (1977)
Starring: Roger Moore, Barbara Bach, Richard Kiel
Director: Lewis Gilbert
Plot: 007 must join forces with a female Russian agent to retrieve two hijacked nuclear submarines from a megalomaniac bent on destroying life on Earth and creating an underworld civilization.
Review: The Spy Who Loved Me is a terrific, high-flying Moore Bond film, and definitely one of the biggest in scope. The film is packed with inventive stunts, exciting and explosive action sequences (though some bring to mind the Connery installment You Only Live Twice), making good use of the trademark Bond gadgets, including some wonderfully dated '70s gadgets and a particularly imaginative and deadly underwater-car which gives Goldfinger's Aston-Martin a run for its money. The plot between action set-pieces is also lively and the strained relationship between the two Cold War spies keeps it interesting. Another one-dimensional megalomaniac takes center stage here, but it's his menacing, towering steel-toothed henchman, Jaws, who steals the show as a great, silent super-villain. Add to this some of the most beautiful, lavish cinematography of the series, some large, impressive sets, great production values, and many picturesque, exotic locales (including some wonderful shots of Egypt and Italy), and it becomes one of the more engaging outings of the venerable series. Mostly light-hearted and always entertaining, The Spy Who Loved Me comes up as one of the best of the Bond films.
Entertainment: 8/10

Stander (2003)
Starring: Thomas Jane, Deborah Unger, Dexter Fletcher
Director: Bronwen Hughes
Plot: Distraught over his involvment in Apartheid, a South African detective turns to robbing banks to defy the government and becomes one of the country's most notorious criminals.
Review: Based on the true-life exploits of Andre Stander and his criminal career in the early 1980's, Stander in an entertaining crime drama with a conscience. Of note is the opening recreation of a clash between police and blacks during a demonstration against Apartheid really hits home. What first starts as a moral justification for our protagonist soon becomes a lifestyle choice and the film leaves off the social commentary to focus on the many scenes of cleverly-executed (and often audacious) robberies. There's a definite playfulness during these capers, all of which are energetically staged. In the vein of Tony Scott films like Man on Fire, director Hughes (Forces of Nature) shoots the film with heavy color contrast, lots of close-ups and a sure hand, showing off a nice blend of mainstream stylishness and compelling storytelling. At its heart, though, this is a character study on Stander himself, a charming anti-hero seeking fame and money who hides his feelings of responsibility for his role in repressing the black majority by seeking notoriety. Early scenes with his soon-to-be-estranged wife are particularly effective. In the titular role, Jane's performance is just right as the irresistible crook, balancing a sense of seeming insouciance with one of constant personal anguish. Partners-in-crime Dexter Fletcher and David Patrick O'Hara aren't nearly as well-rounded, but play their parts well. All told, Stander is a pleasant surprise as both a crime drama and an entertaining yarn and is well worth a look.
Drama / Entertainment: 7/10

Stargate (1994)
Starring: Kurt Russell, James Spader, Alexis Cruz
Director: Roland Emmerich
Plot: A team of elite soldiers escort a young Egyptologist through an ancient portal onto a desert planet that is inhabited by humans ruled over by a despotic alien taking the guise of the Sun God Ra.
Review: From the get-go Stargate promises spectacle and there's some of that, but trying to mix epic Bible stories like The Ten Commandments with a sci-fi actioner doesn't quite pay off. What begins as an enjoyable pulp sci-fi adventure using the rich, ever-exotic setting of ancient Egypt turns into a tired mainstream flick as soon as the group arrives at their destination. Unlike the team's later efforts such as Independence Day and The Patriot, there's just not enough energy to lift the proceedings past the silly point and into the fun zone. Oh, there are a few cool moments, especially the setup and the alien technology on display, but it's not enough to sustain our interest throughout. A good premise, some admittedly decent special effects, good cinematography, impressive sets and mobs of extras still can't save the film from a bland script. Full of contrivances and lack of even it's own internal logic, it's just a disappointing effort, one that's further marred by poor character development and some truly groan-inducing incidences. Worse, the elements geared to create suspense aren't fleshed out enough and the attempts at humor fall mostly flat. Even the climactic battle as the human mob defies its oppressor seems too easy and rather unexciting. As for the cast, Russell comes out unscathed, playing a straight (if bland) army guy with a death wish, but Spader comes off more like a typecast, rather unsympathetic dweeb. Despite a good beginning and lots of potential Stargate just ends up as another silly, unmemorable Hollywood sci-fi effort. It's watchable enough, but it could have been so much better.
Entertainment: 5/10

Starship Troopers (1997)
Starring: Casper Van Dien, Dina Meyer, Denise Richards
Director: Paul Verhoeven
Plot: In a future where the military controls society, three young teenagers are whisked into an interstellar war when an insect-like race bent on destroying humanity destroys Buenos Aires.
Review: Very loosely inspired by the grim, depressing SF classic novel by Robert A. Heinlein, this Starship Troopers is wholly a Hollywood product, one that has its tongue-firmly-planted-in-cheek and comes off as slick, action-packed B-movie camp done on a big budget. As made by director Verhoeven, it's a fast-paced, in-your-face coming-of-age tale that follows its hero from boot-camp to quick promotion on the battlefield, mostly due to his superior meeting an untimely end. Verhoeven is no stranger to viciously entertaining sci-fi with his classic take on Robocop and the amusing Total Recall and, as expected, the graphically violent action sequences filled with maimed corpses, heavy artillery and grand destruction are sure to please even the most jaded of viewers. Despite the growing age of the computer effects, the Bug monsters still look terrific, especially as they swarm across the desert landscape, and the pitched battles between Man and Bug are aptly thrilling. Add to this a boatload of soap-opera-styled melodramatics amongst testosterone-laden, overly-handsome teens and you've got the makings of a cult classic in the making. What really makes it better than your average action flick, however, is the subversive attitude that's dropped into the proceedings, making it as much darkly humorous as it is rough-and-tumble. Indeed, below the obvious blockbuster-styled entertainment of space battles, military action, and bug fights is an over-the-top satire of fascist society involving a zany "might makes right" social attitude and a hilarious use of ludicrous propaganda. Though it might be an inescapably shallow (and even silly) adaptation that has little to do with its origins, Starship Troopers is a sci-fi blockbuster that's loud, boisterous and fun.
Entertainment: 7/10

Starship Troopers 2: Hero of the Federation (2004)
Starring: Richard Burgi, Colleen Porch, Bill Brown
Director: Phil Tippett
Plot: Seeking refuge in an abandonned outpost surrounded by giant alien bugs, a squad of soldiers fights to survive a new type of insect that is turning them against each other.
Review: A straight-to-video sequel to the entertaining blockbuster Starship Troopers, Hero of the Federation seems to forget everything but the story premise of its predecessor and cuts all ties to the novel by Robert A. Heinlein. Though he does a passable job, special-effects-guru-turned-director Tippett probably should have stuck to his guns before throwing himself head-first in this mess. Plagued by a restrictive low-budget, the production looks cheap, dark and constrained - except for those shots stolen from the first movie. Worse, the film takes itself much too seriously. Gone is the campy tone, the spectacular action, the fast-paced narrative, and the cynical fascist chest-thumping. Instead, we get a story that plays on the tired "enemy within" theme (ripping-off Alien and The Thing in its search for paranoia and horror) without bringing anything new to the table. The handful of action sequences and CGI scenes work very well, and a chilling last line seems to indicate that there might have been a more enjoyable film hidden somewhere. Throw in some violence and gore, a little tits-and-ass between the nubile young rookies for good measure, some icky creature effects, and you've got something that's watchable without being really enjoyable. Of note is the sympathetic TV-stalwart Burgi who, as the titular tough-as-nails hero, comes out of this unscathed. To be fair, considering the limited resources available, Hero of the Federation is a passable, mildly enjoyable mix of SF themes that delivers the goods for the midnight-movie crowd. If you can, though, stick to the original.
Entertainment: 4/10

Starsky & Hutch (2004)
Starring: Ben Stiller, Owen Wilson
Director: Todd Phillips
Plot: Two very different cops, one a hyper-tense loose canon, the other a laid-back slacker, pair up to go on the trail of a drug kingpin and his new strain of cocaine with the help of a trusted informant.
Review: With a plot that's an evident retread of other films / cop shows done just for laughs, this comic updating of Starsky & Hutch plays out as a prequel to the popular 70's cop show. Pretty much as clichéd and silly as they come, this spoof of the original show makes good thanks to a sprite pacing, a rose-colored retro look at the 70's and an easy-going cast. After the gross-out comedy Road Trip, director Philips aims squarely for broad, rather inoffensive comedy here. There are some hints at the crazy antics of Old School (Will Ferrell even does a zany cameo as an inmate with bizarre tastes), but these are few. The gags do come off easily, from a frenetic Starsky accidentally high on coke, to the duo playing undercover as mimes, but most of them fall flat. Still, things move along at a decent pace, and the story progression is amusing if terribly derivative. An overacting, uptight Stiller and a relaxed Owen play to type - they've done this kind of stuff countless times now, including their stint together in Zoolander, but they're good at it and have an easy chemistry together. Vaughn as the evil drug-lord sleep-walks through the comedy bits, and Snoop Dogg as the informant "Huggy Bear" is just stale. The best character, however, might well be the impeccably polished, super-charged vintage Ford Torino which flies almost as much as it drives. With enough laughs and overall goofiness to fill its length, Starsky & Hutch ends up a decent time waster, but not much more.
Entertainment/ Comedy: 5/10

Star Trek: The Motion Picture (1979)
Starring: William Shatner, Leonard Nimoy, DeForest Kelley
Director: Robert Wise
Plot: The veteran crew of the Enterprise reunites years after their last mission to face a huge, destructive, artificial entity that is headed for Earth in search of its Creator.
Review: With Star Trek: The Motion Picture director Wise took the popular franchise into new, uncharted territory with mixed results. The filmmakers obviously approached the film with 2001: A Space Odyssey in mind, and more than any of the following installments, the film is a more cerebral exploration of sci-fi themes, and thus lacks the humor, action, and adventure that usually marks big-budget sci-fi movies. Indeed, the film flows at a very 2001-esque pace, with a similar sterile focus on the future, with its large sets and interminable displays of technology, though to be fair, the production values are quite impressive, and the Enterprise has never looked so good. The film has a solid beginning and a decent ending that bookmarks a rather slow, even tedious, descent into the heart of the alien ship to confront V'ger, one that is filled with gorgeous effects sequences, but after more than 20 minutes ends up as boring eye-candy. It's too obvious that the story was first and foremost created for a TV pilot - in fact it has large similarities with the original ST episode "The Changeling" - and the script can't sustain the lavish production values used on screen. The sense of wonder, however, is keenly crafted though the filmmakers were seemingly in awe of their own long-winded special-effects. Seeing all the old crew reunited is a treat for trekkies, but there's a lack of any character development and the obvious camaraderie between the characters, the very heart of the series, is mostly missing until the last third of the film, something that was quickly corrected in later chapters. Giving the venerated series a large-scale, ambitious send off into theatres, ST:TMP is a more sedate sci-fi endeavor than many expected, a step away from the warm, action-oriented series, but one whose ideas and visual splendor will appeal to sci-fi fans.
Note: 20 years after its first release, Wise was allowed to go back and re-edit the film, even going so far as adding new material, making the whole film flow much better.
Entertainment: 7/10

Star Trek 2: The Wrath of Khan (1982)
Starring: William Shatner, Leonard Nimoy, Ricardo Montalban
Director: Nicholas Meyer
Plot: Captain Kirk, in command of the new USS Enterprise crewed only by cadets, is forced to face wits with an old enemy bent on revenge and who holds a powerful device that can reshape worlds.
Review: After the disappointing Star Trek: The Motion Picture, Star Trek 2: The Wrath of Khan aimed at breathing new life in the franchise, and provided a terrific installment that was more serious and darker in tone than any of the others before or after. In fact, of all the Star Trek films, Khan is probably the closest to the original series in terms of dramatic sci-fi, low-key humor, character interaction, suspense, and even action. The straight-forward script does its root material justice and is a treat for both new and old fans alike, delivering an interesting story full of the melodrama and adventure that the audience has now come to expect. The acting has never been a strong suit of the cast, but here they shine and show their best performances. A real surprise is Montalban as the vicious Khan who chews the screen with perfect aplomb. With good production values, great space effects, and a script that both brings a nostalgic pang and an avid sense of fun to the proceedings, Star Trek 2 is easily the best chapter of the series.
Entertainment: 8/10

Star Trek III: The Search for Spock (1984)
Starring: William Shatner, DeForest Kelley, Christopher Lloyd
Director: Leonard Nimoy
Plot: After the death of Spock, Captain Kirk and crew steal the decommissioned USS Enterprise to bring back the body of their fallen comrade from a Starfleet quarantine planet only to battle a Klingon warlord set on stealing the planet's secrets.
Review: The cast is back in another outing to face impossible odds once again. The actors all look older, of course, but they manage to pull off their roles one last time - after this one, they seemed at the end of their rope. Star Trek III: The Search for Spock is also the most emotional and melodramatic installment both for the characters and for the audience: what Trekker can avoid a pang of nostalgia as the valiant Enterprise is destroyed? Interesting, but silly, premise to bring Spock back to life is just the typical Star Trek excuse for a rousing good yarn. Pathos, engaging stories, a bit of action, and great character interactions in a sci-fi setting is what made the original series a hit, and Star Trek III delivers the same on a much bigger production scale with good cinematography and some decent effects. Best of the series after Star Trek II: The Wrath of Khan. Followed by the campy Star Trek IV: The Voyage Home.
Entertainment: 7/10

Star Trek IV: The Voyage Home (1986)
Starring: William Shatner, Leonard Nimoy, DeForest Kelley
Director: Leonard Nimoy
Plot: To save Earth from an alien threat, the crew of the now-defunct Enterprise must go back in time to 20th-century Los Angeles to bring back two humpback whales.
Review: Besides the atrocious Star Trek V, this, the fourth installment of the film series, is the lamest of the bunch. Playing the whole thing as a comedy might have been interesting, but despite a few chuckles of the misplaced-people-from-the-future variety there aren't any laughs to be had. The aging cast members look lost, play their roles mechanically, and miss the mark on all their one-liners. The plot is ludicrous, the story un-interesting, the "save the whales" sentimentality saccharine-sweet and over-bearing, the action and drama non-existent and, worst of all, the usual spirit of Star Trek adventure is completely missing from the proceedings. Star Trek IV: The Voyage Home ends up being a joke indeed.
Entertainment: 3/10

Star Trek VI: The Undiscovered Country (1991)
Starring: William Shatner, Leonard Nimoy, DeForest Kelley
Director: Nicholas Meyer
Plot: The crew of the Enterprise must stop a conspiracy to prevent the peace process between the Federation and the Klingon Empire while trying to find a saboteur in their midsts.
Review: Star Trek VI: The Undiscovered Country is another trip to the popular Trek universe, a decent mainstream effort that's fast enough and slick enough for all audiences. Director / co-writer Meyer (who made the pinnacle of the movie chapters, Star Trek II: The Wrath of Khan) is at the helm once more and delivers a well-paced, visually interesting effort, capturing all the beloved elements of the series with fine flair and distinct efficiency. The characters and situations are typical Trek stuff, and fans of the stalwart series will have many moments to wax nostalgic and enjoy more of the trademark verbal exchanges. There's also an appropriately large-scale plot to cap off the series, a story inspired by the end of the Cold War that sometimes forces the parallels with current politics a little too much. Oh, there are some rather silly moments, and some plot twists that are just too damn convenient, but this has always been par for the course and the mix of special-effect sequences and space-based adventure will still please fans of sci-fi flicks. The mystery sub-plot, which isn't always convincing, adds a little spice to the proceedings, as do the film's guest stars: Kim Cattrall as a young Vulcan, and an over-the-top Christopher Plummer who shines as a Klingon general who spews Shakespeare in its "native" language. As for the crew, Shatner and company do an honorable last big-screen turn in roles that they have portrayed for over 25 years. No matter how much fun it tries to be, however, it's obvious that this part of the franchise has lost its steam and is due for retirement, in large part because its characters (and actors) have grown too old for the kind of adventure audiences have come to expect. The final act, unfortunately, isn't as exciting or as dramatic as it should have been considering this is a farewell, but it does end with a sentimental ovation for its crew. Still, Star Trek VI: The Undiscovered Country is a fine swan song for the series and for the original cast, and should be fun for non-Trekkies, too.
Entertainment: 6/10

Star Trek: First Contact (1996)
Starring: Patrick Stewart, Brent Spiner, James Cromwell
Director: Jonathan Frakes
Plot: The crew of the Enterprise must go back in time to Earth's first contact with an alien species in the middle of the 21st century to stop the Borg, an evil cyborg race, from assimilating the human race.
Review: First Contact finally pits the Enterprise with their most formidable enemies, the Borg, a perennial fan favorite. The film, in both topic and execution, is much darker than previous chapters in the series and much more action oriented. As expected, the special effects are well done, especially the opening space battle with the Borg cube. Once again, Picard and Data steal most of the show, while the other characters only play bit parts - a shame since Star Trek works as an ensemble cast and all of the characters deserve some time in the spotlight. The script touches on many beloved features and nuances of the series, and maintains a good level of suspense, action, and intelligence while still allowing for the occasional light moment. One of the most successful entries in the long-running movie series, and definitely the best "Star Trek: The Next Generation" feature.
Action: 7/10
Entertainment: 8/10

Star Trek: Insurrection (1998)
Starring: Patrick Stewart, Marina Sirtis, Jonathan Frakes
Director: Jonathan Frakes
Plot: The crew of the Enterprise turn against the Federation and their mysterious ally to stop a small community who hold the secret of eternal life from being displaced from their home planet.
Review: The long-standing joke amongst Trekkies is that the odd-numbered Star Trek outings have been rather dismal, and Insurrection doesn't dispel the theory. To people who have watched the TV series, this feels like just another typical episode, and not a great one at that, with added filler to make it feature length. The script is rather feeble, full of tired one-liners and dull dialogue. Even the special effects aren't very impressive and neither are the few moments of actual action, be it the short space battle or the repetitive laser turkey-shoots. The ethical dilemma that as at the core of the film (whether the greater good of billions is worth the livelihood of 600 inhabitants) is quickly disposed of and what we get is a rather bland display of righteousness and dewy sentimentality. For long-time fans, the expected Trek moments are in evidence, of course, with Data trying to learn to play like a child, Riker and Troi getting romantic again, and Laforge seeing a sunrise for the first time. New viewers, however, won't be taken in by any of this. The cast is as good as can be expected, not stretching the essence of roles they've played for almost 10 years with Oscar-winner F. Murray Abraham once again slumming it in the narrow role of the villain. To be fair, though the direction by actor-turned-director Frakes isn't up to his promise on First Contact, things move along well enough to make it, if not exciting, at least watchable. If Insurrection is any indication, the Next Generation franchise has run its course in terms of ideas and entertainment. One can only hope the next even-numbered sequel will be up to par.
Entertainment: 4/10

Star Trek: Nemesis (2002)
Starring: Patrick Stewart, Brent Spiner, Tom Hardy
Director: Stuart Baird
Plot: After a coup d'etat in the Romulan high command, the Enterprise and its crew are invited for peace talks but soon discover that there's a sinister conspiracy afoot.
Review: At first, it seemed that the even-numbered Star Trek: Nemesis, the tenth chapter in the sci-fi series, couldn't fail: a big budget, better special effects, a plot more geared towards action, high stakes, and those fan favorite villains: the Romulans. Unfortunately in all cases, what we end up with is a mess, and a horribly derivative one at that. Taking bits and pieces (and sometimes whole scenes) from previous movies, what we get is a drawn out, bland so-called "adventure" that loses everything the series has stood for. Even the character interactions feel strained and bland. The tone varies wildly, from high-spirited silliness to strained seriousness, neither of which is very convincing. Worse, there's way too many static scenes (mostly useless posing and uninteresting exposition that moves along like molasses) and even the few "action" scenes are laughable. The last half hour finally brings back a bit of the fun factor with a well-done and pretty exciting starship battle; we've seen better, for sure, but it's much needed here. The cast does an adequate job of playing roles they've lived in for fifteen years, though Hardy as the young villain doesn't quite make it work. What a waste of a good premise, and what a waste of the Romulans, who we barely see at all. Be it the director's fault for not adding enough pizzazz, or the script which is howlingly bad, or the producers who no longer have a clue, it's pretty obvious that they have all stopped taking chances: the ideas have dried up, and the series has run out of steam. It might be more fun than the previous installment Insurrection, and fans will want to see it, but considering the way it flopped at the box office Star Trek: Nemesis is a sad way to see what might well be the end of the franchise.
Entertainment: 4/10

*Classic* Star Wars (1977)
Starring: Harrison Ford, Mark Hamill, Alec Guinness
Director: George Lucas
Plot: A young farm hand and his companions become the Rebellion's last hope to stop the evil galaxy-spanning Empire from using its most powerful weapon, the Death Star.
Review: "A long time ago in a galaxy far, far away..." With these simple words, the epic space opera that was Star Wars opened up a new world to moviegoers of all ages. Produced on a modest budget, it was a juggernaut that not only revolutionized the way Hollywood blockbusters were made, but created an unprecedented merchandising campaign. Though admittedly influenced by other, classic films such as Kurosawa's The Hidden Fortress (with some obvious similarities between some of the characters and events) it goes beyond being a remake or even a copy of these movies. Referencing his own childhood favorites, Lucas hit all the right notes with his ode to pulp serials, creating his own modern mythology blended from existing, classical archetypes. In fact, the story made up of the elements of a typical fairy tale: good vs. evil, with heroes, damsel in distress, castle (the Death Star), etc. with a dash of New Age spiritualism (as presented by The Force) added in for good measure, and it works. The Award-winning special effects were poor by today's standards, but at the time they were state-of-the-art, and though done on the cheap, the scale models, rubber suits, and crude laser blasts still worked because they helped drive the story along, and efficiently evoked a whole new Universe. The acting from the then-unknown leads is rather poor across the board, verging almost on the camp, but the story and characters, are what really drive the film. The experienced supporting cast including Guiness and Peter Cushing fares much better. Even after so many years Star Wars remains a thrilling and entertaining experience. A milestone in Hollywood cinema, and a definite American classic. (Check out the extended review!)
Entertainment: 9/10

Stealth (2005)
Starring: Joshua Lucas, Jessica Biel, Jamie Foxx
Director: Rob Cohen
Plot: When the on-board computer controlling an advanced stealth fighter goes rogue, it's up to three top gun pilots to bring it down before it continues its killing spree.
Review: A military sci-fi actioner based on the tried-and-true theme of "technology-gone-awry" mixed in with the hot-dogging of Top Gun, Stealth is a derivative, predictable, silly effort but one that's quite enjoyable. The first act sets things up and provides the expected foreboding, with the second act plays out the inevitable Frankenstein scenario that's the basis of the film as the HAL-like AI decides to attack his own targets. However there's an unexpected third act as one of the Navy fliers gets downed behind North Korean lines and tries to escape to the South (Behind Enemy Lines, anyone?). Sure, the politics are vague, as is the science, and the attempts at character development (even in the final act) are laughable, but once its in the skies the film is a well-tuned roller-coaster ride. Fans of technically savvy, grandiose explosions will also find much to appreciate here. Director Rob Cohen, best known for his over-the-top action flicks The Fast and the Furious and xXx, has a knack for keeping even the most shallow, mainstream affairs fresh and stylish. Toning down the real-life stunts and upping the effects content, he's created a film that plays out like a video-game, from the intense effects-driven hi-tech aerial combat to the puff-piece plot. In fact, there's so much CGI effects that it could almost have been done as an animated feature. As the leads, Lucas makes a fine action jock in the fly-boy role, Biel actually comes off better than this film deserves, and Foxx is slumming it in a short-lived starring role. In the end Stealth might be short on brains and quickly forgotten once the credits roll but it's solid popcorn fun while it lasts.
Entertainment: 7/10

Steamboy (2005)
Voice Acting: Anna Paquin, Alfred Molina, Patrick Stewart
Director: Katsuhiro Otomo
Plot: During Victorian England, a young boy-inventor is forced into the middle of a conflict between the British government and an American arms manufacturer over an incredible steam-powered discovery.
Review: Almost two decades after his revolutionary anime Akira hit the world by storm, animation director Otomo gives us Steamboy an amazing vision of an alternate-reality 19th-century England where meadows and gardens are soon to be overrun by a nightmarish version of the industrial age and a new arms race will change the world. Using a mixture of classic cel-animations and computer graphics, it's billed as the most expensive anime ever - the dazzling visuals of rattling gears and hydraulic pistons, the intricate care given every scene proves it. With the London Science Exhibition as the backdrop, it's all an excuse for a showcase of inventive steam-powered machines, from battle armors to planes and tanks, throwing us into a past-as-future world filled with awesome sights. It's a grand adventure, and all the classic elements are in place, including a stalwart young hero, lots of thrilling action set-pieces, and high stakes. Unfortunately, the film becomes overwhelmed by its focus on these huge machines and its insistence on rants about the state of Science, the whole thing climaxing in a numbing 30-minutes of chaos as a gargantuan Steam Castle plods over London, the Frankenstein creation of its two detracting parents. What the film really requires is a little editing to keep the narrative tighter, and a little more levity or substance to make it memorable. As it stands, it gets so chaotic, ludicrous and long-winded that much of our amusement is lost. Inhabited by heroic and villainous stereotypes, the film also never allows for emotional attachment to the proceedings. Even our ingenious child hero is aptly sympathetic but dull, a sounding board for his Darth Vader-like father's ramblings on the power of Science and his grand-dad's blubbering over Science improving all people's lives. The young American brat, aptly-named Scarlett O'Hara (a wink at Gone With the Wind) is actually the only interesting character. The end credit sequence - outlining further adventures of our young hero in a series of stills - is a nice touch. All told, there's still much to enjoy and admire here and as imaginative anime spectacle Steamboy is top notch, but for those expecting Ottomo's second stab at a classic it's disappointing.
Entertainment: 6/10

The Stepford Wives (2004)
Starring: Nicole Kidman, Matthew Broderick, Bette Midler
Director: Frank Oz
Plot: After a nervous breakdown, a high-powered female executive and her husband move to an upper-class neighborhood only to suspect something strange is happening to the female inhabitants.
Review: Loosely based on the book and movie adaptation of 1975, this remake of the The Stepford Wives is nothing but a squandered opportunity for both comedy and social commentary. The socio-political subtext of the original material was quite relevant in the 70's, as stay-at-home moms were slowly finding their way into the job market, and a contemporized version of the battle of this sexes might have made for some subtle satire for our current era as well. Unfortunately, the script keeps it all at a shallow level, trying to play it all for outrageous laughs but only providing the occasional chuckle. In fact, the film loses steam from the get-go, with its repetitive slapstick silliness, its simple-mindedness, and its over-the-top characterizations of servile women and dweebish men. Perhaps knowing the secret behind Stepford makes the whole exercise too predictable, and there's little inventiveness (apart from a twist ending) to make it interesting. And let's no forget the gaping logic holes which seem to stem from multiple re-writes while in production. It's all the worse in that director Frank Oz (The Little Shop of Horrors, Bowfinger) seems at a loss as to what to do with both the material and a really wonderful cast including Kidman, Midler and Glenn Close. The stars all do their best, but all seem to lose their way. In the end, this modern version of The Stepford Wives is watchable enough, but it's mostly just bland fare.
Entertainment: 4/10

Stigmata (1999) 
Starring: Gabriel Byrne, Patricia Arquette, Jonathan Pyrce
Director: Rupert Wainwright
Plot: A Jesuit, a special envoy of the Vatican, comes to investigate a young woman in New York who starts developing wounds similar to those suffered by Christ during his crucifixion. 
Review: Gabriel Byrne does a great turn here as a scientist/priest. The story concept is an interesting one, and the superb cinematography and editing make for some intense, disturbing scenes. That said, it's filmed and staged like a gothic rock video which takes a lot away from the mood justified by the story and soon becomes repetitive and very heavy-handed. The possession segments will undoubtedly bring comparison to the ones in The Exorcist, but they seem much tamer here. But all this has nothing to do with the message that the film-makers are trying to convey, that is the revelation that the Catholic Church is a fraud. This may be new to some viewers, and may be even shocking to others, but it doesn't quite have the punch necessary to carry the movie. In the end, Stigmata is a decent supernatural thriller that tries to aim higher than other movies of the same sort, but doesn't quite succeed.
Entertainment: 5/10

Stir of Echoes (1999)
Starring: Kevin Bacon, Illeana Douglas, Liza Weil
Director: David Koepp
Plot: During a block party, a blue-collar worker gets hypnotized on a lark and soon discovers that he has become psychically linked to the tormented spirit of a murdered girl who has been communicating with his son.
Review: Adapted from the 1958 Richard Matheson novel, Stir of Echoes is an engaging tale that starts with a sense of foreboding and builds to a scary, and tense horror film with great atmosphere and some downright creepy scenes. Kevin Bacon is excellent here, convincingly portraying a man who's losing touch with his surroundings and is obsessed with understanding what is happening to him. Unfortunately, two-thirds into the movie, the story shifts from a supernatural thriller to a more mundane, and predictable, murder mystery. A good horror film that came very close to being a great one.
Entertainment: 8/10

The Stormriders (Hong Kong - 1998)
Starring: Aaron Kwok, Ekin Cheng, Sonny Chiba 
Director: Wai Keung Lau
Plot: An evil and powerful warlord, obsessed by a prophecy told to him years before, raises two children he has made orphan to do his bidding and help him conquer the lands around him. 
Review: The Stormriders is a vastly entertaining fantasy-action epic that manages to mix comic-book sensibilities, a good story, and high-flying action with the help of amazing computer effects. The high production values are immediately obvious as the film is amazing to look at, full of beautiful sets, locales, and interesting cinematography. The high-flying CGI-enhanced fantasy sword-fighting and martial arts sequences are intense and inventive, more akin to video-games than movies. Actually, the film almost tries to put in too much into the plot (a love-triangle, revenge, empire building, a huge cast of characters), but the length of the film (much longer than most HK productions of this sort) is worth every minute. Though the push towards the middle to make it more character-driven slows it down a bit (including the use of a terribly melodramatic moment that is drowned out by a sappy song), it quickly kicks back into overdrive for an impressive effects-laden final battle. Stylish, colorful, and full of impressive action pieces, The Stormriders is just plain fun.
Entertainment: 8/10

Street Trash (1987)
Starring: Mike Lackey, Bill Chepil, Jane Arakawa
Director: James Muro
Plot: A band of homeless men living in a junkyard are tormented by their leader, a vicious, crazed ex-Vietnam vet, and fall prey to a bad batch of toxic, mutagenic alcohol.
Review: Street Trash lives up to its title: it's a crude, bizarre, revolting, utterly fascinating and whacked-out film. Shot with a small budget, terrible actors, and full of multiple sub-plots, is seems more like an experiment in violent gore-comedy than an actual feature. There's definitely no mistaking the energy that went into this film, the originality in its exploitive excesses, and the visual, comedic, and visceral style of director Muro. There's also no way one can say any of this is any "good", but it's fast-paced and never boring. For those who are into well-shot, low-budget, indie cult horror flicks, this one is not to be missed. Everyone else, stay away!
Exploitation / Entertainment: 6/10

Stuart Little (1999)
Starring: Michael J. Fox, Geena Davis, Hugh Laurie
Director: Rob Minkoff
Plot: The story of an orphaned mouse who is raised by the Littles, a family of humans, as one of their own and the adventures he faces before learning the meaning of "home".
Review: Stuart Little succeeds in quickly making a preposterous situation, where animals talk and mice wear clothes, completely normal, thanks in part to some absolutely amazing computer animation of the titular character. The story is at its best when it's playing on the "fish-out-of-water" aspects with Stuart having to face the human household, along with some amusing cat-and-mouse slapstick comedy. But as soon as story shifts to an adventure outside this setting (Stuart has to find his way back home through a band of unfriendly cats) it becomes too dark for kids, and ultimately a little banal. There a lot of interesting situations, as well as some charming moments, but one can't help thinking that it could have been so much better had they stuck a little closer to the intent E.B. White's original story. Michael J. Fox is perfectly cast as the voice of the mouse, and the other voices (especially Nathan Lane as the voice of the scheming house cat) are also good. The live actors are OK, but Geena Davis feels terribly underused. Still, Stuart Little is cute enough and funny enough that one can accept the typical Hollywood plot and circumstances and enjoy the film for what it is: a fun family picture, with a straight fairy-tale story.
Entertainment: 6/10

Stuart Little 2 (2002)
Starring: Michael J. Fox, Geena Davis, Hugh Laurie
Director: Rob Minkoff
Plot: After being adopted by a human family, a friendly talking mouse learns about friendship when he meets a female bird on the run from a nasty falcon.
Review: The inevitable sequel to the surprise hit Stuart Little couldn't be long in coming, and it shows the obvious signs of a second serving. Visually, it looks even better than the first: the production values are top-notch, the vibrant colors light up the screen, and the finely done animal computer animation feels just right. Despite some new characters and an extension on the "little" premise however, there's nothing really new here and, though some of the charm of the original remains, it's no longer as impressive as it once was. The story, too, seems to have taken a step back from the previous one: M. Night Shyamalan's script (he of The Sixth Sense fame) had a surprisingly strong emotional and sentimental core to it and relied more on some fine dialogue and interesting situations to move the narrative along. Unfortunately, gone is all the finesse and wit of the first, replaced by a derivative kids' -show plot, obvious life lessons ("friends are important", "believe in yourself"), debatable humor, and some admittedly efficiently made toy-plane sequences. Director Minkoff is back for the sequel, as is the rest of the cast playing up the "Meet the Beavers" parody to good effect. Praise is due for the solid voice casting, with the likes of Nathan Lane, Melanie Griffith and the inimitable James Woods as the "heavy". In the end, 4 to 8 years olds may be thrilled by the exploits, but older kids might find this all too corny and syrupy to swallow. Still, Stuart Little 2 is all light-hearted fun, and for those who can accept its limitations, it's a breezy enough outing that (thanks to a short run-time of 70 minutes) doesn't overstay its welcome.
Entertainment: 5/10

Stunt Man, The (1980)
Starring: Peter O'Toole, Steve Railsback, Barbara Hershey
Director: Richard Rush
Plot: Running from the police, a Vietnam veteran takes the place of a stunt man in a large Hollywood movie production under the guidance of its flamboyant director, and soon starts to fear for his life.
Review: This film tries to have everything: drama, adventure, stunts galore, and comedy. Unfortunately, it just doesn't blend well: the drama is a bit stretched and made all the more unbelievable by the attempts at levity, the burlesque-type music and some long, uninteresting stunt sequences. It also doesn't help that the movie being filmed is being played as a terrible anti-war picture. Admittedly, the actors are all decent, the concept is promising, and there's a good movie in here somewhere for those who don't mind sitting through a lot of fluff.
Drama: 3/10
Entertainment: 5/10

The Sum of All Fears (2002)
Starring: Ben Affleck, Morgan Freeman, Liev Schreiber
Director: Phil Alden Robinson
Plot: A young CIA operative races to prove that a powerful Neo-Nazi group has gotten its hands on an atomic bomb which it plans to detonate in a U.S. city to push the superpowers into a nuclear war.
Review: The Sum of All Fears, the fourth Tom Clancy Jack Ryan adventure to reach theatres (following Clear and Present Danger) throws the past chapters out the window and starts the series afresh with a younger hero with mostly positive results. The complexities of the book are obviously gone, leaving behind only the most general outline of the plot and only the usual motions of the genre. Even less so than previous Ryan installments, this is not an action flick but rather an old-style Cold War thriller in the style of Fail-Safe with the U.S. and Russia escalating tensions until the brink of nuclear war. The film does take one big, surprising chance mid-way through by actually blowing up an atom bomb during the Super-bowl, an event that's extremely well done and provides the film's most gripping sequence in the 15 minute aftermath, something that is all the more frightening after the 9/11 events. Unfortunately, things slowly devolve into movie-of-the-week predictability, the proceedings marred by large and small inconsistencies towards an easy ending. The choice of retro-villains also spoils much of the necessary suspension of disbelief. Instead of the Middle-Eastern terrorists of the novel, the villains have been turned into aging Neo-Nazis, an evil that everyone can guiltlessly hate, but one that comes across as shallow and rather ridiculous. Director Robinson (Field of Dreams, Sneakers) does keep things moving along however, making both the human interactions and larger events convincing enough, and there's lots of exciting moments to hang on to. As for the leads, Affleck gets by with his usual affable charm but his character (heavily re-written when Harrison Ford jumped ship) isn't really allowed to evolve much or leave an impression. Freeman, as his CIA boss, gives another sober performance but gets short-changed on screen time. The rest of the cast, including Cromwell as the US President and Schreiber as CIA agent John Clark, are all well chosen. Though the political statements and general suspense often feel oddly muted, The Sum of All Fears remains an entertaining summer romp that's a step ahead of the pack.
Entertainment: 7/10

Summer of Sam (1999)
Starring: Adrien Brody, John Leguizamo, Mira Sorvino
Director: Spike Lee
Plot: Summer of Sam follows events in New York during the summer of '77, the summer the serial killer the Son of Sam terrorized the city, and how they affected the lives of a group of Bronx natives.
Review: Director Spike Lee returns to some of the themes he visited in Do the Right Thing, showing us how paranoia and prejudice can easily destroy the thin fabric of society. The characters (played by a superb cast, particularly John Leguizamo and Mira Sorvino as a young married couple) all must face their own frailties, and none come out unscathed. It is a powerful, graphic, and disturbing film, well shot and well directed. A great come-back for Spike Lee.
Drama: 8/10

Summer Snow (Hong Kong - 1994)
Starring: Josephine Siao, Roy Chiao, Kar-Ying Law
Director: Ann Hui 
Plot: A working woman must take care of her husband's recently widowed father, a difficult, rude man who is in the throws of Alzheimer's disease and who is prone to wandering. 
Review: Director Hui has become a staple of Hong Kong cinema, and with Summer Snow she has once again proven her skills behind the camera as well as confirming her humanistic approach to her subjects. The narrative moves along at its own pace, with no real surprises or the usual melodrama associated with films portraying the ravages of the disease, or the theme of getting old. Instead, what we get is a story where the characters are real, with lives that are blandly ordinary and how they manage, for better or worse, to cope like any other family could with an elderly member. In showing such normality, detailing the everyday suffering as well as the occasional humor in the situations, the film manages to imbue the story with a sense of familiar charm and sincere warmth. There are some sentimental moments, of course, but these flow from the story and never appear forced. The main theme finally is that of respect for human dignity no matter the circumstances, age or condition, and it's one that has rarely been shown with such a realistic, clear approach. The two leads are admirable and clearly make the film the success it is. Veteran actor Chiao does an amazingly vivid and endearing turn as the grizzled, tough grand-father who may have lost his capability to function normally, but not his nobility. Siao also does a fabulous performance as the desperate wife juggling work, family and now an invalid in-law, providing the film not only with a well-formed and believable central anchor, but with a fully formed character the audience can readily associate with. A huge winner at the Hong Kong Film Awards, Summer Snow is a beautiful, low-key drama and a wonderful portrait of the human condition.
Drama: 8/10

*Classic* Sunset Boulevard (1950)
Starring: William Holden, Gloria Swanson, Erich von Stroheim
Director: Billy Wilder
Plot: An out-of-work screenwriter is sheltered by a faded silent-film star and her butler in exchange for rewriting a script she has spent years writing for her hopeless "comeback".
Review: By presenting a sly, dark and depressing behind the scenes look at the then-current film productions, director/writer Wilder (The Lost Weekend, The Apartment) has produced one big pointed criticism on the state of Hollywood after the silent era, as well as a grand tragedy on the fickle hand of fame by showing the decline of old Hollywood legends after the coming of sound. The relationship between the young screenwriter and the deluded older star is also fascinating to watch develop, as their lives turn into a grotesque existence inside the opulent, deserted mansion. Of course, this is all greatly helped by a terrific cast, especially (as an interesting bit of casting) Swanson as the aging silent film queen and ac