Continue reading: The Living Daylights Review
In an effort to create another Amadeus, the film chooses to use Beethoven's will, wherein he leaves his estate to a nameless "immortal beloved," as the starting point for delving into Beethoven's past. Consequently, much of the film is interested in Beethoven's supposed relationships with the women around him. Here, the film somewhat takes leave of reality, playing fast and loose with the facts of Beethoven's life. In fact, the film's final claim of a certain woman as Beethoven's immortal beloved is considered absurd by most historians.
Continue reading: Immortal Beloved Review
Continue reading: The Punisher (1989) Review
In the first Deuce Bigalow, Rob Schneider created an amusing character, probably the first male prostitute to carry a feature film aside from American Gigolo, and there's no reason the joke couldn't have lasted through a sequel or two, except one: Schneider is a non-presence on screen. Whether he's wearing a diaper, swordfighting, or dancing to accordion music, or whatever else he's doing, Schneider has no comedic appeal, nil.
Continue reading: Deuce Bigalow: European Gigolo Review