And so, when a bona fide classic character like Indiana Jones, last seen on the big screen 19 long years ago, makes his big return (with all the itinerant hype), fans of the series are faced with a painful mix of emotions. Of course there's joy: Another episode of what might be my favorite childhood movie series is a delightful prospect. But then there's despair: Indy may not age, but Harrison Ford does. Indiana Jones is no longer a spry young guy but a veritable senior citizen. And if Indiana Jones is old, that means I'm getting old, too.
Continue reading: Indiana Jones And The Kingdom Of The Crystal Skull Review
The story is, by and large, traditional serial killer fare: Someone is stabbing gay men to death, often in lewd situations. The NYPD captain (Paul Sorvino) sends in Steve Burns (Al Pacino) undercover to ferret out the killer. The straight-edge Steve learns all about gay culture, in which pocket to put bandanas to indicate your proclivities, and so on. But by and large he's just supposed to "go out there and find the killer." But the undercover activity takes its toll on his psyche, most notably in his (non-gay) relationship with Nancy (Karen Allen, virtually the only woman in the film at all).
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The obese and ugly North Carolina Senator Jack Kray (Michael Lerner) keeps his boozy wife (Karen Allen) on a very short leash and would do the same to his college student son Henry (Matt Newton) if Matt were still close enough. When they reunite on the eve of a speech that the Senator will deliver on Henry's campus, Henry is appalled to find out that father wants him to deliver a fawning introduction to dear old dad. When Henry balks, Dad simply smacks him in the face. Nice.
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Debuting before uncaring audiences in 1993, director Rachel Talalay's (Tank Girl) Ghost in the Machine is a derivative sci-fi/horror hybrid that adds nothing new to the old "amok machine" genre that is represented best by director Donald Cammell's Demon Seed. The plot concerns Karl, the "Address Book Killer," (the horror!) played by Ted Marcoux (Dark Blue), who is killed in a freak accident and has his ever-living and ever-evil soul transferred directly into the power supply. (Don't even ask.) Karl roams the electric highway, possessing all manner of gadgets and kitchenware, as he stalks lovely Karen Allen and her son.
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Cal (Crudup) is a Manhattan architect with a wife and 3-year old son who, for a largely unexplained reason, is discontent. His interior landscape is entirely his own, as he revels in the brooding inner drive that propels him to abandon his family and set out on the road. To help convey the mental anguish he's experiencing, the film employs hallucinatory images, flashbacks, time phase cuts, and other borrowings from films like the successful Memento, though without the consistency or effectiveness of that fine work.
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Somewhere inside "The Perfect Storm" there's a near-perfect movie drowning under gale-force swells of romanticized sea-faring melodrama.
Here's a stomach-in-knots true story about the rugged crew a swordfishing boat caught in the biggest sea storm in modern history -- a terrifying human saga with unsurpassed, seat-gripping special effects, strong performances from a stellar cast and level of realism so potent you can almost smell the 200-lb. fish and the sweat of the men who scrape together a living endangering their lives to net them at sea.
Yet the movie's potential got gutted in post-production, where director Wolfgang Petersen ("Outbreak," "Air Force One") slathered it in sentimentality weepy voice-overs, choppy editing and an incessant, intrusive score (by "Titanic's" James Horner) that saturates every single frame of the film with pounding tympani and crashing cymbals.
Continue reading: The Perfect Storm Review
Indiana Jones and the Kingdom of the Crystal Skull (22 May 2008)New trailer The newest...
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