As its title points out, Friends has a very marginal interest in Eddie himself. In his first scene, Coyle goes about telling a gun dealer (Steven Keats) about how some associates of other associates slammed his fingers after a deal went sour. A low-level hood since God-knows-when, Eddie speaks about the situation congenially before telling the dealer that he needs 30 guns. Coyle has been supplying guns to a pack of bank robbers, the head of which is played by Alex Rocco. The money he's making is to support his wife and kids before he reports for a two-year stint in a New Hampshire prison; he doesn't feel his family should be scraping by on welfare.
Continue reading: The Friends of Eddie Coyle Review
Far too crazy to be fatalist, Walker strangely begins on a moment of near-defeat for the titular batshit commando (the phenomenal Ed Harris) and his madcap battalion. Saved by a sandstorm and his lawyer, Walker finds himself back in the arms of his love Ellen Martin (Marlee Matlin). The fact that Ephraim Squier (Richard Masur) holds the keys to Walker's future in politics doesn't stop Ellen from asking Squier to fornicate with swine. Soon enough, Walker is trading away his future with Ellen for a mission to Nicaragua at the behest of Squier and Cornelius Vanderbilt (Peter Boyle).
Continue reading: Walker Review
The initial setup is a simple. Scooby and the Mystery Inc. gang find themselves fighting a series of monsters they have previously conquered that are miraculously brought back to life. The monsters were part of a new exhibit at Coolville's Coolsonian Museum until an anonymous masked villain releases them to wreak havoc on the city. Mystery Inc. to the rescue? Nope: Their investigation is hampered by a public relations nightmare created by an overzealous reporter Heather Jasper-Howe (Alicia Silverstone) who criticizes the gang on local television. Instead of focusing on the task at hand, Fred (Freddie Prinze Jr.) and Daphne (Sarah Michelle Gellar) spend most their time trying to protect their image.
Continue reading: Scooby-Doo 2: Monsters Unleashed Review
His choco-licious cravings would make for comic gold if Forster were aiming for dark comedy. It really ain't much different from the classic line in Airplane! when that precocious little girl quips, "I like my coffee black, like my men!" But Forster chooses to play it straight and solemn, a hopelessly limiting choice. Without benefit of slapstick satire, Forster's glib presentation of interracial skin's allure feels ignorant and borderline offensive. The only thing missing is Halle Berry biting down on a vanilla wafer -- though she does beat her fat son for scarfing down chocolate bars ("I'll slap the black off of you!").
Continue reading: Monster's Ball Review
The story involves young Haru (voiced for the States by Anne Hathaway), who rescues a helpless cat from an oncoming truck, only to find herself in the debt of a feline kingdom she formerly didn't know existed. Haru is awakened one night by a bizarre procession on her street: It's the king of the cats (Tim Curry), bearing gifts. Before she knows it, she's whisked into the world of the cats, where she is transformed into a half-cat/half-person, and is told she will be marrying the cat she saved, who turns out to be the cat prince.
Continue reading: The Cat Returns Review
Credit that to a clever script that has Santa falling from a roof on Christmas Eve (and presumably dying in the process -- be ready to explain that to the kids) and Allen's Scott taking up his job after donning the Santa suit. Scott then has a year to prepare to take over the job full time. This mainly works out to Scott's putting on a ton of weight and growing a Santa-style beard, all the while denying he is becoming Mr. Claus.
Continue reading: The Santa Clause Review
Such sentiment, spoken early in the film, sums up The Candidate's position on politics, not to mention my own. Robert Redford plays the title role, a fresh-faced kid and son of a former governer goaded by a group of campaign strategists (namely Peter Boyle) into running against an "unbeatable" Republican nominee for the U.S. Senate. With nothing to lose, he starts off by running the campaign by his conscience and the seat of his pants, but eventually it all gets away from him as the machine takes over. Much like Network, this satire on an American institution continues to gain relevance instead of lose it. The scene of Redford finally losing his mind stands as one of cinema's most classic moments. Plenty of one-liner gems only add to the majesty of the film.