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.
As heavily promoted as it's been, you should know the plot by know. Sandra Bullock is Lucy, a goofy, salt-of-the-earth Chicago Transit Authority toll booth attendant who falls in love (at first sight) with Peter (Peter Gallagher), a yuppie lawyer. Almost immediately after Lucy swoons, Peter gets pushed onto the train tracks, whereupon Lucy comes to the rescue. Then the obligatory "misunderstanding" occurs: Peter's concerned parents think Lucy is Peter's fiancee, pulling Lucy into the family as a new member. But when Peter's brother Jack (Bill Pullman) arrives on the scene, Lucy and Jack begin to fall in love and, well...you get the picture.
Continue reading: While You Were Sleeping Review
The opening shot of "Monster's Ball" -- a strenuous, sorrowful, racially-charged drama about finding solace in unexpected places -- is a simple image of Billy Bob Thornton sleeping, his face almost entirely obscured by shadows.
Even though he doesn't move a muscle, his whole body seems somehow racked with so much tension and stress that you inherently understand this slumbering soul is a deeply tormented man.
Now, if he can project all that while completely inert, just imagine how powerful Thornton's acting becomes when he wakes up.
Continue reading: Monster's Ball Review