Robert Loggia

Robert Loggia

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PREMIERE OF COLUMBIA PICTURES CAPTAIN PHILLIPS

Robert Loggia - Celebrities attend Premiere of Columbia Pictures "Captain Phillips" at The Academy of Motion Picture Arts and Sciences. - Los Angeles, CA, United States - Monday 30th September 2013

Robert Loggia and Audrey Loggia
Robert Loggia and Audrey Loggia
Robert Loggia and Audrey Loggia

Picture - Robert Loggia and Audrey O'Brien , Monday 19th November 2012

Robert Loggia and Audrey O'Brien - Robert Loggia and Audrey O'Brien Monday 19th November 2012 The Weinstein Company presents a special screening of 'Silver Linings Playbook' at the AMPAS Samuel Goldwyn Theater - Arrivals

Robert Loggia and Audrey O'Brien
Robert Loggia and Audrey O'Brien

Picture - Robert Loggia and wife Audrey... , Friday 2nd November 2012

Robert Loggia, Audrey O'Brien and Grauman's Chinese Theatre - Robert Loggia and wife Audrey O'Brien Friday 2nd November 2012 "Hitchcock" World Premiere - AFI FEST 2012 Presented By Audi, held at Grauman's Chinese Theatre

Robert Loggia, Audrey O'Brien and Grauman's Chinese Theatre

Picture - Robert Loggia , Friday 5th October 2012

Robert Loggia Friday 5th October 2012 arrives at the 'Argo' - Los Angeles Premiere at AMPAS Samuel Goldwyn Theater Beverly Hills

Picture - Robert Loggia , Wednesday 3rd October 2012

Robert Loggia Wednesday 3rd October 2012 'Argo' - Los Angeles Premiere at AMPAS Samuel Goldwyn Theater

Shrink Review


Good
Blackly funny but never as vicious as it clearly wants to be, this rather nihilistic look at modern society keeps us hooked with desperate and lost characters who all have a whiff of soulful humanity.

Henry Carter (Spacey) is a celebrity psychiatrist unable to rebound after a terrible personal tragedy. Anaesthetising himself with alcohol and drugs, he wonders if the fact that he can't help himself indicates that he's useless to his patients too. He's also annoyed that his family keeps trying to help him, from an intervention to a pro bono assignment to treat a troubled teen (Palmer), who has had a similar experience. The fact is that he just has patients, not friends, and the only person he can talk to is his dealer (Plemons).

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The Deal (2005) Review


Grim
It's an old adage that you "write what you know," which is very much the case here. First-time screenwriter Ruth Epstein is a 9-year veteran investment banker with Wall Street's Goldman Sachs. As a legal and financial negotiator, she knows mergers backwards. What she trips up on is translating the language of high stakes finance into intelligible drama.

Most of us couldn't tell the difference between a back-end hedge and a backhoe. So, when Delaney & Strong's hot shot investment banker Tom Grover (Christian Slater) is asked to manage a Russian oil company called Black Star in a $20 billion sale to Condor Oil & Gas, the technical details are about as clear as, well... a barrel of crude.

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An Officer And A Gentleman Review


Extraordinary
Most articles about the state of American movies in the 1980s feature writers bitching and moaning about how the era was built on sequels and action-packed, plot-deprived blockbusters. They may have a point. Independent films really didn't become relevant (again) until sex, lies, and videotape, which was released in 1989. Miramax was still growing.

Something good did come out of the decade: a slew of great date movies. Not surprisingly, there was a formula to it. The typical woman would get a love story usually featuring a hunky, emotionally lost male lead. The typical man would get a macho storyline featuring slapstick, sports, violence, or male bonding. Sometimes he got to see bare breasts. It all led to movies that didn't require three days of negotiation: Hoosiers, Witness, Field of Dreams, Tootsie, Say Anything (for the music geek subset), and the John Hughes stuff for the teens.

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Scarface Review


Weak
To say that Al Pacino chews the scenery as Tony Montana, Cuban drug lord par excellence, doesn't really do justice to the performance. Pacino tears into his lines with a lust approaching frenzy, ripping through scenes with an animalistic fervor, creating a role that has already gone down in the books as one of the great, if not the greatest, portrayals of a gangster ever to hit the screen. It's also, watching some 20 years down the line, laughably campy in a manner that the rest of this bloated, self-important film doesn't seem to appreciate.

Pacino and producer Martin Bregman had a good idea in wanting to make an updated version of the original 1932 Scarface, which chronicled the rise and fall of a Prohibition-era Capone-like criminal overlord (screenwriter Ben Hecht was a Chicago journalist with a lot of intimate knowledge of Capone). Handing it over to director Brian De Palma (who had specialized mostly in psychosexual thrillers like Dressed to Kill and The Fury), and screenwriter Oliver Stone (whose credits included an Oscar for 1978's Midnight Express but also Conan the Barbarian), was a daring move. Stone did a lot of research for the screenplay, hanging out and doing coke with drug lords all over Latin America, and De Palma promised to bring a certain visual flair to the proceedings.

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Oliver & Company Review


Weak
Disney's animated version of Dickens' Oliver Twist, Oliver & Company, is a true oddity in the Disney canon. For starters, the animation style is completely different from anything else in its repertoire. Obviously inspired by Ralph Bakshi (of Felix the Cat fame), the movie features garish perspectives, serious abuse of zoom (in almost every scene), and an attempt at urban grittiness which Walt Disney never knew in his entire life.

And yet here it is, Oliver & Company, wherein an orphaned kitten falls in with a crowd of dogs-cum-hustlers, only to end up adopted into a rich girl's house. A kidnappng and rescue plot (pushing the boundaries of the G rating) ensues -- ironically, it's the best part of the movie.

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Prizzi's Honor Review


OK
Widely considered a black comedy classic, Prizzi's Honor is dated today and, tragically, finally revealed as a middling work that wanders aimlessly and ends abruptly. The premise is simple: Jack Nicholson (doing a rare role with an accent) is a hitman, Kathleen Turner is a hit-woman. They fall in love, find out they're working for opposite sides, and are eventually ordered to kill each other. Will love conquer all? You be the judge. The film takes half an hour to finally get rolling, while a serious of side plots interfere with the narrative until the movie suddenly just stops. Anjelica Huston won an Oscar for her part as Nicholson's jilted ex-lover, and while it's good, her five minutes of screen time don't merit an Academy Award. What was wrong with Bill Hickey, as the ascerbic Don in one of his best roles ever?

Curse Of The Pink Panther Review


Grim
Although the prior Pink Panther film, Trail of the Pink Panther, essentially had no plot, Curse of the Pink Panther picks up where it left off.

That's a tricky place to start, and it doesn't go entirely well. Finally acknowledging the death of Peter Sellers three years earlier, Curse posits that Clouseau is still missing and that, well, somebody ought to find him. Enter what the studio obvious hoped would be a replacement for Sellers, Ted Wass, playing "the world's second best detective," Sergeant Clifton Sleigh. (Of course, Wass didn't really take, the movie flopped, and that was that. Wass is now a television director, but he's best known for his work playing the dad on TV's Blossom.)

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Trail of the Pink Panther Review


Grim
In 1980, Peter Sellers died. In 1982, Trail of the Pink Panther, with Sellers as the headliner, was released by a studio hungry to capitalize further on the popular series.

Trail certainly isn't historically unique in its use of archival footage to create a role for a passed-on movie star, but it's inarguably one of the ballsiest attempts at it. Sellers isn't some bit player (like Lawrence Olivier in Sky Captain and the World of Tomorrow), he's the star. He's Inspector freakin' Clouseau, and he's in more than half of the running time of the film.

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Big Review


Excellent
Now an iconic, breakthrough performance for Tom Hanks, Big is 100% cotton candy fun, an Adam Sandler movie with more of a brain and a heart. Even a soul. The story has become timeless -- and it's kept Penny Marshall's career alive for almot 20 years now -- about a boy who sees that adults have everything that he doesn't, so he wishes to be "big." When he gets his wish, comedy and some touching moments where young Josh learns, real quick, about the difference between kids and grown-ups. Very funny, with good performances from everyone in the film. Though, if her kid was ostensibly kidnapped, why wouldn't mom (Mercedes Ruehl) call the cops?

Holy Man Review


Unbearable
Pop quiz. You're Eddie Murphy, a popular comedian who makes about a decade of bad movies. You then do a remake of a Jerry Lewis classic and you're back in the swing of things. People start to like you again. Why would you do Holy Man?

In this awful, Saturday Night Live sketch gone bad, Jeff Goldblum stars in a thankless role as an infomercial executive who needs to find good product or he'll be fired. He stumbles upon G (Murphy), a mysterious man in a white sheet who speaks eloquently about.... uh....stuff. Goldblum has the inevitable romance with co-worker Kelly Preston, who are about as compatible as Catherine Zeta-Jones and Walter Mathau.

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Robert Loggia

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