Barney Panofsky (Giamatti) has had an event-filled life that not many people quite understand. His first marriage to Clara (Lefevre) in 1970s Rome was short, but his second back home in Montreal (to Driver) was even briefer, as he met wife No 3, Miriam (Pike), at the reception. His later years are haunted by a detective (Addy) who's determined to prove that Barney killed his best friend (Speedman) back in the 80s. And then there's his feisty dad (Dustin Hoffman), smart kids (Jake Hoffman and Hopkins) and a too-friendly neighbour (Greenwood).
Continue reading: Barney's Version Review
Finding love has never really been a problem for Barney. Having been married once before, he thinks his marriage to 'the second Mrs P' is going to be it, he's finally ready to settle down. After all, you couldn't hope for more when you're marring a beautiful princess with 'a wonderful rack'; however when Barney lays eyes on Miriam, a guest at his wedding, he knows his marriage is a total sham and a huge mistake.
Continue: Barney's Version Trailer
The dialogue is fantastic, with Eastwood utterly believable in his testifying to the evils of whisky, and Hackman totally at ease with saying he "et it." Richard Harris's English Bob is an unforgettable pansy of a villain, and the widescreen cinematography is lush during the day, ominous during the invariably rainy nights.
Continue reading: Unforgiven Review
To get away from the misery of his day-to-day existence, Dark retreats into a 1950s film noir fantasy world straight from one of his books, where he's a handsome band singer who moonlights as a gumshoe. In the fantasy, he gets tangled up in a plot revolving around a dead blonde dame, the sinister Mark Binney (Jeremy Northam) who hires Dark to investigate her murder, and a couple of palookas in sharp suits (Adrien Brody and Jon Polito) who keep trying to bump Dark off. Unfortunately, the fantasy starts getting mixed up into Dark's real life - Chandler-esque gangsters showing up at his bedside, and hospital staff bursting into renditions of doo-wop hits that Dark's alter ego would have sung in an L.A. nightclub - and he has trouble keeping them separate.
Continue reading: The Singing Detective Review
The phrase, now famous via Douglas's Oscar-winning performance, was initially uttered by Ivan Boesky, the 1980s business biggie who thrived on doing whatever it took to become rich, and paid the price as a result. Director/co-writer Stone, with Douglas at the epicenter, erects an overdone behemoth of a movie that, like Boesky himself, is an ageless -- and, at times, clichéd -- cautionary tale.
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The two are spotted in the White House by a gaurd who originally saw the girls at Watergate the night of the burglary. The two are taken to the infamous "West Wing" where they meet and fall in love with President Richard "Dick" Nixon, played by Dan Hedaya, and very well I might add. Unfortunetly Hedaya's very entertaining performance of Dick couldn't save this already ill-fated non-comedy.
Continue reading: Dick Review
Despite the High Seas setting, the film takes the form of merely a series of conversations among various characters on the boat. Central to them is grad student Dale (Tony Mamet, David's brother), working the boat to earn money during the summer. Then there's an ornery captain (Charles Durning) and his number two (George Wendt). There's a strange fireman (Denis Leary) who stays below deck. There are horny guys (J.J. Johnston and Jack Wallace) who argue the merits of Steven Seagal and his toughness. There's also a lovable deckhand (Robert Forster) who teaches Dale a thing or two about life, love, and so on.
Continue reading: Lakeboat Review
"Baadassss!" is Mario Van Peebles' fond commemoration of his cantankerous father's bull-headed cinematic audacity. An unblinking, if slightly golden-toned, account of the making of Melvin Van Peebles' violent, dark, gritty and groundbreaking "Sweet Sweetback's Baadassss Song," it's a clear labor of love, and so much the better for it.
"Sweetback" -- a "ghetto Western" about a slick, taciturn pimp who becomes a hunted man for killing a couple thug cops who beat a black militant -- scared the hell out of Hollywood, yet its success ($15 million in limited release in 1971) gave rise to scores of shallower imitators that became the blaxploitation genre of "Coffy" and "Shaft."
Getting the divisive, patently anti-establishment film made was a nightmare of financing and bounced checks ("Baadasssss!" implies that drug money was to be used before Bill Cosby stepped in), of casting (writer-director Melvin played the lead when he couldn't find the right actor), of union problems (the industry guilds were practically all-white at the time -- and expensive), of controversy (an X rating), and of distribution (only two privately-owned theaters would touch it at first).
Continue reading: Baadasssss! Review
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