The zesty, scandalous plot device at the center of the film and the sole reason the movie became a fairly big hit in 1993 can be summed up in one line: "Suppose... I were to offer you one million dollars for one night with your wife." And yes, that surface exposition is intriguing in its glossy, high-concept way. But in truth, the appeal of that tantalizing conundrum gets lost in a muddle of a screenplay that really is not about that spicy million-dollar offer, but rather a tepid, long-winded story of a relationship tested by temptation. In theory, the material could work. In practice, Indecent Proposal is a bland, melodramatic sit.
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Julia Verdin, Seymour Cassel and Jacqueline Bisset - Julia Verdin, Seymour Cassel and Jacqueline Bisset Beverly Hills, California - The BAFTA/LA Awards Season Tea Party held at the Beverly Hills Hotel - Arrivals Saturday 10th January 2009
Wendell Baker (Luke Wilson) has charm oozing from his pores but can't do much more than make friends with it. He makes fake IDs with his friend, Reyes (Jacob Vargas), for illegal aliens that just jumped the fence. Wendell also has a woman who loves him, but of course, he can't tell her he loves her back. That girl is Doreen (Eva Mendes), who runs into the arms of a grocery store owner (Ferrell) when Wendell gets sent away. When he returns, settled on getting his life straight and winning Doreen back. He is set up to work in an old folk's home, ample for his dreams of owning his own hotel one day. Trouble comes when he uncovers a scheme to fake old people's death and actually send them away to be slaves at a small farm house, owned by the mother of Neil King (Owen Wilson), the head nurse and a supreme sleaze bag. With the help of three wily retirees (Seymour Cassel, Harry Dean Stanton, and Kris Kristofferson), Wendell plans to win back the girl and uncover the scheme.
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The catch: Cassel's only doing it on a bet that he can turn any old jerk into the toast of the Cannes film festival.
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Relax... It's Just Sex, on the other hand, is a more humble affair that presents seven or eight obvious gay stereotypes--lipstick lesbians, drama queens, muscle boys--and then tries to subvert them one by one with a whole lot of turbulent plotting and endless talk, some of it bitchily amusing but most of it, well, just talk.
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Amusing enough, and a quick read. And Fast Sofa, the movie, keeps the guts of this road trip intact -- enough to realize that our pal Rick is on a real road to nowhere. Jake Busey makes for a creepy and considerably miscast hero, though Jennifer Tilly's wanton Ginger is enough fun for the both of them. Stealing the show, however, is Crispin Glover, as a shut-in sophisticate named Julian who tags along on the latter half of Rick's abortive journey. His outfit alone is reason enough to rent the tape.
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Good movies about baseball make the game look like a lot of fun, sharing the enthusiasm and energy of the players. 61* doesn't do that. It does contain intense sequences of ball playing, but the main goal here is examining the overworked life a ballplayer must live in order to receive his short 15 minutes of fame. This movie allows us to take part in that experience, both positive and negative.
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Set in the fishing town of New Bedford, Massachusetts, a beautiful middle-aged Portuguese woman, Celia Amonte (Sofia Milos) uses her day job as a seamstress to support her teenage daughter Vicky (Emmy Rossum) in the house she shares with her mother-in-law (Lupe Ontiveros). At night, she sings and dances at a local restaurant to a more somber beat, using her music as an expression for the loss she feels over her husband's death. Even seven years after his death, Celia feels she could never love another, despite Vicky's attempts to set her up on various online dates. When an English drifter and professional gambler named Charlie (Jason Isaacs) rolls in town to clean out the local casino, he quickly becomes taken with Celia and tries every trick in the book to con his way into her heart.
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Too many crooks spoil "The Crew," and I'm not talking about the "grumpy old mobsters" played by Richard Dreyfuss, Burt Reynolds, Dan Hedaya and Seymour Cassel in this withering wiseguy comedy.
I'm talking about the throng of sardine-packed subplots that rob these good actors of all their quality screen time.
This facetious foursome play mobsters retired to South Florida who wind up in the middle of a drug war by trying to keep the run-down hotel they live in from going condo in the wake of all the Porsche-driving 20-somethings moving to town.
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When Walt Tenor (Greg Kinnear) decides he wants to become an actor, he tries to convince his twin brother Bob (Matt Damon) -- his conjoined twin brother -- to move out to Hollywood with him by saying, "You could be my stunt double!"
Yes folks, "Stuck On You" is another cheeky comedy of good humor and questionable taste from the Farrelly Brothers ("Kingpin," "There's Something About Mary" and "Shallow Hal"), and yes, folks, they get a surprising amount of mileage out of jokes like that one -- rim-shot-quality punchlines given winkingly ironic sparkle by the wily writing-directing team's laughing-with-not-laughing-at sensibilities.
There's the scene in which Walt walks his shy sibling over to a pretty blonde in a bar, then takes over the seduction himself when Bob blows it -- and ends up bringing the girl home (Bob tries to ignore their moaning from the other side of a makeshift curtain). There's Walt's "one-man" stage show about Truman Capote, in which Bob tries to slouch as inconspicuously as possible behind Walt's back.
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It's nothing like the country vibe we were anticipating.
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