S = sex, NS = no sex, + = better than average Special Features on DVDs, dates at the end are usually when I saw them.

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The 6th Day** was insipid but sci-fi, so I thought I had to see it. And I've seen it again since, and I always enjoy the stupid thing...

I went to see 8 1/2 Women***/ for purient interests but was disappointed. Oh, there was plenty of female and male (probably more of the latter) frontal nudity. The plot — Dad's wife dies, so he and son gather a harem together for love and affection, and then the ladies fade away — was accessible, although the dialog wasn't necessarily. Visually, it was stunning, with Peter Greenway's usual obscured text not really explaining anything, either. Surreal to see, odd to understand, but still visually memorable. 2000

In 8 Mile**** M&M is a killer wordsmith who movies serial romance and big chance into a choreographed dance that knocks me out. Impending new form in a freeform freefall film free-for-all. When it came out, a lot of critics wondered if he could play anything but himsellf, but that would be the hardest possible role, and he does it superbly. 2003

I was really disappointed with the DVD of 12 Monkeys****. Oh, it's still one of my all-time top ten movies, and I loved seeing it in widescreen and higher resolution. But the "added features," especially the "how it was filmed" featurette and the director's commentary each put me into a coma. I'd hoped to learn about the fascinating specifics of the movie, but those two features were devoid of specificity or interest. _

I heard the music in this one. Kinda wish I hadn't started the ride. Don't know if this was popular. Probably. Maybe. Not sure if it shoulda. Interesting disjointed parallel timeline flick with Hillary Swank, Patrick Swayze, Barbara Hershey and a buncha kids I don't know. A romp. Actually, the music is okay. Opening titles are great, at first, then go long. As does the movie, but everybody gets what they deserve in 11:14***.

13 Conversations About the Same Thing**** mixes chronosynclastic infidelium (the condition of becoming unstuck in time, a term originated by writer Kurt Vonnegut), time travel and happenstance with delight and deadpan. Quirky, serendipitous, smart, deliberately paced, human; a learning process, gently acted; with careful colors; clear, luscious cinnematography, a superb, near-perfect fit of a score — a deliberate trajectory; fate. 2003

I have a whole page of notes Anna and I made while watching The 13th Floor* but naturally, I can't find them now. All I remember for sure was that it was strictly amateur making and acting.

Sandra Bullock's 28 Days*** is a little deeper than the previews would lead us to believe, but not much. Still it's a half-way serious, comedic romp through recovery from various addictions, neatly skipping sex and love addictions in particular. Usually on mark, often funny, not entirely devoid of inteligence and decidedly entertaining. NS 2000

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Strongly visual and visually suggestive, with dense colors, hard, sharp contrast and the Abandon***/ of a first-time writer/director, this spooky, dark, mostly smart, psycho thriller only falls for a few seconds — sprawling suddenly ungainly into a uneccessary plot twisting, swing back rechance, then races headlong to its end. Maybe a little, in retrospect, heavy on the psycho, but fleet in the thrills.

The cover that I didn't get to take home from MegaFlicks and study while I watched the movie mentioned Breaking the Waves, and I think I recognized Emily's boyfriend as the drunken Dad, which he did even better than in, but otherwise not much to do with that stellar flick, but okay a character development story on its own, as we follow a dying mom's last wish to have her daughter drag her reluctant but oh so slowly reforming drunken dad to mom's death bed and odd, drunken and coked up adventures along the way. I could dance to it, but the beat fades from time to time. Aberdeen*** 2001 NS

About A Boy***/ is funny, human, involving, quirky, and a gentle joy. 2002

About Schmidt*** is a sad, big movie about American mediocrity, with an aging Jack Nicholson seriously underplaying the role of Walter Matthau.

Absolute Power** wasn't all that wonderful a political intrigue with burglaring subplot. Not Clint Eastwood at his best.

Afterglow***/ was gloomy, dark, quiet, moving and strange.- It's a careful, deliberately told story constructed of dove-tailed characters, dialog, action and plot. Often sardonic, it makes you think — about love and relationships and loss. Beautiful. 1997- Unsure ending marred the plot. But it was good-enough, aging Clint Eastwood. Eminently forgettable. 1997

The Affair of the Necklace** tedious period piece. 2002

Affliction*** hurts to watch the adult child of a mean alcoholic walk the same path, destroying love, family and friends along the way. Superb acting, excellent characterization and fine camera work. Slow pacing and a bit of murder mystery that doesn't go anywhere. 1999

After Life***/ is a beautiful Japanese film with long moments of slow anticipation as dead people decide on the golden moments of their lives they want to relive forever through low-tech film recreations, kind of an inside joke for filmmakers. Worst thing about the flick is that the English subtitles are in white, and the cinnematographer tends to place bright white objects in the middle, bottom of the screen. Yellow titles would have been easy to read, but these were often indecipherable. 1999

Air Force One*** — smart, tense, violent, twisting and turning plot, grand fun. An awful lot of shooting bullets inside a plane, without losing cabin pressure. 1997

Albino Alligator ***/ is a great movie with long, slow flashes of cinematographic genius, great characters and smart dialog up until the end, which looses it, gets stupid and dies. Alas. Has one of those, what we call, "Basically, It Stinks" endings. 1997

And I remember being excited about seeing the early Alfred Hitchcock Shorts**/. But I'd rather see Alf in shorts. It was ancient and tedious, slender entertainment and educationally bereft.

Akeelah and the Bee*** was fun and a tear-jerker and very predictable but, like I said, fun. About a poor little Black Girl who beats all the odds by rising from her lower income neighborhood in South Central L.A. to be Spelling Bee champion of the world. Good-hearted schmaltz.

Ali*** - Unfortunately, soul music — which is fabulous stuff, no doubt about it — is as large on the screen as any of the fine actors. It calls attention to itself over and over through this otherwise solid movie until it become a nuisance. Other quibbles include that the sex scenes aren't very sexy — I'm guessing Hollywood still can't muster any sensuality for Black people. And though I don't see anything wrong with the acting, there's lots wrong with this movie. Powerful times, powerful themes, important stuff, but it just don't make it a powerful movie. No Special Features, but what a long, long, movie. { reticent menus. Usually I don't like ads on DVDs, but MiBII and Spidey trailers were nice. } 2001

Alias Betty***/ plays the serenditpity game, but well. Characters miss as well as connect in this lush, gentle film with just a little madness thrown in to good effect. Smart, pleasantly complex, happy ending. 2003

Alien Visitor**** sounds like a terrible title. But this little Aussie movie is fine, though didactic. It's little in that there's only two main characters — and only five total. But its scope is global and almost as amazing as the cinematography, which involves lots of superb time-lapse panning and spinning under and among the stars, which is, after all, what Earth is all about. The thrust is that an alien comes down to change the way we think about pollution. Sounds dreary, I know. But the execution is efficient, the story elegant and primarily visual. Like the very best science fiction, it engages and makes us think, and entertains all the way through. 2003

All About My Mother***/ is Almodovar's most accessible story yet. Still weird characters, of course, and lush, dense colors and startling wallpaper but more mainstreamy weird, too. Strong mothers, weak fathers and A Streetcard Named Desire.

I had to see All the Pretty Horses***, because I never managed to finish the book. The movie was okay, but not wonderful.

Almost Famous***/ is a sweet story, well acted, about a very young journalist who nearly loses himself in the world of early 70s rock and roll, then writes more or less honestly about the experience. He doesn't, however, write about the love intererest or the groupies, which comprise most of the plot. 2000

Alphaville***/ - Now that's what I expected of a Jean Luc Godard movie. Very strange, hauntingly beautiful, in glorious, surreal black and white, moments of sheer cinematic brilliance, reminiscent of Kafka ( they guy, not the movie ), deep, intelligent, intellectual.

Amélie**** is Major Quirky, perky, swet and light-hearted — not light weight. Real in a fantastical way. Wonderful, well drawn characters. Complexly simple love story. Visually intelligent and utterly original all the way through. From the director who brought us City of Lost Children comes this marvelous charmer. 2002

American History X***/ is one of those movies that still percolates in my mind, more than six months after I saw it. Angry, mean skinhead turns into a nice guy. Ed Norton at his best.

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I've already seen American Beauty***** on the big screen twice. It's superbly filmed, eloquently acted and cast and easily the best movie of the year, full of sardonic and humane humor and dread. A dysfunctional family saga in the style and grace of Ice Storm crossed with Ordinary People, only better. 1999

I'd avoided seeing American Beauty**** on DVD, although I've been tantalized by it in stores. I carefully avoided reading what I said about it when it first came out, because I've discovered new meaning in all that weirdness with this watching.

We are, I think this wonderful movie reminds, more prisoners of our own visions, our own self-images, than of anyone else's. In the movie's and his own end, the anti-hero — brilliantly played by Kevin Spacey — figures out that only by freeing himself from those blinding and shackling self visions, can he lower his goals but not his expectations. Late — but not too late, he dies a truly happy man. +
  

American Buffalo***** is a memorable motion picture event. Outstanding performances. Intriguing but sometimes annoying dialogue rhythms. Like in Oleana, the perceived truth keeps changing, moment by moment through the film. I'm still thinking about this thing a week later. 1996

American Movie *- A stupid drunk hippie asshole Ed Wood. There should have been some violence in this insipid pseudo documentary. 1999

American Psycho*** is deeply disturbing, about a picky man who likes to cut up women and murder guys with an axe in the face. Oddly sardonic, mostly senseless, sometimes exciting, but always vapid. V+S+ 2000

American Splendor**** is a quirky big film about a pair of in many ways dysfunctional adults who enjoy a remarkably happy life despite being portrayed with much irony in a series of comic books originally illustrated by a very famous artist (R. Crumb) whose work never appears in the movie.

It is not without a deep sense of irony that I watched Peter Pan***. I’ve always loved the story, and have seen almost every version possible, though I have not and do not ever wish to see Hook.

Living nowhere, never
Being young forever.

Is my understanding of the Peter Pan fantasy, and I’ve always enjoyed mine, and I have enjoyed this movie.

Amistad***/is Hollywooded nearly to death and vocal choraled to the highest heavens, this 2.5-hour legal adventure still thrilled and chilled, despite no women. 1997

Analyze This***/ is funny. Smart, too. But funny. 1999

Anastasia**/ is Disney animation without Disney. Wildly romantic, pretty to look at, utterly predictable. Picks up with goofiness almost everytime the kids get restless. 1997

Angie ** - unmemorable 1996

An Ideal Husband***/ is smart and engaging, a period piece from from an Oscar Wilde play. 1999

Anna and The King** is sumptuously filmed and competently acted. But it's essentially stupid, historically inaccurate and ridden with clichés. Most of all, it's long. 2000

Some movies are simple to sum. Others complicated. And Now Ladies and Getlemen****, with the ageless international jewel thief Jeremy Irons playing along in a French movie by Claude Lelouch is not a failure, nor success neither. Somewhere in between broad and subtle comedy, odd dubbing at odds with subtitles as subtexts and motives, a smoothed over complexity of plot vs. subplot, dreams and reality, parallel blackouts that change colors not fade to black, faith and spirit, a jazz vocal refrain and dialogical improv, culture and memory, all amix in post mod remix. Lovely to see and listen, disjunctive to comprehend, like real life and real dreams and, of course, movies, especially French ones.

Well, I finally saw Angela's Ashes**/ from the book I never finished, because it was so long, sad and depressing, and now I can see why the movie was not a success. it's too long, sad and depressing... Emily Watson, who is why I perservered and saw the damned thing, wasn't all that good; the cinematography was fabulous, utterly beautiful; but who wants to see gorgeous slums. It was what, three hours long? I think it would have made an okay hour and a half flick.

Animatrix***/ is an intriguing, often even fascinating concept. A matrix of nine anime visions loosely based on the concepts of The Matrix offers an often beautiful, eminently Dark, thoughtful and thought-provoking political film.

Antonia's Line ****/offers an oddly shorthand way of telling a family's story. Quirkily European. Intriguing characters. Strong, steady story. Superb 1996

Presented without distractions, director Hiroshi Teshigahara's Antonio Gaudi**** is exquisite. A documentary of works of architectural art by the Catalonian master whose span bridged the beginnings of the 20th Century, this remarkably direct film tells Gaudi's story visually, without insulting us with facts or comparisons, historical or critical contexts. We see, and we understand. No one tells us what to think. Far from the usual documentarian's parade of talking heads, this motion picture shows only the barest essential people talking at all. Instead, it concentrates on what's left of Gaudi's visions, his buildings, models and drawings. Showing us what they look like in their own contexts in motions and use. Fascinating and beautiful.

I cry at movies, and I wrecked about five paper towels (Kleenexes disintigrate too quickly) through Antwone Fisher***. Good story, Hollywood embellished, not all true — and it rings that way, loud and clear — but a good telling. Raised rough child grows to be a good man with a little help from a shrink who's got mostly offstage problems of his own. 2003

Antz* was so bad I couldn't continue it past the first half hour.

Apocalypse Now Redux****, resplendant in additional scenes, proves itself one of the the all-time great films, perhaps the best Vietnam War film. Except for the talky plantation dinner scene, which does state — not show — some basic history, and one glaringly inept love scene with just plain stupid soundtrack — making obvious why those scenes were deleted in the original release, this is a fabulous director's cut release.

Apocalypse Now**** is a masterpiece of American literature. I'm eager to see the latest, unexpurgated version that's even a couple of hours longer.

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The Apostle***/ is humanely spiritual and richly religious in a rhythmic (I'd give it an eight and a half, you could dance to it), moving gospel music instilled, deliciously sweet story of the battling good and evil dwelling in even the most sincerely religious of people. Duvall is just short of wonderful, as is everything else about this flick. Except Billy Bob Thornton, whose part — though superbly acted, of course — is pasted in toward the end without even bothering to continue his character. It just needed something, and there was Mr. Slingblade. Farah Fawcett even acts (!) almost human, if frail. 1998

The Aristocrats*** is a funny, down and dirty TV documentary style not in any sense of the word innovative except the premise and the rating, flick of comics telling the same, stupid, dirty as hell joke, over and over and over again without the joke getting old, although by then the movie was. 2005

Arlington Road*** is an intelligent, tense, exciting political thriller with a stupid title and a few highly improbable plot turns. Solid acting, paranoids proved right, but... Flashes of superb artsy cinematography. Sharp, clear with a nasty, thought-provoking twist at the end. 1999

Okay, because it's sci-fi, I had to see Armageddon*. However, at no time during this movie did I ever manage to lose myself in it. Because of all the triteness, stupidities, compound cliches, bad acting, idiotic directorial decisions and general goofiness, I could not willfully suspend my disbelief, which remained intact throughout. I did, though, enjoy this movie. Kinda like Twister, it's stupid and waaaaay overblown, but so what? It's fun and often a visual treat. NS 1998

Artemesia**/ was very reminiscent of Camille Claudet a few years ago. Set in the early Seventeenth Century, about a woman struggling to know life, experience love and practice art, it's an exquisitely beautiful film, with fine acting, solid character development and a moving plot. A truly positive film experience. 1998

The Arrival *** is good, solid sci-fi. Solid plot. Pleasant characters. Good flick. Surprise - I'd given up on Charlie Sheen ever acting again. Odd depiction of aliens. 1996

  
Artificial insemination (actual title Artificial Intelligence, see re-view below) was a vast disapointment. The entire showing I saw, from opening to closing credits — and all the dark, fuzzy, gloomy stuff in between, was out of focus. I complained three separate times to the management of Dallas' Glen Lakes Theaters, and once, a guy in a headset actually came into the theater and cursed quietly about how out of focus it was, but nobody sharpened it. I sat as far back as I could, so it wouldn't seem so bad, but it was hard to concentrate on the dismal story when even eyeballs were blurred (when all else is blurred, photo- and cinema-tographers tend to focus on eyes).

Worse, this print had burned slightly on the previous showing, so it jerked around just at some very important places, and the audience missed several essential bits of dialog...

The big problem with over-hyped movies is they need the hype to survive. AI*** is hardly ground-breaking. If you've read any sci fi in the last three decades, this is pretty old territory. Even Hollywood has had its way with the subject numerous times. Android flicks are one of my favorite genres. Robin Williams has starred in several, one of which is called, Being Human. I reviewed it in the last couple of years, but it explores, as AI sorta does also, what makes something human.

Besides the focus problem and the overt darkness throughout the film, AI's biggest problem is that it isn't very real. Oh, the kid is real. And He's a fine actor. But he never seemed particularly alien to me. His parents, supposedly the humans in this drama, are the real aliens. Their other child is basically human, but there's not much goodness in him, which reflects badly on them and on the directors. That's the other major problem. Two directors. Both very famous, and usually the best directors around. But the second one was nearly clueless, and the first was too old. Then he had the audacity to die in the big middle.

You want to see a good android movie, see Bladerunner (below). It's probably the best ever made. But make sure you see the Director's Cut, too. I prefer the theatrical release version, but together, they average way better than this over-hyped mess, which I'll wait for the DVD release to see again.

Artificial Intelligence**** is a difficult film to watch. Again. Oh, it's long and oddly convoluted. But it's the stringent emotions that make it difficult. When I was a kid, my mother used to play a record about Sparky, a radio boy who wasn't real but desperately wanted to be. AI is about another Pinocchio, a robot boy created to show and receive love, and his long, lonely and largely unrequited quest for real motherly love.

There's an extravagance of subplots and characters along the way, but we center on Jude Law as a robot gigolo and a crusty old Teddy Bear who nearly steals the show. It took this long for me to get around to seeing it the second time, and it might take another decade before I want to see it again. But it's an amazing movie, with grand scope, big ideas and a sci-fi fairy tale plot filled with dark angles and deep angers.

  
As Good As It Gets***/ — Jack Nicholson can do anything. This goofy matchup of quirky characters, yields a heart-warming movie of character development, even if Helen Hunt is her Mad About You neurotic self. 1997

The Assassination of Richard Nixon***/ has not much to do with the assassination of Richard Nixon, which, of course and unfortunately never happened. It is, instead, the more or less true and extremely depressing story of the long, painfully slow demise of a pathetic loser, superbly and entirely too realistically played by Sean Penn.

Assisted Living***/ crosses the lines between documentary and feature and is about moments of lucidity, "living with the crazies" both on the staff and among the residents of an assisted living faciclity. And compassion. Poignant, gentle and humane.

Like Awakenings by the same author, At First Sight*** tells a tale of loss, recovery and re-loss. It's about sight, and it's best told in images, and the visuals are nice, and the dialog turns and turns on seeing, but it's weepy all the way through, and not as visually strong overall as some of its better moments. 1999

A Thousand Acres*** is a modern King Lear with costarring great actresses, decent plot, fine performances, but this is not the best drama of the year, like the hype claims. It's nice, melodramatic and all, a little weepy. 1997

Auto Focus*** is another serial bad guy. This time an unrepentent sexaholic who makes it big on the little screen as Hogan, the star of the Hogan's Heroes TV show. Then his growing addiction takes him spiraling down. Wrenching but not fascinating. Dahmer killed his only friends. This guy's kills him. 2003

Maybe it is that The Aviator*** needs seeing on a big screen. On the little screen it loses power. Solid story, well enough told, great cinematog, but hardly the filmic exultation I expected from the hype. Interesting possible, maybe even probable, biopic-alization of a modern American "success" story. Dark, consequentially reminiscent of Citizen Kane, without the glory or quality. Intense but not entirely successful.

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