A purely escapist entertainme…
A purely escapist entertainment, John Badham’s Another Stakeout, a upshot to his 1987 hit, is sillier and less misleading than the in the first place movie, but it’s also funnier.
Scripter Jim Kouf’s new comedy-adventure picks up Chris Lecce (Richard Dreyfuss) and Bill Reimers (Emilio Estevez), the two Seattle police detectives, six years later. Estevez is now married and the father of two. Dreyfuss, who is clean-shaven, lives with Maria (Madeleine Stowe, uncredited), the woman he was assigned to observe and fell in love with the first time out.
The eternally feuding cops are appointed to locate Lu Delano (Cathy Moriarty), a missing key witness in the trial of a Las Vegas mobster. This time around, their team also includes Gina Garrett (Rosie O’Donnell), an assertive, tough-talking assistant DA, who insists on bringing along her dog. Once they situate themselves in an elegant house in an upscale neighborhood, pretending to be one big happy family, the real movie and frolic - begins. Most of the humor revolves around comic exchanges between Dreyfuss as Dad, O’Donnell as Mom and Estevez as their grown son.
There’s one hilarious scene, a dinner party hosted by Dreyfuss and O’Donnell for their neighbours (Dennis Farina, Marcia Strassman). The fluency of wisecracks and sight gags in this sequence, which would do Blake Edwards proud, overshadows everything that follows.
Uncategorized | Comment (0)Wheels on Meals review
Jackie Chan is more than the assess = ‘pretty damned quick’ of his stunts: it’s his knack for comedy, as much as his martial arts virtuosity that makes him Asia’s top star. This delirious comedy, set in Barcelona, is one of his better efforts. He and Yuen Biao are wanton-food operators who by crook become entangled in a thread involving a prostitute, a lunatic and a missing heiress. The utter haphazardness of the happenings recalls Hollywood’s golden slapstick comedies.
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Uncategorized | Comment (0)The Day Reagan Was Shot (2001)
Chief among these movies are those with a political bent, or those of a
small, personal nature. In Showtime’s superb “The Day Reagan Was Shot,” what
we’re given on the surface is a simple retelling of what happened on March 30,
1981, when President Ronald Reagan, a mere 70 days into his presidency, was
nearly assassinated outside the Washington Hilton by the deranged John
Hinckley, who was trying to prove his love for actress Jodie Foster.
But this film is much more than a retelling, for most people simply don’t
know about the chaos that reigned both in the operating room with Reagan and
at the White House, where Secretary of State Alexander Haig famously forgot
the line of succession and essentially claimed to be running the government.
ABOUT 98 PERCENT RIGHT
“The Day Reagan Was Shot” is a small powder keg in that writer-director
Cyrus Nowrasteh pieced together the story from news coverage, books and
memoirs, but didn’t actually talk to any of the participants (essentially, the
entire Reagan White House team, which gets a good black eye for incompetence
on that stressful day). Those close to the film say Nowrasteh got everything
about 98 percent right.
The film even prompted former Reagan National Security Adviser Richard
Allen to tell Larry King in March that he would release audiotapes from the
“situation room” in anticipation of the movie. Allen later wrote of the events
and used the transcripts in an Atlantic Monthly piece.
This is just the kind of juicy history lesson that nobody would pay $8.50
to see in the holiday season but that makes for a riveting and sometimes
frightening and funny film for Showtime.
Richard Dreyfuss really digs into the role of Haig, the central force in
“The Day Reagan Was Shot,” because his seizing of power amid the chaos nearly
led to an inadvertent nuclear war with the former Soviet Union. Both Richard
Crenna as Ronald Reagan and Holland Taylor as Nancy Reagan do admirable jobs
of not making caricatures out of familiar public figures. Another standout
performance comes from Colm Feore as Caspar Weinberger, the object of Haig’s
disdain. Various representations of Reagan’s staff, from Michael Deaver to
James Baker and Ed Meese, are also quite good, although the real-life people
won’t think so, since being clueless is a key element in the portrayals.
“The Day Reagan Was Shot” covers a lot of bases, some familiar, some not —
all of them pretty unsettling given what might have happened. The FBI
apparently knew that Hinckley was a threat but never passed it on. Reagan’s
pass code for the nuclear launch buttons was tossed with his clothes, then
seized by the FBI, which wouldn’t turn it over to the Secret Service, even
though Haig and others mistakenly thought the Soviets were about to launch an
attack within three minutes (turns out there was a simulated missile attack in
the works, and no one from NORAD figured that out, which inadvertently led
Weinberger to increase DefCon readiness, alarming the world).
PHONES OUT OF ORDER
While this was unfolding, phones were on the fritz in the situation room
and also on Air Force Two, which was carrying Vice President George Bush to
Texas, then was quickly rerouted to Washington.
Back at the hospital the doctors were unaware (because no one told them)
that the bullet lodged between Reagan’s heart and collapsed lung could explode,
and tight security didn’t stop a disgruntled medical student from sneaking
into the hospital and getting into the room with Reagan.
Chaos, ineptitude and fear. Meanwhile, we all went about our business in
the Me Decade, mostly unaware of how dangerous things became that fateful day.
There’s a lot of meat in this historical movie, and it’s probably more
entertaining and important than the latest overblown Hollywood offering at the
cineplex.
E-mail Tim Goodman at @cf,nel tgoodman@sfchronicle.com.
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Uncategorized | Comment (0)Going Shopping review
Holly G. (played by Victoria Foyt), is a rich clothing artist with her own boutique. In the no doubt of a tumultuous Mother’s Day weekend she is confronted with deceit, elation, distress, kleptomania, rebellion, addiction and passion, all the while under pressure to save her business and her blood in just three days! In into the bargain to a compelling alibi border, the comedy is peppered with sad testimonials from the women within the motion picture who ?acknowledge? the earnest and all too often unacknowledged character that shopping play’s in their lives. Henry Jaglom has created a comedy which deals with the phenomenon of women?s addiction - both good and bad happy and troubled to shopping. GOING SHOPPING is a sister murkiness to Jaglom’s critically acclaimed EATING and BABYFEVER which both depict suitable issues contemporary women face, and is some cases, obsess one more time. During Jaglom’s work (FESTIVAL IN CANNES, DEJA VU, LAST SUMMER IN THE HAMPTONS) it is clear that he has a strong kinship to women and this is translated onto the big screen. BOOMING SHOPPING portrays another complex aspect of women’s lives, one that is mostly overlooked or dismissed by mainstream Hollywood: shopping! GOING SHOPPING stars Victoria Foyt, Lee Supply Stick up Morrow and Bruce Davison, Mae Whitman and Jennifer Grant, Juliet Landau and Cynthia Sikes. Directed by Henry Jaglom; written by Henry Jaglom & Victoria Foyt; produced by Judith Wolinsky; motion design by John Mott; edited by Henry Jaglom.
Uncategorized | Comment (1)Dark Blue (2003)
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Few subjects are as bone-draining, banal and rancid as the corruption of American authority.
You couldn't field a bowling team with the honest police officers depicted in movies of recent decades. Occasionally, we get something brilliant such as "L.A. Confidential," which peers into the souls of the compromised, but more often we get "Training Day" and "Narc," trendy wallows with preposterous treatments.
For a while, it looks as though "Dark Blue" will fall into the bulging latter group - a taste of naivete, a ton of contamination and a bloody comeuppance that has less to do with justice than feeding audience expectations for a splashy finish.
Instead, it builds to a well-crafted trio of tiered climaxes that hold the audience transfixed.
It represents, by far, the most accomplished direction to date by Ron Shelton, who usually writes and directs ("Bull Durham," "Tin Cup") but who this time worked from a script that David Ayer ("Training Day") adapted from an unproduced James Ellroy screenplay.
It uses as a background events relating to Rodney King's beating by Los Angeles police officers and their trial a year later.
In the foreground, though, stands one of those standard cop teams - toxic veteran Eldon Perry (Kurt Russell) and tainted rookie Bobby Keough (Scott Speedman).
They're enforcers for putrid unit leader Jack Van Meter (Brendan Gleeson), who also leans on lunatic informants Gary Sidwell (Dash Minok) and Darryl Orchard (Karupt).
The one ranking officer who recognizes foul air is Deputy Chief Arthur Holland (a stolid Ving Rhames).
Never as insightful or compelling as it could be, "Deep Blue" nevertheless builds a mound of modestly truthful moments including the parallel disenchantment of Arthur's wife Janelle (Khandi Alexander) and Eldon's wife Sally (Lolita Davidovich, Shelton's wife).
A host of familiar elements coalesce better than expected, at least, with an ambush that is meticulously designed, a breathtaking re-creation of rioting in South Central and a final confrontation that strives for veracity and redemption where excess would be the norm.
Terminator Salvation video download hd
Casting an illuminated shaft on Eldon's bent ideals, Russell offers his first great performance, although it arrives too early in the year to build to the Oscar that Denzel Washington received for a comparable role and performance in "Training Day."
Russell's tour de force, especially at the finish, supports the belief in him long held by Shelton, who wrote "Bull Durham" for him (but who wound up with hotter prospect Kevin Costner).
The film's color scheme might be dark blue, but Russell wades deeply into a moral gray zone and finds in Eldon's fog the conviction of his courage.
'Dark Blue'
Director:
Ron Shelton
Stars:
Kurt Russell, Ving Rhames, Brendan Gleeson
MPAA Rating:
R, for violence, language and succinct sexuality
The Return review
Inexplicably rated 15 by the BBFC, this mild but involving paranormal thriller from British director Asif Kapadia (‘The Warrior’) majors in creeping unease and ritual shocks to some extent than violent horror. ‘Buffy’ name Sarah Michelle Gellar is typically anodyne as Joanna Mills, a moneymaking trucking company sales rep who lives faulty of hotel rooms, operates on affective autopilot and is estranged from her ageing priest (Sam Shepard). Joanna’s unstable instability and self-harming tendencies are exacerbated by troubling memory flashes of buildings, bars and rooms in places to which she has not in the least been. On a role trip to Texas, she is tired to the town of La Salle, where informed of images, weird vibes and vivid visions advice at a good old days connection with brooding, widowed cowpoke Terry (Peter O’Brien). Or perhaps an adolescent sexual trauma involving sleazy, lurking redneck Griff (JC MacKenzie).
Kapadia’s fluid storytelling and Roman Osin’s charming cinematography create subtle, unnerving commination gone from of flat vistas, decaying industrial architecture, claustrophobic interiors and hoary-fashioned in-camera effects. Sadly, Adam Sussman’s plan is so thin you can about pure in all respects it.
Uncategorized | Comment (0)Funny pic about a brooding wr…
Funny pic about a brooding wrestler reincarnated as a giant squid is a kind of “Waiting for Godzilla” aimed at the midnight confines. F/x, amounting to men in rubber suits, is proudly of the Ed Wood Lyceum, but tasty tale is served up with a redeeming wink. Astute sketch of Japanese pro wrestling ancient history, couched in terms of island’s postwar congruence problems, give extra context to the tentacle-in-cheek sports spoof. Cult suction should ensue, but it won’t see much overwrought ink.
Koji Taguchi’s (Osamu Nishimura) hard-won wrestling belt is soon snatched away by what looks like a scowling penis with 10 arms (Akira). Koji does his worst to the slimy interloper, by it’s not enough. “Joint holds don’t work on invertebrates,” an unflappable judge explains to breathless reporters. Strangely, the critter reminds Koji’s fiancee (Kana Ishida) of her ex-b.f., who came to a nasty end. Calimari’s revival occasions teeth-gnashing about giant creatures attacking an insecure Japan. But social symbolism doesn’t help when he faces off against yet more cephalopodan contenders.