L.A. Confidential
Running Length: 2:20
MPAA Classification: R (Profanity, violence, sex, nudity)
Cast: Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell,
David Strathairn, Kim Basinger, Danny DeVito
Director: Curtis Hanson
Screenplay: Curtis Hanson and Brian Helgeland based on the novel
by James Ellroy
Crooked cops. The mystery and allure
of Hollywood in the '50s. Death, double-crossing, and secret
alliances. Paparazzi waiting to get that one breakthrough picture.
These are just some of the elements that make Curtis Hanson's
L.A. Confidential one of the most exhilarating noir thrillers
to reach the screen in recent memory. With a script that pays
homage to the films of the '40s and '50s and may remind some
viewers of the likes of Chinatown, L.A. Confidential proves that
every period piece thriller doesn't have to go the way of Mulholland
Falls. It's 1953, and the City of Angels is in the grip of an
unprecedented wave of violence. Cops on the take turn their backs
on crimes. The jailing of a major mob boss leaves a vacuum of
power that leads to a turf war. Then comes the Night Owl Massacre,
where six victims (including an ex-cop) are brutally gunned down
at the Night Owl Café. The police begin routine investigations,
but it quickly becomes apparent that this is no ordinary multiple
homicide. The difference between L.A. Confidential and numerous
other, more routine films of the genre begins with the script.
Smart, insightful, and consistently engaging, Hanson and Brian
Helgeland's faithful adaptation of James Ellroy's novel is a
real treat for anyone who views film as a medium for both art
and entertainment. The movie is filled with small twists and
turns, but not so many that the plot becomes difficult to swallow
or to follow. The subplots - and there are several - are as well-developed
as the main story, and the supporting characters are presented
as more than mere colorful misfits decorating the background.
One Flew Over the Cuckoo's
Nest
Running Length: 2:22
MPAA Classification: R (Profanity, violence)
Cast: Jack Nicholson, Louise Fletcher, Brad Dourif, Christopher
Lloyd, Danny DeVito, Scatman Crothers
Director: Milos Forman
Screenplay: Bo Goldman and Lawrence Hauben, absed on the novel
by Ken Kasey
In one of the most memorable indictments
of mental institutions, and a subtle examination of male anger,
ONE FLEW OVER THE CUCKOO'S NEST (based on the novel by
Ken Kesey presents a biting, and ultimately tragic, satire. R.P.
McMurphy, a misbehaved con who shirks authority, finds himself
in an asylum after faking insanity to get out of work detail
in prison.One Flew Over the Cuckoo's Nest is one of the
greatest American films of all time directed by Czech Milos Forman.
The independently-produced film also swept the Oscars: it was
the first film to take all the major awards (Best Picture, Best
Director, Best Screenplay, Best Actor, and Best Actress) since
Frank Capra's It Happened One Night (1934). It was nominated
for nine Academy Awards in total: Best Actor (Jack Nicholson
with his first win after losing the previous year for Chinatown
(1974)), Best Actress (Louise Fletcher), Best Adapted Screenplay,
Best Cinematography (Bill Butler and Haskell Wexler), Best Director,
Best Editing, Best Picture, Best Score (Jack Nitzsche) and Best
Supporting Actor (Brad Dourif). "Cuckoo's Nest" beat
out tough competition for Best Picture by Spielberg's Jaws (1975)
and Altman's Nashville (1975). The film's screenplay (by Lawrence
Hauben and Bo Goldman) was from author Ken Kesey's 1962 popular,
best-selling novel of the same name. The novel was originally
dramatized on Broadway (a play by Dale Wasserman) beginning in
1963 with actor Kirk Douglas starring in the lead role. Kirk
Douglas bought the rights to the novel, but couldn't convince
film studios to produce the film. Many years after its short
theatrical run, Douglas' son, actor/producer Michael Douglas
(who was given the rights by his father) co-produced the film
with Saul Zaentz and it was released by United Artists. Kesey
had derived most of the novel's secondary characters from real-life
psychiatric ward patients at a VA hospital (Agnews Hospital in
San Jose, CA) he had worked at.
Waiting to Exhale
Running Length: 2:04
MPAA Classification: R (Sexual situations, profanity, mature
themes)
Cast: Angela Bassett, Whitney Houston, Lela Rochon, Loretta Devine,
Gregory Hines, Leon, Dennis Haysbert, Michael Beach, Wesley Snipes
Director: Forest Whitaker
Screenplay: Terry McMillan and Ronald Bass based on the novel
by Terry McMillan
The adaptation of Terry McMillan's
best-selling novel, about four middle-class, African-American
friends, and their continuing efforts to find Mr. Right.
The story begins with Bernadine, whose husband John calmly announces
that he's leaving her -- for a white woman. Furthermore, the
wealthy John has been manipulating his finances, and leaves Bernadine
virtually broke. But Bernie gets her revenge, in a rather "fiery"
fashion. Then there's Savannah, who re-ignites a relationship
with her ex-boyfriend, who's married with children. Meanwhile,
dim-bulb Robin dates hordes of Mr. Wrongs before going back to
Russell, who's also married. Will either come to her senses?
Finally, portly, single mom Gloria gave up on finding a man years
ago, concentrating instead on raising her son. Ironically, it
is she who finds love, with her new neighbor. For these women,
finding a man is secondary to one thing: their close love and
affection for one another. And it is this bond that helps them
get through the pain and heartache of their lives. Released theatrically
in the USA December 22, 1995. The film was very profitable for
20th Century Fox, as the budget was $15 million -- and grossed
$65 million domestically.Color by DeLuxe.The film was named best
picture of the year at the 27th annual NAACP Image Awards ceremony.
In addition, Angela Bassett was named best lead actress and Loretta
Divine best supporting actress.
The Wizard of Oz
Running Length: 1:41
MPAA Classification: G
Cast: Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack
Haley, Billie Burke, Margaret Hamilton, Charley Grapewin, Clara
Blandick
Director: Victor Fleming
Screenplay: Noel Langley and Florence Ryerson and Edgar Allan
Woolf based on the novel "The Wonderful Wizard of Oz"
by L. Frank Baum
For veteran director Victor Fleming,
who began making movies during the black-and-white, silent era,
1939 represented the pinnacle of his career. Not only did Fleming's
Gone with the Wind claim the Best Picture Oscar, but his other
big feature, The Wizard of Oz, took its first steps towards becoming
one of American cinema's best-known and most beloved motion pictures.
Throughout the years, there have been dozens of live-action films,
stage plays, animated features, and TV programs based on L. Frank
Baum's classic Oz stories. To one degree or another, almost all
have been influenced by Fleming's telling of the tale. Although
the 1939 version was not the first filmed adaptation of the book
(the Internet Movie Database lists at least two silent movies,
including one with Oliver Hardy as the Tin Man, that preceded
Fleming's), it is without a doubt the definitive one. When anyone
thinks of The Wizard of Oz, they see Judy Garland, Ray Bolger,
Bert Lahr, and Jack Haley, and hear "Somewhere over the
Rainbow" and "Follow the Yellow Brick Road." The
Wizard of Oz belongs in that exclusive category of films capable
of equally enchanting children and adults. In fact, the basic
formula was so successful in The Wizard of Oz that Disney borrowed
it as the framework for their recent wave of animated pictures.
If there's something familiar about the structure of The Little
Mermaid, Beauty and the Beast, etc., that's because the approach
of mixing light comedy and adventure with catchy musical tunes
is not original. Recognizing how well Oz played to all audiences,
Disney adapted the skeleton of the classic for their own use.
Ultimately, however, it doesn't take a lengthy study to understand
why multiple generations find the movie so compelling. Not only
is it wonderfully entertaining, but the issues it addresses,
and the way it presents them, are both universal and deeply personal.
And therein lies The Wizard of Oz's true magic.
The Godfather
Running Length: 2:51
MPAA Classification: R (Violence, mature themes, language, brief
nudity)
Cast: Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane
Keaton, Talia Shire, Al Lettieri, Sterling Hayden, John Cazale
Director: Francis Ford Coppola
Screenplay: Francis Ford Coppola and Mario Puzo based on the
novel by Mario Puzo
Rarely can it be said that a film has defined a genre, but
never is that more true than in the case of The Godfather. Since
the release of the 1972 epic (which garnered ten Academy Award
nominations and was named Best Picture), all "gangster movies"
have been judged by the standards of this one (unfair as the
comparison may be). If a film is about Jewish mobsters, it's
a "Jewish Godfather"; if it's about the Chinese underworld,
it's an "Oriental Godfather"; if it takes place in
contemporary times, it's a "modern day Godfather."
The characteristic that sets this film apart from so many of
its predecessors and successors is its ability to weave the often-disparate
layers of story into a cohesive whole. Any of the individual
issues explored by The Godfather are strong enough to form the
foundation of a movie. Here, however, bolstered by so many complimentary
themes, each is given added resonance. The picture is a series
of mini-climaxes, all building to the devastating, definitive
conclusion. Rarely does a film tell as many diverse-yet-interconnected
stories. Strong performances, solid directing, and a tightly-plotted
script all contribute to The Godfather's success. The Godfather
is long, yes - but it is one-hundred seventy minutes well-spent.
When the closing credits roll, only a portion of the story has
been told. Yet that last haunting image (Kay's shock of recognition),
coupled with Nino Rota's mournful score, leaves a crater-like
impression that The Godfather Part II only deepens
Gone with the Wind
Running Length: 3:42 (excluding intermission)
MPAA Classification: G
Cast: Clark Gable, Vivien Leigh, Leslie Howard, Olivia De Havilland,
Hattie McDaniel, Ona Munson, Thomas Mitchell
Director: Victor Fleming
Screenplay: Sidney Howard based on the novel by Margaret Mitchell
When the American Film Institute released
its list of the 100 best American films of all time. Not surprisingly,
Gone with the Wind placed in the Top 10 (#4, in fact). This epic
romantic melodrama is undoubtedly one of the most popular and
beloved motion pictures ever to grace the silver screen. Gone
with the Wind has one of the best-known storylines of any film,
due in large part to the popularity of the source material, Margaret
Mitchell's best-selling 1936 book. It's essentially a sumptuous
soap opera set around Civil War times in the deep South. The
main character is Scarlett O'Hara (Vivien Leigh), the spoiled,
manipulative daughter of an Irish immigrant plantation owner
(Thomas Mitchell, who would later play Uncle Billy in Frank Capra's
It's a Wonderful Life). Scarlett has two sisters, but she is
by far the most spirited of the three O'Hara girls, and her father,
seeing her as his successor, teaches her lessons about the importance
of the land. "It's the only thing that lasts... the only
thing worth fighting for," he comments in the face of war.
Gone with the Wind stands as a romantic monument to the Old South
-- an homage to an era and a lifestyle long gone. Probably as
much has been written about Scarlett and Rhett as about Casablanca's
Rick and Ilsa. Vivien Leigh and Clark Gable were perfectly cast
in the leading roles -- she was a relative unknown who was "discovered"
almost by accident. Gone with the Wind is still undeniably a
classic and a legend.
A Civil Action
Running Length: 1:52
MPAA Classification: PG-13 (Profanity, mature themes)
Cast: John Travolta, Robert Duvall, Tony Shalhoub, William
H. Macy, Zeljko Ivanek, James Gandolfini, Bruce Norris, John
Lithgow, Kathleen Quinlan, Stephen Fry, Dan Hedaya
Director: Steven Zaillian
Producers: Scott Rudin, Rachel Pfeffer, Robert Redford
Screenplay: Steven Zaillian based on the book by Jonathan Harr
Based on Jonathan Harr's book (which,
in turn, recounts a true case) opens by showing what a slick
operator Jan (John Travolta) is in court. In a voiceover, he
teaches us some of the basic rules of personal injury law: "A
dead plaintiff is rarely worth as much as a living, married person"
and "A dead child is worth the least of them all."
Jan is the shining star at the small Boston law office comprised
of him, Kevin Conway (Tony Shalhoub), and Bill Crowley (Zeljko
Ivanek). They work in close concert with their accountant and
financial wizard, James Gordon (William H. Macy). When Jan is
offered a case in which eight children in the small town of Woburn,
Massachusetts have died of leukemia, he decides to turn it down,
even though he can "appreciate the theatrical value of several
dead kids." The theory is that spilled chemicals from a
local factory and tanning plant tainted the water and caused
the cancer. Then a cursory investigation reveals that a pair
of extremely wealthy corporations, W.R. Grace & Co. and Beatrice
Foods, may be involved. Their deep pockets and the potential
for a huge pay day cause Jan to change his mind. Soon, he is
squaring off in court against William Cheeseman (Bruce Norris),
the inept lawyer representing Grace, and Jerome Facher (Robert
Duvall), the wily and dangerous attorney for Beatrice. Unlike
many courtroom dramas, which are grim and filled with dark tragedies
and triumphant revelations, A Civil Action doesn't take itself
too seriously, nor does it rely on the crutch of inane action
sequences. A Civil Action does not function as an attack against
lawyers, but as a hard, bitterly humorous look at the realities
of the legal system. Combining good performances with an engaging
and intelligent script, A Civil Action marks a rare worthwhile
entry into the court room drama genre.
Fight Club
Running Length: 2:19
MPAA Classification: R (Graphic violence, sex, nudity, profanity)
Director: David Fincher
Screenplay: Jim Uhls, based on the novel by Chuck Palahniuk
With its kinetic style, visceral approach,
compelling storyline, and powerful social message, Fight Club
makes a commanding case to be considered the '90s version of
A Clockwork Orange. In a time when so few motion pictures leave
an impact, Fight Club refuses to be ignored or dismissed. The
experience lingers, demanding to be pondered and considered,
and, unlike 95% of modern-day thrillers, there is a great deal
here to think about and argue over. Fight Club presents an overload
of thought-provoking material that works on so many levels as
to offer grist for the mills of thousands of reviews, feature
articles, and post-screening conversations. Pre-release interest
in Fight Club was understandably high, primarily because of those
involved with the project. Jim Uhls' script is based on an influential
novel by Chuck Palahniuk. The lead actor is the ever-popular
Brad Pitt, who makes his strongest bid to date to shed his pretty
boy image and don the mantle of a serious thespian. Those dubious
about Pitt's ability to pull this off in the wake of his recent
attempts in Seven Years in Tibet (which is briefly referenced
as an in-joke during Fight Club) and Meet Joe Black will suffer
a change of heart after seeing this film. Pitt's male co-star,
Edward Norton, is widely recognized as one of the most intelligent
and versatile performers of his generation. And Fight Club's
director, David Fincher, has already made a huge artistic impression
on movie-goers with only three features to his credit: Alien
3, Seven (starring Pitt), and The Game.
The Big Sleep
Running Length: 1:58 (1944 version) or 1:54 (1946 version)
MPAA Classification: Unrated (Violence, sexual innuendo)
Cast: Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers,
Charles Waldron
Director: Howard Hawks
Screenplay: William Faulkner & Leigh Brackett & Jules
Furthman, based on the novel by Raymond Chandler
The Big Sleep didn't usher in the era
of film noir, but it may be the picture that most exemplifies
it. However, the key attraction isn't the twisty plot or the
atmospheric b&w cinematography - it's the interaction between
Bogart and Bacall, one of Hollywood's all-time greatest couples.
There are actually two versions of The Big Sleep - the "original"
(initially unreleased) edition from 1944 and the final, theatrical
cut from 1946. The latter is the better version - it's less talky
and features a lot more of Bogart and Bacall. The Big Sleep is
consistently involving and stands up well to multiple viewings,
although there are nagging questions left unresolved. Many film-lovers
would put this film higher on an all-time list, but perhaps I'm
too right-brained, since there are times when I wish the script
had been a little tighter. Still, as confounding as elements
of the mystery may be, there's no denying that The Big Sleep
was, and is, one of the greatest noir thrillers to come out of
Hollywood. The Big Sleep, published in 1939, was the first of
seven Philip Marlowe novels written by Chandler. Over the years,
six of them have been adapted into films (several more than once):
The Big Sleep, Farewell My Lovely, The High Window, The Lady
in the Lake, The Little Sister, and The Long Goodbye. Only Playback,
Chandler's final Marlowe book, has never made it to the screen.
Marlowe, the hard-drinking loner with a sharp one-liner for any
situation, has been played by the likes of George Montgomery,
Robert Montgomery, Elliot Gould, Robert Mitchum (twice), James
Garner, James Caan, and Bogart.
Donnie Brasco
Running Length: 2:06
MPAA Classification: R (Profanity, violence, mature themes)
Cast: Al Pacino, Johnny Depp, Michael Madsen, Bruno Kirby, James
Russo, Anne Heche
Director: Mike Newell
Producers: Mark Johnson, Barry Levinson, Louis DiGiaimo, Gail
Mutrux
Screenplay: Paul Attanasio based on the book Donnie Brasco: My
Undercover Life in the Mafia by Joseph Pistone with Richard Woodley
Al Pacino in a Mafia movie feels as
natural as peanut butter with jelly. Mike Newell, the director
of such popular British comedies as Enchanted April and Four
Weddings and a Funeral, is another matter altogether. When you
think of a director for New York- based, mob-related motion pictures,
names like Brian De Palma, Francis Ford Coppola, and Martin Scorsese
leap to mind. Unexpectedly, however, Mike Newell slides effortlessly
into the genre, fashioning a motion picture that is simultaneously
like and unlike traditional wiseguy films. Donnie Brasco is based
on the true story of FBI agent Joe Pistone (Johnny Depp), who
went undercover and infiltrated the New York City mob during
the late 1970s. Joe, who went by the name of "Donnie Brasco",
played his role so effectively that he rose to extraordinary
heights within the organization, holding a place alongside his
mentor, Lefty (Al Pacino), in the inner circle of boss Sonny
Black (Michael Madsen). But, the more time he spent with members
of the Mafia, the more like them he became. And, after a while,
Joe could no longer tell where his true loyalties lay: to his
wife (Anne Heche), family, and government, or to the wiseguys
who had adopted him into their exclusive club and lifestyle.
While not on Pacino's level, Johnny Depp is competent as the
title character, a man who loses his perspective as he becomes
seduced by the mobster's lifestyle. It's because Donnie Brasco
focuses on characters and relationships that it makes for compelling
viewing. Although the film contains many of the usual mob cliches
and stock secondary characters, these don't detract much from
the viewer's enjoyment. Truth may be stranger than fiction, but
many "based on real events" motion pictures aren't
nearly as well-executed or involving as Donnie Brasco. The film
has all the right little touches to be believable, such as Lefty's
fascinating lesson to his protege about how to dress, act, and
speak to be respected in wiseguy circles. Donnie Brasco takes
us into a world that the movies frequently open to us, but somehow
this trip seems more real and less glamorized than most. The
result is a satisfying film going experience.
The Rainmaker
Running Length: 2:20
MPAA Classification: PG-13 (Mature themes, mild profanity, violence)
Cast: Matt Damon, Claire Danes, Danny DeVito, Jon Voight, Danny
Glover, Mary Kay Place, Virginia Madsen, Mickey Roarke, Roy Scheider,
Andrew Shue, Dean Stockwell, Teresa Wright, Johnny Whitworth
Director: Francis Ford Coppola
Screenplay: Francis Ford Coppola based on the novel by John Grisham
It has been several years since I've
read a book by John Grisham (I believe the last one was The Client).
After three or four of Grisham's novels, I grew tired of the
predictable repetitiveness and contrived suspense of the narratives.
As a result, the intelligence and subtlety of The Rainmaker took
me by surprise. I don't know if this is because the novel is
better than any of the prolific lawyer-turned-author's previous
efforts, or if Francis Ford Coppola has performed a near-miracle
in transforming the written pages into a screenplay. Whatever
the case, The Rainmaker stands above any other filmed Grisham
adaptation, including A Time to Kill, the former holder of that
title. In order to make an appealing movie with a lawyer as the
protagonist, it's necessary to come up with a villain who can
make even an attorney look good. In this case, Grisham has found
one -- a big-time, sleazy insurance company. Coppola noted that
he wrote and directed The Rainmaker because he was engrossed
by the book and saw parallels between the main character's (Rudy)
struggles as a young lawyer and his own early years as a film
maker. Coppola also emphasized that he loved making the movie,
and didn't see it as just a source of quick cash. In the lead
role, Matt Damon does a fine job portraying the uncertainty of
someone who believes he has the moral high ground, but realizes
that his lack of experience could lose the case. Danny DeVito
is perfect as the more cynical, financially-driven Deck, providing
occasional moments of comedy to break The Rainmaker's tension.
Unlike many of the other films based on a Grisham book, this
one is interested in telling a story rather than ambushing the
audience with cheap contrivances. It's an intelligent and thoughtful
approach, and the focus on character and legitimate drama.
How To Make an American Quilt
Running Length: 1:56
MPAA Classification: PG-13 (Mature themes, brief nudity, mild
profanity)
Cast: Winona Ryder, Ann Bancroft, Ellen Burstyn, Maya Angelou,
Jean Simmons, Lois Smith, Kate Nelligan, Alfre Woodard, Kate
Capshaw, Samantha Mathis, Dermot Mulroney, Derrick O'Connor,
Joanna Going
Director: Jocelyn Moorhouse
Screenplay: Jane Anderson based on the novel by Whitney Otto
There's more to a quilt than fabric and thread -- each patchwork
design has its own unique story (or stories) to tell. In How
to Make an American Quilt, the first Hollywood release from Australian
director Jocelyn Moorhouse (Proof), we come to understand how
the tales of the seven makers imbue their creation with passion
and vitality. All the sorrows, joys, longings, sufferings, and
loves of these women are sewn into their quilt and, as their
bittersweet memories are given expression, one young woman applies
these lessons of the past to her own uncertain future. Motion
pictures are filled with male bonding rituals; How to Make an
American Quilt presents a distinctly feminine alternative. The
"quilting bee" consists of seven members: sisters Gladys
(Ann Bancroft) and Hy (Ellen Burstyn); Sophia (Lois Smith), a
woman known for frightening children; Emma (Jean Simmons), the
timid wife of a perpetually unfaithful man; Constance (Kate Nelligan),
who has been having an affair with Emma's husband; Anna (Maya
Angelou), the leader of the group; and Marianna (Alfre Woodard),
Anna's daughter. The project they're busy with is the wedding
quilt for Hy's granddaughter, Finn (Winona Ryder), who has just
become engaged. She's spending the summer with Hy and Gladys,
and away from her fiance, to decide whether a lifelong commitment
is really what she wants, and whether it's better to marry a
friend or a lover. One of the greatest pleasures of How to Make
an American Quilt comes from watching an array of fine performances
by an impressive ensemble cast. From Winona Ryder, Ann Bancroft,
Ellen Burstyn, and Maya Angelou to minor players like Rip Torn,
Claire Danes, and Kate Capshaw, this film is overflowing with
realized talent. The performances are good enough, in fact, to
cover up many of the script's weaknesses. How to Make an American
Quilt is basically an unremarkable, if affecting, tale of love
across the generations -- a sort of truncated American version
of The Joy Luck Club, with a dash of Fried Green Tomatoes added.
There are probably too many characters. So, instead of really
getting to know a few of them, we are presented with quick glimpses
into a single defining event in each of their lives. We learn
about the root of the smoldering resentment between Gladys and
Hy, and are told the reasons why Emma stays with her husband
and Sophia is so irascible. There are other episodes as well:
the love of Anna's life, Marianna's soul mate, and a look at
the reasons why Constance entered into an affair with her friend's
husband. The sum total of these tales is meant to provide the
framework for Finn's story: whether to go forward with her marriage
or dally with a hunky stranger. There is no emotional epiphany
in How to Make an American Quilt. The stories are all well-told,
but it's difficult to really connect with the characters -- their
moments pass so quickly. While we certainly feel something for
each of the eight principals, our emotional investment is tenuous.
There isn't enough depth to pull the viewer in all the way, and
many of the personalities and relationships feel half-formed,
like a quilt with patches missing. To put it bluntly, while I
enjoyed watching this film, it didn't "do much" for
me. On the whole, How to Make an American Quilt is a nicely-understated
drama that has a lot to say about love, passion, and monogamy
in relationships. Finn's segment is by far the most compelling,
because she's the focal point: her actions are shaped by everyone
else's experiences. The other patches of this American Quilt
are successful only to varying degrees. If there's a disappointment
here, it's that the script doesn't have more resonance, but the
privilege of seeing such a fine cast in top form allows a viewer
to enjoy this picture even if the story is somewhat conventional.
