Change Your Image
brvhrt-4
Reviews
We Were Soldiers (2002)
Be warned...
WE WERE SOLDIERS is not the kind of movie I feel comfortable saying "I enjoyed" or "I liked." But I'm not sure that's the reaction one is supposed to have upon seeing it. GLORY and BRAVEHEART took us to the middle of the battlefield like never before. SAVING PRIVATE RYAN and BLACK HAWK DOWN showed us the frenzied chaos of modern warfare with new and brutal realism. WE WERE SOLDIERS may end up being the film that some claim goes too far in portraying the unspeakable horror of war. I attended a screening that consisted largely of Vietnam veterans and their wives. Several attendees excused themselves suddenly during the battlefield scenes which make up more than half of the movie. Many watched through covered faces and teary eyes. But when the credits began to roll, not a soul moved. Not one. It was only when the lights came up that the audience responded with brief applause before getting up to leave. And I am sure I am not the only one who left the theatre with a sickening knot in my stomach.
The story of WE WERE SOLDIERS is thin at best. After an introduction to the major characters, all are thrown into the hell of battle, either the physical hell of Vietnam or the mental anguish of waiting on the homefront for news one hopes never comes. For the rest of the movie, it becomes about one thing: which characters will stay alive? Which, I realize, is part of the point in a movie like this, because that's what it became about for the soldiers: staying alive. Not how they got there, not whether or not they should have been there, not how they felt about being there-- just staying alive. And the battlefield scenes are the most horrific I have ever seen, previously cited examples included. They are gory, they are long, they are brutally relentless. Again, I understand that is perhaps part of the point, part of the lesson about war. But that is a hard thing to ask of a theatre full of people who have paid 8 dollars apiece to see a movie that doesn't look especially violent based on the trailer.
In the end, I can't say I "enjoyed" WE WERE SOLDIERS. I can't say I "liked" it. What I can say is that, for the first time, I may have some tiny, infinitesimal, ultimately meaningless fraction of a notion of what my father-in-law went through in Vietnam, and why he's never spoken a word about it to anyone. And that, perhaps, is a much more important thing to be able to say.
Along Came a Spider (2001)
If only I could remember my own passwords so easily
I think the hardest part of any whodunit thriller must be those moments when the hero starts to crack the case. It is a moment of revelation, for the protagonist as well as the audience. But all too often, those breaks come across as "too convenient" and unrealistic. And so it is (sadly) in ALONG CAME A SPIDER. We've seen scenes like this before: the good guy faces a computer screen asking for a secret password. He thinks for a minute, then remembers a passing conversation he had earlier or sees the one object in a room full of them that makes the light bulb over his head go off. A few keystrokes later, he's not only granted access to the computer system, but now looking at the entire crime laid out for him as if the bad guy had a file folder on his hard drive labelled "Kidnapping Plot." Too bad it came so easily, because I was enjoying Morgan Freeman (as usual) and was quite impressed with Monica Potter (who reminds me more of Julia every time I see her). Nice twists and turns in the plot, too. If only it didn't depend on silly moments like our hero happening to answer a cell phone that happens to be hidden in the garbage can he happens to be standing next to.
The Caveman's Valentine (2001)
Return this Valentine to Sender
A can't-take-your-eyes-off-him performance from Samuel L. Jackson (along with welcome cameos from Anthony Michael Hall and Ann Magnuson) is overshadowed by a silly murder mystery plot. The trailers, posters, even the film's tagline ("The view is incredible") leads one to expect an in-depth character study. But instead of being the film's focal point, the Caveman is merely another 2-dimensional figure thrown into a cliched whodunit. The audience is left with little more than scant glimpses into this character's world, revealed through imaginary conversations, stark lighting, and winged figures that dance through his thoughts. (Complete with shaky hand-held camera moves and rapid-fire edits so you can't miss that it's a metaphor for something else.) What I had hoped to see was an intriguing character explained: what made him the way he is, why he believes the things he believes, etc. What I got was Columbo Flew Over the Cuckoo's Nest.
Wo hu cang long (2000)
Call me Stupid American
Beautifully shot, beautifully acted, beautifully choreographed, beautifully scored. I just can't get past the fact that people fly in this movie- just float away in the middle of an otherwise breathtaking fight scene. My wife chalked it up to a "cultural difference" that I couldn't possibly understand. Perhaps. Is there some Chinese legend I don't know about that says true martial arts masters can fly? Bending the laws of gravity is one thing. But when a character raises one fist and lifts off the ground a la Superman, my suspension of disbelief stops there. I could have seen my way past it if it had even been explained within the context of the plot. But it's just put up there, and we're meant to take it on faith that for whatever reason, these people can fly. The flying didn't even seem to serve a true purpose, except to make the film even more "visually stimulating." I thought the fight scenes were so good, the flying was an unnecessary effect that tainted my view of the rest of the movie. I'm disappointed that my most lasting impression of this otherwise stunning film will be of people floating away to the snickering of the audience.
The Replacements (2000)
Incomplete pass
I feel bad for ripping apart a movie whose heart is in the right place. But cliche is cliche, and this movie's full of them. I know that deep down, there was a heartwarming story there about heart and guts and love of the game, but it never really came out the way it should have. Most characters were little more than two-dimensional stereotypes. Substorylines picked up out of nowhere and were dropped just as suddenly. Almost every popular song from the last decade is thrown in somewhere as a way to move the plot along, but it's an obvious attempt to disguise the lack of story. The funniest moments are blown in the trailer, and the climatic will-they-or-won't-they scenes are all too often interrupted by needless shots of cheerleaders, well after their subplot has played out. Keanu's big motivational huddle speech is a slogan I read on a T-shirt 10 years ago. Even John Madden and Pat Summerall are reduced to cariacatures of themselves; Madden is allowed- make that forced- to rattle off all of his trademark lines, but only for the sake of the schtick. The football strike is a story perfectly suited for an underdog movie, even a funny one. All of the elements were there. But instead of landing in the same category as BULL DURHAM or CADDYSHACK, this one ends up being as forgettable as BASEKETBALL.
Gone in Sixty Seconds (2000)
One sweet ride
Police officers looking to fill their speeding ticket quotas should simply camp outside any theatre showing GONE IN 60 SECONDS and wait. I found myself doing 90 MPH on the way home after the movie without even realizing it. This movie oozes that much adrenaline. It's beautifully shot. It's well-acted in almost every case. It features a great soundtrack of well-used music. The car chase scenes deliver big-time thrills. The cast is made up of a great blend of known players and faces you recognize from somewhere else. This is a pure summer roller coaster of a movie.
Two complaints: I have no idea why Angelina Jolie was in this movie, except to act as eye candy for the motorhead guys in the audience. Her character didn't move the plot along one iota, and the love story between her and Cage only slowed an otherwise speedy script with a relationship I didn't buy for 30 seconds, let alone 60. Complaint #2: without giving anything away, the character who walks away from the big climax gets off WAAAY too easily. But those are minor annoyances in an otherwise fun ride. Just watch your lead foot as you leave the theatre.
U-571 (2000)
It's not a history lesson
No one ever said it's 100% historically accurate. That's why it's a movie on the big screen with professional actors and not a filmstrip from my 7th grade history class. This is a white-knuckle thrill ride with tense moments galore. Sure, some creative liberties were taken. But I think the realism of the sub scenes is a testament to the submariners to whom the film is dedicated. And if adding some drama allows the story of their real-life sacrifices to be shared by more people, so much the better. U-571 is a blast. Just remember to come up for air.
Love & Basketball (2000)
Be courtside for this game
This movie could easily be categorized as "a black movie" or "a sports movie," but those labels would be wrong. This is a very enjoyable story that follows two strong characters from childhood through high school and college and beyond. A thoroughly entertaining movie that is both funny and heartbreaking. Excellent performances from the whole cast, with the possible exception of the usually-brilliant Alfre Woodard, who didn't seem to have much to work with, apart from one or two scenes.
Return to Me (2000)
A sweet surprise
Bonnie Hunt has written and directed a sweet movie in RETURN TO ME. The main story is somewhat formulaic, but still enjoyable. The casting of Duchovny and Driver over more obvious seen-them-do-this-before love story players lends to the film's watchability. The supporting characters, though, make this movie succeed. Carroll O'Connor, Robert Loggia, David Alan Grier, Jim Belushi, and Hunt herself are wonderful and provide comic relief at all the right moments. Another nice touch: Hunt avoids many of the obvious cliches and takes the high road, choosing to not show things like a slo-mo car crash, or one character's racing through the airport at a critical juncture. These are scenes that we've all seen too many times; it's refreshing to fill in the blanks for ourselves.
Mission to Mars (2000)
We came all that way for THIS?
Great cast, stylish look, brilliant special effects... thin story. It's a beautiful movie to look at. Some nice touches of what life is like in 2020. But there are too many contrived moments in between the genuine ones. Too often the audience is played down to, as if we won't get the nuances unless we're beaten over the head with them. (We know what Gary Sinise's character is being handed at the end; we don't need swelling music and a 10-second closeup shot. We got it the first time.) The movie feels longer than it is. There is so much build-up, so much invested in getting to Mars, that once we're there, it all ends way too quickly with not enough payoff. Still, realistic special effects, props, and wardrobe help make it a fun ride. Just don't expect it to be more than that.
Pitch Black (2000)
Watching pitch black would be better
Without question, one of the worst movies I have ever seen. I wasn't sure I was even seeing the final print of the film. Unfortunately, I was. Some interesting uses of lighting and film exposure are the only redeeming qualities. Vin Diesel may turn out to be a genuine talent, but this film won't get him there.
The Big Tease (1999)
The little movie that does
I had not heard about THE BIG TEASE before I saw it. I was not familiar with its star, Craig Ferguson. My expectations, therefore, were fairly low. What a nice surprise this movie turned out to be. It feels like a small movie, but delivers big laughs. The cast features a perfect mixture of unknowns, believable character actors, and unexpected cameos. The story is well-paced for a running time no longer than it needs to be (now THAT's refreshing). The Scottish dialect can be hard to decipher for the untrained ear, so a few punch lines fall flat. And while the documentary style helps moves the story along (why waste time on character background when you can have a documentary filmmaker simply ask our hero a pointed question?), it also slows the story down at times. (We're watching documentary footage, remember? So every few scenes need to end with the film being cut, or the camera guy running into a wall.) But apart from those minor annoyances, THE BIG TEASE is one of the funnier movies in recent memory. Partly because I had no expectations, but mainly because it's original, well-acted, and well-written.
The Green Mile (1999)
Wrap up the Oscar...
...and give it to the makers of THE GREEN MILE. While you're at it, go ahead and engrave the Best Supporting Oscar with the name of Michael Clarke Duncan. This is everything a movie is supposed to be. The only reason I voted it a 9 rather than a 10 is a needless explanatory speech at the end... I got it the first time around. I didn't need it explained to me afterward.
The Insider (1999)
A long "drag"
Al Pacino is his usual brilliant self. Russell Crowe impresses while playing a character much older than he is. And a good story. But in typical Michael Mann style, the film could use some editing. It drags on much longer than is necessary while Mann holds scenes, inserts seemingly random camera shots, plays with focus, and does his hand-held thing way too much. Most of the theatre began checking their watches at a certain point. In the end, it's still a good movie. But unfortunately, the running time took away from my overall enjoyment. Lose 20 minutes and it becomes a great movie.
The Bone Collector (1999)
Been there, done that
There's a good chance you'll enjoy THE BONE COLLECTOR while you're sitting in the theatre watching it. By the time you get home, however, you will have shot so many holes in the plot that your opinion may change. The film starts strong, but uses more and more tired thriller techniques as it goes on. If I give examples, I could be accused of "spoiling" the movie for others, so I'll let the filmmakers do that for you. Too bad, because Denzel gives a nice performance as the paralyzed ex-cop. That, however, is the only unique aspect to this story. The rest... you've seen it all before.
Runaway Bride (1999)
Tastes like leftovers
This could have been a great movie. It should have been a great movie. I wanted it to be a great movie. It was a pretty good movie, but it wasn't a great movie.
I know it's not a PRETTY WOMAN sequel, but with Garry Marshall directing Richard Gere, Julia Roberts, Hector Elizondo, and Larry Miller, I couldn't help but expect at least some of the old magic. And RUNAWAY BRIDE starts with lots of promise. Good characters, interesting plot, actors I enjoyed watching. But after a while, every scene seems like little more than a setup for the next punch line. In any romantic comedy, especially in a Garry Marshall romantic comedy, and ESPECIALLY in a Garry Marshall romantic comedy starring Gere and Roberts, I know how I want it to end. And at a certain point, I don't want any more plot twists ands turns, I just want to see the ending I happily paid 8 bucks for. I'm willing to play the will-they-or-won't-they game for just so long. RUNAWAY BRIDE messes with that formula a bit too much, and it ended up frustrating me. And I had really enjoyed it up to that point. After a while, it seemed like the story was being prolonged just for the sake of prolonging it. It seemed forced.
I won't spoil anything, but I will say that I loved the movie up until the scene with the FedEx truck. Everything after the FedEx truck was unnecessary and frustrating. That last 15 minutes or so took an 8 out of 10 movie and made it much harder than it needed to be. Final vote: 6 out of 10.
Sequel or not, people will invariably compare it to PRETTY WOMAN. If Marshall had wanted RUNAWAY BRIDE to stand on its own, he could have cast different actors. (Kevin Costner or David Duchovny come to mind as the male, Jenna Elfman or Sandra Bullock opposite.) But instead, I left the theatre with the taste of leftovers in my mouth; I liked it better the first time around.
The Haunting (1999)
Fun but inconsistent
First let me get this out of the way: I am head over heels in love with Catherine Zeta-Jones. So I admittedly give this film more leeway than I might with another actress in the role.
Having said that...
THE HAUNTING is a fun ride. Outstanding visual effects, great use of sound, amazing sets. Some hokey dialogue (mostly from Lily Taylor's character and progressively more of it as the movie goes on) and some thin plot points hamper what was otherwise a good light-hearted scare. Some of the early scenes and dialogue are very self-effacing and tongue-in-cheek. The welcome-to-the-house speech from the caretaker's wife is hilarious. If that tone had been maintained throughout, so much the better. Sadly, half the cast plays it straight. Would have appreciated a more consistent tone from director Jan DeBont.
Worth seeing for the effects. Some decent frights. It'll make you look at your own house differently. Just don't expect serious white-knuckle terror.
One nagging question: why is it pointed out that CZJ's character is bisexual? It plays no role in the plot or story. Seems an odd detail to point out so blatantly.
The Blair Witch Project (1999)
Caution... hype kills
I greatly admired and appreciated what THE BLAIR WITCH PROJECT was supposed to be. Supposedly shot for less than the price of a car, unknown actors, POV camcorder work, no musical score... a very gutsy and ambitious project. The film was marketed brilliantly. Everyone wondered, "Is it real?" Enough so that every show was a sellout while in limited release. And slowly, the hype kept building... "The greatest horror movie since THE EXORCIST."
Don't believe the hype. For all its originality and ambition, it's a disappointing scare. Too few heart-thumping moments. It's a story more about how not to get lost in the woods than about any witch or ghost. I understand the concept: don't let the audience know anything more than the characters. Use sparse sounds and suggestions; let the audience's imagination do the rest. But here's the problem with that: there's no payoff. You're left TOO MUCH to your own imagination. A fleeting glimpse of SOMETHING in the last camera shot is all it would have taken to satisfy me (and most of the audience, judging by the reaction I heard in the theatre).
It's a brilliantly shot film. A wonderful concept. If it were my student film project, I'd expect an A. I just wouldn't expect people to pay 8 bucks to see it.
Arlington Road (1999)
Tight script, great ride
I was worried about this film, based on how long the trailer had run in theatres (often a bad sign). I feared I might see a great premise turned into a bad movie, with everything you needed to know given away in the preview. What I got was a tightly-written, well-acted, white-knuckle thrill ride. Bridges and Robbins are superb. The story is top-notch. The ending is brilliant. This one leaves you poring over every detail long afterward. Minor complaints include a few leaps of logic, somebody going from point A to point F without hitting the letters in between. I found myself supplying the in-between, but would have liked it spelled out; to show that the script was truly tight, that the writers had covered their bases, that there were no holes in the plot. In most cases, a few extra seconds of screen time would have done it. And I wanted stronger actors playing the supporting characters. Bridges and Robbins are so strong, they tended to overpower some of the others. Those are nit-picky complaints that did not take away from an excellent movie. But they are enough to make my rating an 8 instead of a 9 or higher.
Big Daddy (1999)
Tasty at times, but not very filling
Adam Sandler gives you what you paid for: the frat-boy humor he excels at. Unfortunately, many of the best gags have been blown in the trailer. Even sadder, the film's main conflict is resolved far too easily. Not that any of us expected high drama from the guy who released a song called "The Longest Pee," but the screenwriters took the easy way out on this one. At least in "The Wedding Singer," there was a satisfying conclusion. In "Big Daddy," Billy Idol isn't there to save the day, and Adam's courtroom speech just doesn't cut it. Still, this one's worth a couple of bucks during a matinee. Just don't expect "Big Daddy" to do for Sandler what "Liar, Liar" did for Jim Carrey. He's still a one-note comic.
Austin Powers: The Spy Who Shagged Me (1999)
Nice Blend of Old and New
Bigger and better than the original. Myers knows what worked in the first installment, and satisfies your want to see it again. Happily, though, he also knows when to build on it with new stuff. This one was much more fun to watch, mainly because everyone knows what to expect. (I'll admit, the first time I saw the original, I didn't really get what Myers was going for. Neither did the other six people in the theatre.) Lots of cameos by people you know. Lots of 90s references and tie-ins. Lots of fun. Just make sure you stay for the credits... all of them.