Reviews

Pure documentary. As pure reality film, the subjects of this film are given freedom to interact and to wander through a given time frame the documentary director chose as a span of coverage. Issues are either left resolved or unresolved at the end of the span of coverage. Thus, expect no objective, no moral goals or punchline. The correspondence remains private except for a few key letters, but we're left to observe a grounded, award-winning playwright and actor interact with persons outside the entertainment business. That said, take a board, get a bucket of paint (color is not important, but make it oil-based paint), acquire a horse-hair brush, apply paint to the wooden board--two coats, now sit back and watch it dry. Now, which was more entertaining?

It's stunning but the elements of this play are instantly recognizable to anyone who has seen an "Our Town" performance, and liked it. A minimalist set, soliloquies and dialogs from and to the dead echo across the decades. It is astounding that this play existed and ran during a period of Victorian morality and codes of conduct which in later decades would intensely condemn and attempt to stifle creative writing exposing raw sexuality and conflict.

Being a high-brow play, this deserves a second and third consumption to catch the nuisances and to focus on a character during the run.

In this modernized version, extra "skin" is sprinkled in for sensation and often distracts from the spoken word. The high points of the play/film are the quiet exchanges between conflicted characters and those in emotional distress--on the edge.

It took awhile to like this film--the first few moments, I was beginning to assume it was just another period piece throwing disco music and wide lapels at us. Instead, this film is what "Last Days of Disco" should have been--a dark film with a message. The hanky moment at one-hour 40 minutes into it. Instead of a single club focus, this film dips into the culture beyond a club and focuses, like SNF, on the conflict disco dance clubbing created between families and when promiscuity and drugs shattered families. It also throws in a current with the business of music and disco--when artists were cheated out of royalties and the transitions some one-hit wonders were able to undergo to sustain themselves and careers while others faded into oblivion and a haze of drugs.

The conflicted character of Tino serves as a perfect representative of those men then, and now, who saw the need to fulfill cultural obligations to raise a family, yet a craving to satisfy their innate, birthright.

FYI: white party in this film refers to participants wearing all-white, not the 1990's circuit parties.

Best film, ever! to borrow a phrase. Certainly a film for the steadfast romantic who believes true love conquers all, the premise is outrageous then unfolds with a series of farcical scenes climaxing with "the moment of knowing." For those who can look beyond the necessary nudity and witty dialog, the story makes a poignant social statement on romance, age-factor and age-range. It doesn't matter. Find someone that contents you, and hang on. Mr. Williams has been influenced by the key influential founders of the Gay Romance Awakening--Mssrs. Archer, Montgomery and others--who spearheaded the journey of gay cinema from dismal stories of HIV/AIDS, bleak hustler, addled substance-abuse, self- loathing and abusive coming out to celebration of being gay and being loved. Kudos on borrowing a tried-and-tested Hollywood formula and adapting it to the gay experience.

Unlike a night of bar-hopping, this movie will leave you feeling-good about yourself and without a hangover headache adding a ton of wrinkles and gray hairs to cover those sagging pectorals.

Frank Whaley and a few other overlooked ones the Hughes-package (aka Brat Pack) land roles here with emerging stars the Mulroney Bros. The film has the classic Hughes devices of the solitary character posed before a background of merchandise or amusing themselves with objects that are actually merchandise of functional objects. Whatever happened to Leggs and dancing in the CD aisles? The music is reflective of the transitioning period of the late 1980's and early 1990's where hard rock, "synth pop" and alternative rock were duking it out on the charts. If you're lost on the placement of the story--in typical Hughes (R.I.P.) Midwest territories, or the aesthetics, the subtle and smooth-flowing moral lessons are easily missed (am I the only one who sees similar casting among the many leading young women in the Hughes films--Moore, Connelly, Sara?). Generally, Hughes films are about revealing the common ties among individuals who live in distinctly different social and economic strata where conflict resolves into a solidarity.

I find it interesting that I watched this AFTER watching a modern "living as a boy, who is old enough to live like a man" film titled, "Failure To Launch," an attempt to close the chapter on the pandemic of young "adults" returning to the nest, while this film seemed to signal the start of the pandemic. A few unique cases here or there, then by the mid-1990's, we saw the 30-year old "men" trailing behind their mothers to grocery stores or other chores. My other perspective on the content of this film.

Built on the theme of ill-fated love, this film merges modern cinema with opera and emerges with a hybrid which infuses the viewer with a morality tale under two hours duration. Emotional theatrics reveal the frayed and tattered mental state of these two couples as both attempt to keep the appearances of functional family ties and friendships. While some USA viewers may find the emotional intensity "over the top," I find it similar to the emotional intensity that was infused into American Western genre when it went Italian and added an operatic theme to the story-telling. While no bullets are flying in a "pulp fiction" sensational style, the emotional content and the poignant plot climax enliven a rather dull scenario of viewing yet another "Doing Time on Maple Drive" clone-film with subtitles.

Prior reviews which stated the film as a series of skits strung together indicates a lack of appreciation for comedic films in the genre of farce. Without generating a spoiler, reference the film summary for the plot line. The cascade of thoughtful plots builds into the 'chase' by the mobsters who are owed. Genius.

Considering that this film did not follow the typical formula for the mid-1980's by casting the "brat packers" or saturating the musical score with music from the "chill generation," it has a stunning brilliance. It has enough toilet humor to fascinate the "American Pie"-crowd. And, the hapless characters are surely inspiration for such shows as 2.5 Men & Big Bang.

It's a classic comedy.

What a difference several decades makes.

"Throwaway tunes" from Elvis are now sentimental classics that beehive-wearers swoon to hear. At least that long list of "performer" credits seems to indicate someone is swooning over these "throw-away tunes" from Elvis P.

Readily apparent from viewing this film is film industry finding its footing to prepare for a marathon of "syrupy" and "campy" do-right, Romance films to carry it through the raw and times-are-a-changing 1960's. Its subtleties in raising the state government as primarily treading on individual's rights and supporting elitism of institutions to support these violations are also valuable "nuggets". The rustic 1920's era auto evokes symbolism and pity for values from a fading generation pushed aside by modernism and industrialism--symbolized by the cold psychologist and bureaucrat focused on efficiencies and rules rather than affect and effect.

The final court hearing is a hushed homage to the rebels soon to charge across campuses to strike a major cultural shift in quiet, milk-toast, suburban United States and Western civilization (centered on the former decade's "Rebel with a Tune").

I remember Moulin Rouge! (MR) being featured very heavily at the beginning of spring and its subsequent release. The musical (outside of animation) was a dead genre until the arrival of MR. As I sit watching this movie on this day--a day after the music world has suffered a tremendous loss of talent, it reminds me of a few scant years ago when optimism and frivolity were the daily trends. Spiritual refreshment could consist of a trip to coffee bar, and nothing deep was required to put the world into order.

MR was the height of this light-hearted time -- a film about competing lovers and a dying young woman--La Boheme simplified. MR followed such light films as "Can't Hardly Wait", "American Pie", and "Scream".

Then, came darkness on a crisp, fall morning--change. But, the musical genre was revived. "High School, the Musical", "Phantom of...", "Chicago", "Sweeney Todd", and so forth follow in the shadow of MR.

As one who saw the original Disney animation years ago, and "Hook", and probably dwarfed by someone who saw the Broadway production--before Disney was a corporation, this movie brings the underlying themes of "Peter Pan" into full light. The faeries as "hope" and "belief" in something Greater and Better. Peter Pan as childishly, resistant to accept the horrible and unfortunate--the very opposite of the little boy who resists pretending and demands harsh reality.

Okay, I was roped into this film by US Airways playing it on board flight to the West, because in 2004 I was not in mood or budgeting for movie theaters trips. I'll need to catch it on DVD, again.

I am also anxiously awaiting the upcoming remake with new CGI.

I agree with so many preceding comments, and agree that this film is relevant today. I think the mainstreaming of gay culture as portrayed on some films and networks leaves one reaching for an insulin injection, to borrow a phrase. This film rips off the covers on all the party, fun stuff and balances it with the gritty, and sometimes dirty reality--the wandering partner, the anxiety of losing college and childhood friends, the angst of overlooked passion, and the support of friends.

I have been at parties where the "truth game" was in full effect--cutting short otherwise acerbic wit with a leveling of playing field and ego.

It would be nice to see a sequel--new cast, unfortunately--as these "boys" weathered the storms of the 80's and 90's. The closest I've seen would have been LoveValComp in the 1990's.

For those expecting an expansion on RT2, this game is not.

This game provides a 3-D experience with limits on cargo pickup, expansion and placement of stations. It also requires extensive upgrade of video and ram if on computer. It lacks the full train control of MSTS and ability to load scenarios that made RT2 a fantastic strategy game as well as simulation game.

It would have been better upgrade of the game had RT2 features been extended to add tunnels, varying bridge styles, adding locomotive power for steep grades, signaling and ability for quad-tracks. A greater choice of locomotive power for freight haul versus passenger haul also would have added to the power of the game.

The episode described in above review has made it to "Most Outrageous

Moments of TV" clips along with other outrageous 70's game show moments.

Stumbled onto this show because I'm watching "Huff" on DVD and noted that actress Barbara Stuart who plays one of Izzy's friends is referenced in commentary as "Bunny" (and she was on PFC--correcting, Lance Corporal--Gomer Pyle show). And, she also made an appearance on this game show.

It does seem like a clone of "Password" and how ironic that Betty White is listed at the top of celebrity appearances since she eventually hosted the game.

A tribute to B-movies? Campy. Ridiculous. Those who've seen Diabolique, Gloria and Sliver are probably wondering... THIS is Sharon Stone?

I can say this film doesn't have the quality of cinematography as Indiana Jones, but Indiana Jones series has its own campy, punster dialogue. This first film in the series of Allan Quartermain films has some rough edges--pre-political-correctness. I have not compared this remake to the original version. The original version had a major talent in the role of the chief, Paul Robeson. I must find it on VCR.