200 CIGARETTES /
An all star cast, including Christina Ricci, Ben Affleck, Courtney
Love and Jeanine Geroffalo allow this ambitious story develop into
a hilarious romp of the club-scene genre.
A revealing, raunchy but fascinating look into snuff movies, using
an atmosphere commonly found in serial killer movies. The director
peers into the porn without going all the way.
AMERICAN PIE /
One of the grossest teen comedies in recent memory, in which a gathering
of high school students promise to lose their virginity. It's fun
seeing them try, though.
AMERICAN BEAUTY /
A strong and devastating tale about a dysfunctional family, and
the man who seems to inflict pain as much as he should love. Called
"the best film of 1999" by most critics, but some frustrating elements
prevent that title from being earned. On emotional level, the film
constantly leaves depredating scars.
AN IDEAL HUSBAND /
A wildly imaginative and hilarious recreation of the beloved Oscar
Wilde play, with an ensemble cast that includes Cate Blanchett,
Julianne Moore, Rupert Everett and Minnie Driver. On my list of
the best of 1999.
ANALYZE THIS /
Robert DeNiro and Billy Crystal line up a big cast in this "Mafia
comedy" that's stupid, corny, unfunny, and miscalculated in nearly
every sense of the word.
ANNA AND THE KING /
Lush sets and costume brilliance are the only two highlights of
the new adaptation of "Anna and the King Of Siam," which, like the
material itself, is bloated, inconceivable, and just about as charming
as capitol punishment.
ANYWHERE BUT HERE /
Despite a promising pairing of Natalie Portman and legend Susan
Sarandon, this overly-dramatic, manipulative melodrama about mother
and daughter relationships staggers on endlessly in emotional drivel
and plot idiocy.
ARLINGTON ROAD /
The long-awaited, often delayed terrorism thriller has finally arrived,
but judging from the movie itself, it should have been shelved permanently.
Moronic, absurd, ludicrous and absolutely stupid: it thinks that
we are dumb enough to fall for all the coincidences and plot conventions
when they are just as believable as an episode of "The Twilight
THE ASTRONAUT'S WIFE /
A modest and somewhat effective space epic, in which a marine returns
to Earth, likely with an alien being inhabiting his body. Charlize
AT FIRST SIGHT /
Irwin Winkler's refreshing documentation of the Oliver Sacks' medical
miracle, in which a man coping with his regaining of sight proves
to be sometimes disastrous. Nourishing to the senses.
AUSTIN POWERS: THE SPY WHO SHAGGED ME /
Funny but unstable sequel to the popular 1997 spy spoof, in which
Dr. Evil plots to return back to time to steal Austin's mojo.
BABY GENIUSES /
Kathleen Turner discovers that children can talk, and that, when
under observation, they can talk with incredible vocabulary. The
children in the film are probably more intelligent than the people
who made this horrible movie.
THE BACHELOR /
An idiot comedy of almost unbearable proportions pits Chris O'Donnel
into a world where he has to marry a woman in a matter of 24 hours,
in order to collect a hefty sum left to him in a will. Despicable,
pathetic, and childish.
An attempt to cash in on the success of new creature features like
"Lake Placid" and "Deep Blue Sea," although the overwhelming camera
trickery fails to satisfy and the bats, from a distance, look like
nothing more than inkblots with hidden agendas.
BICENTENNIAL MAN /
Robin Williams hits the bottom of the barrel with his newest, a
tale of a machine who makes a journey across 200 hundred years to
become a real man. We've felt like we've aged two centuries just
BIG DADDY /
Adam Sandler plays another obnoxious creep in his new movie, only
this time with an innocent child under his supervision. It's heart
is relatively small and cruel.
BLAST FROM THE PAST /
Brendan Frasier and Alicia Silverstone star in this original, humor-provoking
comedy about a family concealed in a bomb shelter for over 30 years,
eventually allowing their son (Frasier) to explore the world for
signs that radiation is gone.
THE BLAIR WITCH PROJECT /
An ingenious, refreshing approach to horror movies, depending more
on style and movement of the camera rather than special effects
or soundtrack to deliver the thrills. Creepy most of the time, until
the final scene when we are delivered the biggest scare since Linda
Blair's pea-soup incident in "The Exorcist."
BLUE STREAK /
Martin Lawrence may have just crowned himself the king of unfunny
comedies with this cop film aimed squarely at morons.
THE BONE COLLECTOR /
A detective with knowledge in forensics becomes paralyzed, and assigns
a newly acquired officer to do his "real police work," sending her
down underground in search of evidence against a taxi driver who
mysteriously tortures and murders his victims. The premise has intrigue,
but lacks flavor.
Eddie Murphy's film career is once again on the right track with
this amusing comedy in which he plays dual roles--one, a famous
actor, another, a total geek used as his stand-in for a movie role
written for the first Murphy character. Sometimes so funny that
you forgive both Eddie and Steve Martin at the same time for their
lackluster roles of recent years.
BRINGING OUT THE DEAD /
Martin Scorcese once again enters the director's chair, and returns
to the mean streets of New York for his newest effort, staring the
husband/wife pair Patricia Arquette and Nicholas Cage. Brave, vibrant,
colorful, but a tad overrated.
BROKEDOWN PALACE /
Two girls are framed for cocaine possession, and sent to a maximum
security prison where life is everything but suitable. Good performances,
but the story is narrow and never takes off with energy.
CALIGULA / (R/X)
Funded by Penthouse Magazine in 1980, "Caligula" takes well-known
Hollywood actors and puts them into a movie so vile, so sick and
so nasty, that this sudden re-release may cause many to question
the existence of God.
CHILL FACTOR /
Cuba Gooding Jr. and Skeet Ulrich lose all sense of intelligence
and let themselves be controlled by contrived action sequences in
this routine conceit about a bomb that cannot last in above-freezing
temperatures, and must be transported on an ice cream truck.
A CIVIL ACTION /
A difficult but effective legal thriller involving the investigation
of a poisoned water supply. John Travolta and Robert Duvall give
some of their finest performances.
THE CORONER'S CAMERA / no star rating
Possibly the most revealing footage of its time, "The Coroner's
Camera" focuses on images of indescribable horror, as decapitated
bodies are wheeled in for autopsy. Satanic rituals, airplane crashes,
suicides, beheadings and rapes are among the explicit sights. Not
really a film as much as an event--a star rating does not apply.
CRUEL INTENTIONS /
A 'modernization' of "Dangerous Liaisons," featuring a big-name
cast that includes Sarah Michelle Gellar, Ryan Phillipe and Reese
Witherspoon. It's not what you might expect.
DETROIT ROCK CITY /
If Kiss is not simply the worst band in history, then they come
very close. So what does that say about this movie, in the tradition
of "Dazed And Confused," about a bunch of morons attending a sold-out
showing of the band? Simply put, one of the worst films of the year.
DEEP BLUE SEA /
In the tradition of "Jaws" and style of "Alien" comes this well-crafted,
smart and alert monster epic, so atmospheric and fun that you could
care less about the fact that the sharks look like Spielberg rejects.
One of 1999's most interesting entertainments.
THE DEEP END OF THE OCEAN /
Michele Pfeiffer gives a stellar performance in a drama that has
deep emotions, but never permits the audience to feel them.
DEUCE BIGALOW: MALE GIGOLO /
An amusing little comedy, filled with bad taste, quirky twists,
whimsical characters and almost precise timing, about a man who
cleans fish tanks, and makes a sudden career change when the house
he is sitting becomes a bigger mess than the Jerry Springer panel.
An odd comedy about two young girls whose journey in the White house
begins to unravel a despicable plot from the mind of Richard Nixon.
It succeeds barely, simply because the film does not try to be biographical
about Nixon. It's more like "Clueless" meets "Primary Colors."
The Kevin Smith religious comedy that has been under fire from the
Catholic Church for over half of a year finally settles on a distributor.
The idea is intriguing--the movie itself, however, is tiresome,
long, unfunny, and really ridiculous.
DOUBLE JEOPARDY /
Ashley Judd is indicted on a murder charge and found guilty for
the death of her husband, only to learn that he never really died.
Interesting premise loses steam too fast.
DROP DEAD GORGEOUS /
A funny but mean little comedy satirizing the nature of beauty pageants,
and the girls who are subject to them.
ED TV /
A rip-off of the "Truman Show" formula, in which Matthew McConaughey
plays a man who permits his entire life to be shown in front of
the cameras. The entire setup is stationary and boring.
The remarkable historical drama of the "Virgin Queen" and the dark
castle she ruled over. Design and atmosphere resemble the luxurious
concepts of "Excalibur," but its twice as good, with a jaw-droppingly
magnificent performance by Cate Blanchett. One of the best movies
END OF DAYS /
Satan is released from his prison three days before the end of the
millenium, in hopes that he will find his "mate" bring forth the
prophecy of the "end of days." An absurd idea is backed by some
minor touches of decency, but even that cannot help completely save
Catherine Zeta Jones and Sean Connery team up in a tale of espionage,
crime, and knock-out fun. Fun but somewhat dry.
People get so involved in a virtual reality game that they cannot
tell what is real and what is virtual. The screenplay suggests themes
about artificial society just like "The Matrix" does.
EYES WIDE SHUT /
Tom Cruise and Nicole Kidman star in this sexually charged drama
about the binds of marriage and the jealous impulses that follow
physical fantasies. An important final destination for the journey
of one of cinema's most beloved directors.
THE FACULTY /
Uninspired bore of a movie, loosely based on "Invasion of the Body
Snatchers" and poorly written by the brilliant yet obviously confused
Kevin Williamson. Bad from the first scene until the closing credits.
FEVER PITCH /
A depiction of the obsession of the pastime soccer, seen from the
eyes of a noteworthy spectator, and how his passion consumes his
entire life. As a character study, the movie works.
FIGHT CLUB /
Men create a club where they literally beat the heck out of one
another to, I guess, feel better about themselves. Brad Pitt and
Edward Norton are such good actors that they deserve a movie that
doesn't stink worse than Godzilla's dumping ground.
FOR LOVE OF THE GAME /
Kevin Costner and baseball--haven't we seen this before?
FORCES OF NATURE /
Sandra Bullock and Ben Affleck star in a film about two people who
fall in love while the weather changes rapidly around them. Contrived,
hideous, and worst of all, pathetic.
THE GENERAL'S DAUGHTER /
A soldier investigates the murder of the daughter of a general,
in which he is told the crime "is worse than rape." Alas, the movie
itself is the worse crime that we could imagine--it is predictable,
obvious, awkward, and designed for people who have an obsession
with the screen presence of John Travolta.
THE GREEN MILE /
The highly anticipated film adaptation of the six-part Stephen King
novel is a dramatic and emotional triumph; but sadly, the merit
is weighed down by a running time that will only induce rear end
THE HAUNTING /
Jan de Bont's retelling of the classic horror motion picture has
a story that is completely preposterous, and visual delights that
make you forget all about the plot's idiocy. Strong contender for
a special effects Oscar.
HOME PAGE /
A documentary that explores the intricate creation of an Internet
web-site, based on peoples' personal lives and rather revealing
sexual details. Due to the material's age, those with extensive
knowledge in the Internet could just dismiss is as a routine lesson
in facts we already have knowledge in.
HOUSE ON HAUNTED HILL /
The remake of the classicly dumb Vincent Price vehicle pits four
strangers in a former insane-asylum, where they will win 1 million
dollars each--if they survive the night. The catch: the place is
alive and kills all wanderers. Like "The Haunting," its visual magnificence
saves an almost-unbearable story.
IN DREAMS /
Fascinating serial killer flick about a woman's nightmares involving
the actions of a ruthless serial killer. Intriguing premise and
great atmosphere, though, cannot make up for the clumsy editing
and the very ritzy script.
INBRED REDNECKS /
Dreadfully stupid and empty release about hillbillies who enter
a humongous rooster in a cock fight, and it beats the champion.
Sophomoric dialogue, unbelievable situations and technical incompetence
are to blame.
THE INSIDER /
Michael Mann's extensive investigation into the "60 Minutes" coverup
of a tobacco industry member's inside information is well acted,
strongly written, and carried with brilliant direction. One of the
year's most important, compelling films.
INSPECTOR GADGET /
The only thing nice to say about this overblown, pathetic revision
of the old cartoon is that it's running time is shorter than one
If there's one thing I can't stand, it's a tense serial killer movie
that retreads to formula just when it's getting good. "Instinct"
borrows from several other serial killer films, including "The Silence
Of The Lambs," and contains a conclusion that is obvious, incomplete,
and unstable. Let's not also forget that Cuba Gooding Jr. is severely
lacking in courage here, and some of the scenes are so mean and
brutal that you'd rather be swapping dinner recipes with Hannibal
Lecter than watching them.
THE IRON GIANT /
Here's a first: Warner Bros. has managed to produce an animated
feature worthy of attention span. "The Iron Giant" is a unique,
fascinating and sometimes familiar tale that does not retread on
typical animation ideas, but instead revises them and succeeds on
much different terms. The script has a charm easily comparable to
this year's animated triumphs, including Disney's own "Tarzan."
JAKOB THE LIAR /
Robin Williams continues to star in cheap sentiment flicks with
this, a film that creeps dangerously towards the inspiring story
of Roberto Benigni's "Life Is Beautiful."
Darren Stein's tale of crucial humor at high school, in which three
friends play a dirty trick on another friend, and she chokes to
death. Cruel and never funny.
THE KING AND I /
A lifeless, petty and routine animated remake of the original Rogers
and Hammerstein musical, with a style and setting that are both
dull and miscalculated.
LAKE PLACID /
A giant alligator roams lose, eats cows, and is monitored by curious
eyes, who regret their scientific involvement when the reptile practically
turns out to be smarter than them. Bloody and ridiculous, but filled
with witty dialogue and exciting action. Stan Winston's alligator
Eddie Murphy and Martin Lawrence never manage to develop a simple
chemistry in a film about life sentences at a Mississippi prison
farm. A dead zone of unfunny scenes, paper-thin story, and ridiculous
LIFE IS BEAUTIFUL /
Italian director Roberto Benigni tells the story of a man's love
for his son and wife during the holocaust in a film that's moving,
delightful, and poignant.
LOST & FOUND /
David Spade detaches from reality and intelligence in this laughless,
joyless, clueless and brainless comedy. One of the worst films of
THE LOVE LETTER /
As illogical as "Baby Geniuses" and as stupid as "Forces Of Nature,"
"The Love Letter" is about someone who decides to play a trick in
town by writing an unadressed love note with no name, in which everyone
gets into a series of mistaken identity crisis' in order to determine
the rightful writer and receiver of this letter. You get the feeling
that the screenplay has the same origin as the letter itself--to
trick audiences into a series of shameless comedy plots.
MAN ON THE MOON /
The true story of Andy Kaufman finds Jim Carrey playing the most
misunderstood comedian of our time. His performance is brilliant,
but the movie doesn't have much new to say about the person himself.
THE MATRIX /
A masterful exploration of ingenious ideas matched against dazzling
special effects. A masterpiece; easily comparable to Alex Proyas'
"Dark City," Stanley Kubrick's "2001," and Fritz Lang's "Metropolis."
MEN CRY BULLETS /
The debut effort of Tamara Hernandez is one of the most deeply powerful
underground films ever made--definitely up on the level with most
dysfunctional family movies, like "Happiness," "The Ice Storm,"
and the recent "American Beauty."
MESSAGE IN A BOTTLE /
Kevin Costner sends messages in bottles through the ocean mourning
his wife, which are eventually discovered by a journalist in search
of love. The production shows ambition, but has no flavor after
the first half hour.
THE MESSENGER: THE STORY OF JOAN OF ARC /
A beautiful but defective account of the tragedy of Joan of Arc,
who single-handedly carried soldiers into a war with England, permitted
a king to be crowned, and was then kidnapped and executed for charges
of heresy. Fine performances from Faye Dunaway and Dustin Hoffman
make up for the miscasting of Milla Jovovich as Joan, and the visual
beauty carries the script well, despite its overly complex use of
bloody battle scenes.
MICKEY BLUE EYES /
The mob comedy starring James Caan and Hugh Grant generates both
charm and big laughs quite often. Not recommendable, but surprisingly
effective for a genre that has grown as tired and clichédd as this
MICKEY'S ONCE UPON A CHRISTMAS /
A new Disney video release comes out just in time to remind us that,
despite maxing out credit cards and shopping until we drop, the
Christmas spirit is more about the essence of life and the people
we share it with.
A MIDSUMMER NIGHT'S DREAM /
Continuing with the popular Shakespeare aspect of cinema, "A Midsummer
Night's Dream" represents enchantment in the purest form. Starring
Michele Pfeiffer, Rupert Everett and Kevin Kline, this is a do-not-miss
MIGHTY JOE YOUNG /
Disney's remake of the classic 1949 film, featuring a good supporting
cast but a remarkably animated title character. A monster movie
for the kids.
MIGHTY PEKING MAN /
A 1970's Chinese monster movie using obvious artificial sets and
visuals. Now playing midnight at certain theaters around the country.
Midnight isn't late enough.
THE MOD SQUAD /
Three people get together and act like pure idiots in a film that
is piteous, moronic, lame, stale, and designed for audiences who
have the same qualities.
Dr. Mumford moves into the town of Mumford, sets up shop, and finds
himself the most popular psychiatrist in town, when he offers to
"listen" to everyone's problems instead of trying to dictate them.
Even though the movie has no payoff, we are charmed by most of the
THE MUMMY /
A ridiculous and silly action-packed blockbuster, so fun and so
busy that you never are bored. Good supporting cast and special
effects help make up for some of the most ludicrous plot twists.
Remade from the 1930s Boris Karloff film.
MUPPETS FROM SPACE /
Yet another entry into the continuing Jim Henson muppet saga, in
which Gonzo finally realizes his alien roots. Sometimes sweet and
good-natured. I recommend the movie because it adds color to a dull
and gray franchise in which stuffed animals talk and interact with
THE MUSE /
Albert Brooks gives Sharon Stone her best role in movies thus far,
by portraying her as a muse for big Hollywood filmmakers like he,
Martin Scorcese and James Cameron. The in-jokes have a charm all
MUSIC OF THE HEART /
A cast and crew of brilliant proportions mysteriously turn a manipulative
script into a fathomable, decent effort in moviemaking, starring
three big female stars in some of the best performances of the year.
MY FAVORITE MARTIAN /
Yet another Disney remake, retelling the crash-landing of a Martian
on Earth, and his experiences with Jeff Bridges. No signs of Disney's
live-action recovery are evident here.
MYSTERY MEN /
In a summer loaded with unoriginal retreads and box office bombs
comes this super hero movie that proves to be a refreshing, original
satire every minute it is on screen. Lots of dumb dialogue, but
the picture is funny and visually observant.
NEVER BEEN KISSED /
Drew Barrymore works for the Chicago Sun-Times and is assigned a
job of writing about current high school life, thus allowing her
to begin high school life again in hopes that she can gain a reputation
she never got. Funny, charming, and observant; it serves as evidence
that Drew Barrymore is always a fabulous actress.
OCTOBER SKY /
The story of a boy, his pursuit of the space program, and the influence
he has from his family. Beautiful but overlong.
OFFICE SPACE /
Mike Judge's new comedy stars Ron Livingston as a man behind the
desk who has had enough of his job. Not funny.
THE OTHER SISTER /
Stellar performances by Juliette Lewis and Giovanni Ribisi help
this manipulative, touchy-feely movie rise above the typical melodrama
situations. Sometimes oversentimental, but often cute.
THE OUT-OF-TOWNERS /
A dry and uninspired remake of the classic film, which puts Goldie
Hawn and Steve Martin into familiar and dreadful roles.
OUTSIDE PROVIDENCE /
A guy decides to send his son off to a prep school, and the kid
stirs up trouble in the worst Farrely brother movie ever made.
PATCH ADAMS /
Manipulative sack of garbage that turns Robin Williams into what
he's famous for: the obnoxious, aggravating insipid character that
existed in films like "Flubber" and "Good Morning, Vietnam." Supposedly
based on fact, but the script is just as believable as the OJ Simpson
An extremely violent yet mostly effective action-packed thriller,
about a man who wants his money back--not one penny less, not one
penny more. Sometimes strays from reality.
THE PRINCE OF EGYPT /
Dreamworks' vision of the Bible's Exodus book, with voice talents
such as Val Kilmer, Jeff Goldblum, Sandra Bullock and Michele Pfeifer
igniting the dialogue. Stunning animation.
PUSHING TIN /
Two air traffic controllers compete for the title of top dog, in
a movie that starts of promising, has great performances, slows
down and then ends pathetically.
THE RAGE: CARRIE 2 /
Twenty years after the nightmare of Carrie White, we meet Rachel,
a similar teenage girl whose life is about to descend into a nightmare
just like her half-sister's did all those years ago. Nothing new.
RANDOM HEARTS /
Harrison Ford discovers that his wife, and the husband of a senator,
were having an affair when their plain fatally crashed. The premise
is fun, but the movie is dull.
An extremely effective investigation on the human cannibals, and
how they come to be. An intriguing setting helps hide the conventional
RUNAWAY BRIDE /
Julia Roberts and Richard Gere reunite on the big screen in this
comedy romance about a bride who runs away from her problems instead
of facing them. The movie is like one of those exact wedding receptions,
in which you would like to run out of the theater screaming in agony.
A 'so-called' Oscar contender about two people who fall in love
with the same teacher. One's old and one's young. Mean-spirited,
crude, and overrated.
SAVING PRIVATE RYAN /
The powerful Steven Spielberg epic starts out with a bang (literally)
and moves into a brutal attack to the eyes and mind. A great movie,
but definitely no classic, thanks to the sometimes overlong battle
sequences. Now in re-release for Oscar time.
SHAKESPEARE IN LOVE /
John Madden imagines the story of Shakespeare's struggles with developing
"Romeo And Juliet" in a movie that is funny, lyrical, spellbinding,
genuine, and smart. A surefire Oscar contender.
SHE'S ALL THAT /
A modernization, so to speak, of the beloved musical 'My Fair Lady,'
where teenage kids bet the most popular guy in school to turn the
nerdiest girl into the prom queen. Shows signs of script revisions.
A SIMPLE PLAN /
The discovery of an airplane crash and stashed money leads to a
tale of deception and dishonesty in one of 1998's best 20 films.
SIMPLY IRRESISTIBLE /
A lighthearted romance where Sarah Michele-Gellar plays a woman
whose life starts in a rut with a failing restaurant and develops
into a walk in the clouds. Charming.
THE SIXTH SENSE /
A vastly overrated thriller in which a boy is haunted by the spirits
of 'dead people,' and a psychiatrist with emotional detachment tries
to shed some light on the situation. Has a few shocking and unexpected
moments, but like "Arlington Road," the movie is badly constructed
and is always pulled down by unbelievable situations.
SLEEPY HOLLOW /
Tim Burton's eccentric departure from the famed legend of the headless
horseman is a sight for sore eyes; a masterpiece of special effects,
dark visual landscapes, dramatic performances, and a story of stirring
brilliance. The year's finest achievement.
SOUTH PARK: BIGGER, LONGER & UNCUT /
A vile, offensive, foul-mouthed and hilarious adaptation of Trey
Parker and Matt Stone's Comedy Central animated show, in which Kenny
dies (!), Mothers Against Canada is formed, Terrence & Phillip are
sentenced to death, and Satan and Saddam Hussein sleep together.
One of the best films of the year.
STAR TREK: INSURRECTION /
The ninth "Star Trek" movie, telling of a majestic world filled
with glorious landscapes and unique characters threatened by an
older race of aliens. Neat special effects, but the franchise finally
shows signs of deteriorating.
STAR WARS EPISODE 1: THE PHANTOM MENACE /
George Lucas revisits the popular "Star Wars" franchise with the
first of his planned prequel trilogy to the original three "Star
Wars" films. I was not a fan of them, but here, Lucas gives us something
that makes even those movies look obsolete. Beautiful, majestic,
interesting--but not always compelling.
The spirit of a deceased priest at the cathedral of a blood-crying
Virgin Mary statue possesses an Atheist (Patricia Arquette) in North
America, when the girl's mother sends her the Rosary that he owned.
As we learn, the priest is using the form of Stigmata as attack
on her to get the attention of the Catholic Church, who refuses
to print his texts on the legendary lost gospel. A supposed anti-Catholic
production has fascinating religious trappings, and a visual style
that may push its director into the class of Bryan DePalma and Francis
STIR OF ECHOES /
The premise of "The Sixth Sense" finds new perspectives in this,
a ghost story of chilly images and effective performances.
STOP MAKING SENSE /
The re-release of the Talking Heads/Jonathan Demme classic is a
reminder of the talents passed by, and those that have become mainstream
Hollywood faces. Technically effective.
THE STORY OF US /
A family drama from Rob Reiner, in which Michele Pfeiffer and Bruce
Willis star as husband and wife constantly at each other's throats.
The movie works because the character interaction is always amusing.
SUMMER OF SAM /
Spike Lee's evocative and eerie look into the summer of a legendary
killer in 1977 is entertaining, funny, sad, and extremely observant.
Yet another SNL film, starring Molly Shannon as a Catholic School
girl with intense social problems. It does, however, have a few
Disney's new animated feature uses the all new process called "deep
canvas," and flows on screen with incredible freedom. Alas, while
the story is appealing, it is showing signs of the Disney formula
TEACHING MRS. TINGLE /
Helen Mirren creates a hateful high school instructor, in Kevin
Williamson's semi-personal account of a teacher's cruelty. Leaves
us feeling like we need hot showers.
TEN THINGS I HATE ABOUT YOU /
A teen film in the spirit of Shakespeare's "The Taming Of The Shrew,"
in which two sisters begin as opposites and then switch sides as
men change their lives. The characters are likable.
THE THIN RED LINE /
Dubbed "'The Postman' of 1998" by numerous Online Film Critics,
this long-awaited return by Terrence Malick has great cinematography
and a fascinating concept, but poor execution of characters. Bad
script hampers down needed value for being the Oscar contender it's
THE THIRTEENTH WARRIOR /
After almost two years in production, the long-awaited adaptation
of Michael Crichton's "Eaters Of The Dead" arrives, with just as
many problems as we should have expected.
THE THOMAS CROWN AFFAIR /
A chemistry-driven action-adventure starring Pierce Brosnan and
Rene Russo. What more do you need to know?
TOY STORY 2 /
The toys Woody and Buzz Lightyear return in this sequel that far
surpasses the orignal film, both in content and computer animation.
UNCOMMON FRIENDS OF THE 20th CENTURY /
The documentary about James Newton, and his friendship with important
faces like Thomas Edison, gets off to a good start, but loses its
direction, and feels more like a high school history lesson than
UNIVERSAL SOLDIER: THE RETURN / no star rating warranted (R)
The "no star rating" is perhaps the first and last time I shall
ever use it, considering that this is, after all, the only movie
I have ever walked out of in my entire life. A waste of time and
VARSITY BLUES / s
MTV Productions' worst movie thus far, about a school obsessed with
their football team, and the parties that precede it. Dumb, perverted,
lousy, annoying, and dead are words that come to mind during its
A dark, unimaginative and hideous mess of a movie so ridiculously
directed, the audience participation permits a recommendation for
viewing. Hatred by the viewer is the key to surviving it.
WILD WILD WEST / (PG-13)
Will Smith, dubbed the king of Independence Day weekend, returns
to the movies in a blockbuster of the old west, in which he plays
Joe West, a man on the pursuit of his kidnapped girlfriend. Dumb,
ugly, boring, uninspired, and filled with images that do not belong
in the old west.
WING COMMANDER /
An overwhelming mess of a movie made by a man who did the video
game that inspired the whole project. From beginning to end, it's
THE WOOD /
A funny, much-needed comedy for the studio of MTV, who have been
subject to idiotic movies like "Joe's Apartment," "Dead Man On Campus"
and "Varsity Blues" for far too long.
© 1999, David