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One of the other reviews posted here reveals that it was based on an edited R rated version of the film. Don't do this to yourself. Understand this is not a "nice" film, and it doesn't make for a good first-date or family film. See the unrated version with subtitles or don't see it at all. That's only my suggestion of course, you're free to do whatever you want. Just be aware you aren't seeing the same film that many others have seen, so you'll miss half the point of the film.

I recently caught this film on late night TV. I was totally unprepared for it. It was completely believable, realistic, and very emotional.

I almost didn't watch this film. I remembered the trailer that I saw about a year ago, and it was a terrible trailer. It looked like some kind of schmaltzy-emotional drama crap that would put me to sleep. Nothing could be further from reality.

The story concerns a young man (Nick Stahl) in love with an older woman (although Marisa Tomei isn't that old). The older woman's ex-husband (William Mapother) acts out violently, and the rest of the film is the attempt of the young man's family to accept what happened. How the family reaches a level of acceptance is not what I expected, but it was very believable.

One final note: this film has a great ending sequence. Unlike other films that might have been "played up" or broken into a bunch of wacky twists and turns, the final scenes here have a slow, methodical, and inexorable feel. Bravo to writer/director Todd Field and writer Robert Festinger on keeping things solemn and realistic (this film is based on a short story by Andre Dubus titled "Killings." I have not read it and I don't know how closely the film resembles it).

Don't be put off by that criminal trailer that was put out a year ago, this film is not a disappointment. It's an honest portrayal of family, love and violence.

But what could you possibly expect going into this film? The trailer gives away the very thin plot, and every imaginable cliche is in place. Compare this film with mid 80's body switch films like "Vice Versa" or "Like Father, like Son" and "18 Again," and you'll still find it lacking depth. Fortunately, this appears to be the only body switching film on the horizon, so we should be spared any spinoffs.

If Schneider's soul sucking form of comedy is your bag, then this film will satisfy you. Personally, I felt stupider just for having watched it, but it was the great Gene Siskel who use to say, there's no point arguing about the relative merits of erotica and comedy. It either works for you, or it doesn't.

Rob Schneider either works for you, or he doesn't.

It's just too bad that this film is showing at every metroplex while possibly better films are stuck with limited releases. I pity America's Heartland.

This is part one of Takashi Ishii's "Black Angel" double feature. The two films aren't connected by characters, just a similar general plot focused on female killers. Both films have a low-budget feel to them, and evoke moods in much the same way that Wong Kar-Wai's "Chungking Express" films do.

Ishii really does a lot with this film even though it is considerably based on action movie cliches. Fortunately he manages to breathe some life into it with some excellent camera work (including a particularly well-filmed continuous shot), and the great performances of Riona Hazuki and Reiko Takashima (as the two main female protagonists).

One particular scene of note: Early in the film Ishii breaks up the heavy crime drama with a strangely placed song and dance number that is composed of one long 3 minute shot, from one angle. Very strange. It actually made me think of François Truffaut's "Shoot the Pianot Player." Early in that film a ridiculous dance number in the bar breaks up the tension in much the same way.

I firmly believe that Godzilla is criminally misunderstood in America. Much of this comes from the horrendous dubbings that we are often exposed to. The Americanized version even features Raymond Burr and a giant Dr. Pepper product placement. This makes it tough to take the film seriously on any level. I encourage you to search out the original version. You might be lucky enough to find it on ebay as a region 0 DVD. You won't find it in Blockbuster or most video stores.

Admittedly, it takes a special kind of person to search out the original, then look past the `special' effects and see the metaphysical implications of a giant monster destroying mankind. This may or not be worth your time, but if you decide to watch this film, watch it, not as `Godzilla 1985,' but as `Gojira 1984.' Otherwise you might as well stick with the Devlin/Emmerich remake that's just as funny as the dubbed versions, but for all the wrong reasons.

Also, an excellent score is turned in by Reijiro Koroku, it takes inspiration from the classic Godzilla theme but adds some real depth.

This film chronicles the sad and pathetic existence of a second-tier college basketball coach (Richard Lewis) as he prepares for the big game. Rather than preparing by running drills with the team, or going over special plays he catalogs his drug collection and scams on the local college girls. Everything culminates on game day, with one of the most unpredictable basketball games ever filmed.

Richard Lewis is brilliant in this film. His "pep" talks to the basketball squad sound as if they were written by Mamet on his best and most cynical day. The delivery of one speech in particular is perfectly done, you will recognize it when you hear it. This speech is the antithesis of every lame "rah-rah" game winning speech I have ever heard in a sports related movie.

The tag line for this film is: "This ain't Hoosiers," and it is an apt one. It is as if Steven Klein (writer and director) has seen every relevant sports film and passed judgment on them, banishing the sports film to a strange bizarro-world, then returning it, just recognizable.

But I kind of think that's a good thing. As other commentators have noted, the "f-word" gets used quite frequently. If that bothers you, look elsewhere. Otherwise it's just a violent, obscenity laced follow up to "Swingers." (8 out of 10)