EYEboy

Nothing here you haven't seen before if you're a fan of Italian westerns, but DAY OF ANGER develops its plot and characters carefully, keeping you on the edge of your seat throughout. Van Cleef is terrific--this is surely one of his finest moments--yet he's matched stride-for-stride by Giuliano Gemma and the rest of the cast, with solid performances from many bit players. The direction and camera work are first rate, also. It may fall just short of Leone and the first Django movie, but it's still a first-rate spaghetti western.

Thank you, Hollywood, for insulting my intelligence once again. Not that I expect the subtleties of Shakespeare from a horror movie rehash; but, in today's Hollywood, while an insultingly stupid script and walking-cigar-store-Indian acting is expected.

The new MUMMY is probably no worse than a lot of Hollywood action fare out there now; what's amazing is that people get paid to make this swill. Even more insulting is that the original was such a classic, and while this is certainly no remake, it is little more than a computer game with a bigger budget (and minus the interactivity). It'll be more than two years before I waste this much of my precious time and money

Talk about a missed opportunity--Lodge Kerrigan ruins what could've been a compelling first-person study of schizophrenia by throwing in two-bit horror movie shock elements, the same old "serial killer" garbage that is de rigeur for indie movies in the '90s, and a lot of pointless, terrible acting (save for Peter Greene, who is so good in this that it's almost painful to watch at times). This could've been a terrific study of a harrowing illness; Kerrigan's use of sound is particularly compelling, and the subjective nature of the story underscores that effect. But too many stupid plot elements and a gaggle of insipid performances sap much of the plot's innate tension. By the time the "fingernail" scene arrived, I was rolling my eyes. I expect this kind of thing from Wes Craven; from Kerrigan, an obviously talented and daring director,

And any fans of hers will want to see this thoroughly entertaining romp. A big-budget picture that doesn't skimp on plot or its sometimes-hilarious script in showcasing Ms. Yeoh's considerable talents (including a great scene with a whip!), THE MAGNIFICENT WARRIORS delivers on all counts. Don't miss!

Totally agreed -- this is not only the only version of this story worthy of the name, it's one of the best examples of film noir you'll find. O'Brien is at his lowkey best; he registers the recognition of his predicament very gradually, sucking you in entirely to the very end. Masterfully paced and thoughtfully shot, D.O.A. is a terrific film. Don't miss.

Kudos to Scorsese for tackling such a genre classic, but this is one of his worst films. De Niro is a mere caricature in this film; where Mitchum exuded evil through restraint in the original, De Niro all but wears a flashing sign reading, "I'M REAL BAD!" Agree that Juliette Lewis is beond irritating in this, and Nick Nolte and Jessica Lange -- both entirely competent actors -- are nearly asleep through much of the film. The Joe Don Baker cameo is actually a welcome development! Although the pacing, editing and sound are very much up to Scorsese standards, the new CAPE FEAR is more silly than suspenseful. The "horror" climax of this remake is more reminiscent of FRIDAY THE 13th (and is just as hackneyed) than the original, tense noir ending. Scorsese is one of our greatest filmmakers, without doubt, and even he is entitled to a rare mis-step, which this certainly is.

Isn't it funny how Steven King's simplest stories translate best to film? SALEM'S LOT actually managed a couple of fairly effective moments; STAND BY ME is a great coming-of-age movie. This mess is just that -- a huge mess. Inert direction and sleepy performances (except for Tim Curry, who does that over-the-top sort of thing well) don't help. The spider reminded me of a lot of cheap special effects I've snorted at over the years, and I found myself laughing through the ending. Had there actually been a frightening moment or two throughout this over-long movie, I might actually have a fond memory or two of it.

Just to dispense with one aside -- if you liked the soundtrack to this, it's available on CD, and worth getting. I actually find listening to the music from SUSPIRIA as frightening as the movie itself. Now, for the film... Agree with the Argento purists, it's got its flaws (not the least of which is the total absence of logic), but if you put that aside, you'll find this one hell of a ride. Agree also that it should be seen uncut and widescreen, preferably on a very big screen. I saw this at the theater back in '77, and was blown away; it's not the same on the box, but then, what is? One of my favorite horror movies, SUSPIRIA isn't consistently terrific, but oh, the highs it hits... Still, I think Argento's giallos (especially PROFONDO ROSSO) are superior.

Amazing that all these years later, NOSFERATU not only holds up, but surpasses every vampire movie -- and most horror movies -- made since. The story is a bit lean, but the make-up, performances, direction, and f/x (and this was 1922!) are top-notch. Best of all, the movie actually manages to frighten even a jaded horror viewer like me. If you've never seen it (and don't need a lot of mindless gore to grab your horror nerve), you should; if you haven't seen it in a while, take another look. You'll thank yourself!

Although it's certainly a cut above the usual (melo)drama that gets trundled out these days, Leaving Las Vegas relied a little too heavily on some tired movie cliches -- the world-weary drunk, the hooker with a heart of gold (who's gorgeous, even in dress-down sluttiness) -- to grab me. I would've found some real grit (i.e., a smelly street drunk, a skanky streetwalker) much more honest and (ironically, I guess) refreshing. Instead, I got two disinterested performances from overmatched actors (although there are fine supporting performances throughout). Figgis is a top-notch director, however; his work here keeps this film on track.

...And if that were the only problem with this overblown tripe, it would be forgivable. Factor in an embarrassing script, paper-thin characters, a ridiculously bad fit of somebody's idea of pop psychology onto a convoluted plot, and torpid, limp performances, and you've got a stinker, ladies and gentlemen. That Joel Schumacher continues to get work as a director amazes me.

Quite possibly Coppola's masterpiece. Terrific sound-editing and a stellar performance from Gene Hackman, whom I can usually take or leave, augment an incisive script and Coppola's assured direction. Beg to differ on the production values comment -- by keeping the budget low, it underscores the "underground" nature of covert surveillance. And the suspension of plot resolution keeps the movie's intensity building effectively toward its shattering conclusion.

Here's how you ruin a good premise for a movie: Coax go-through-the-motions performances out of grizzled vets of this stuff like DeNiro and Keitel, throw in actors totally out of their element (Janeane Garofalo?!?), and allow Sylvester Stallone near the set. Actually, Stallone ain't half as bad as this preposterous story -- yeah, I know it's based on a "true" story, but I'm betting the real thing didn't end with a cop-on-cop shoot-out that reeked of every lazy Hollywood resolution to a movie. Add clunky editing and listless direction, and you've got me checking my watch every five minutes, which is exactly what I did throughout Copland.

I'd just like to make a point: For a refreshing perspective on the comments of Jeremy Barger, who has panned this movie (see his comments on this page), check out his perspective on Independence Day. Yep, Jeremy, if you really think ID4 is a great movie, you're not going to get Secrets and Lies. Which is not to say that S&L is a great film, either -- it isn't, although it has its merits, among them a refreshingly human script. But no big bang-bang good-guy bad-guy here, kimosabe. Me suggest you stick to movie with lotsa bang bang.

Although it rips off SPINAL TAP scene-by-scene in some instances, FEAR OF A BLACK HAT offers up enough belly laughs -- some of them very large -- to make it worth a look. Rusty Cundieff, who did some hysterically funny segments for Michael Moore's TV Nation program, proves himself to be a solid director with an eye for biting satire. Unfortunately, some of the jokes are a little weak. That said, there are moments when this movie nails some of the hypocrisies of pop music (not just hip-hop). Pretty good performances all around, too.

I had the enjoyable experience of seeing this at a theater in '86 for a midnight showing. The crowd of young college-town hipsters had cleared out within 20 minutes, shrouded in disgust! STREET TRASH is a trash classic, sure to offend you or someone you know. If you're not easily offended, though, and are up for one of the most gleeful disgust-fests Troma (or anyone) has ever cranked out, check out this demented up-chuck of celluloid.

Walking a fine line between compelling drama and utter sleaze, THE NIGHT PORTER is one of those films you're going to react to strongly. Dirk Bogarde gives one of his creepiest performances as the title character, a post-war Nazi-in-hiding who stumbles across a camp survivor he had an uber-yucky ongoing tryst with. Charlotte Rampling is pretty good as his paramour, but it's the supporting cast of Nazis in denial that make this Italian film a sleazoid classic. It also kicked inspired one of the most brazen and despised subgenres of Italian filmmaking, the Nazi sexploitation film. Whatever you think of it, THE NIGHT PORTER is certainly far more tasteful than anything that followed it!

I'll be brief: If you've never seen this definitive, influential horror film, see it. After all these years, it still has the power to shock. Good performances all around (Charles Laughton in particular). Small wonder this thing was banned in the U.K. for so long. Now that it's been remade (at least twice), it's worth taking a look at the original.

Merhige's powerful film serves beautifully as a primitive tale of mythic creation, and defies literal interpretation. It's not a film you'll soon forget. The story is at once straightforward and abstract; essentially, god kills himself, mother earth takes his seed, and both she and her son is abused by the denizens of the earth, who are creating the beginnings of technology. Merhige's visual style is somewhat reminiscent of Maya Deren's explorations of the unconscious, and Stan Brakhage at his grainiest. Viewers who require linear plotting and simplified imagery in their films will find BEGOTTEN daunting and frustrating (see top review). But the adventurous will discover a film that works on a level most don't dare enter.

What do you get when you cross Preminger's LAURA with the Kuchar/McDowell brain-frier THUNDERCRACK!? Something that looks a lot like SINGAPORE SLING, one of the more demented European films of, well, ever. The story of a gut-shot Greek detective in search of a mysterious "Laura" who stumbles upon the house where she's living with her "mother" (who's probably neither that or female, for that matter) gets stranger by the turn, and does not shy away from bizarre sex, ultra-violence, and regurgitative gross-outs in the process. Filmed in beautiful black-and-white, it's a one-of-a-kind film, more purely noir than most noir retreads of recent years, yet far too demented to be considered merely noir. Viewers with strong stomachs seeking the ultra-outre will find this to their delight; all others had best shy away.

Without a doubt, one of the best Hammer horror outings is this superior satanic thriller, featuring a knock-out performance by Christopher Lee. The story is pretty simple -- Lee protects a susceptible young man prone to occult influence from becoming the 13th member of a Crowley-esque coven -- but the scares are many, and Lee recites from the evil fighting rulebook as though he'd authored it. I just watched this again recently, and it's one of the few horror films that still has the potential to generate good, old-fashioned chills. If you haven't seen it and you like a spooky good time, don't miss!

This celebrated oddity of underground art/porno filmmaking is at once a hysterical, insane, and strangely literate comedy. Director Curt McDowell makes good use of the great interiors and black-and-white format to lend an air of sleazy sophistication to the proceedings. As for the sex, it's too demented -- too lost among the chaotic proceedings -- to categorize this as just another "Golden Age" porno; the inclusion of a gay male scene only underscores that. Definitely one of the oddest cult films of its decade, perhaps of any decade. Students of the ultra-weird (who aren't put off by explicit sex) shouldn't miss the opportunity to see this.

Is it just me, or is intelligent sci-fi filmmaking a thing of the past? Lost in Space, the TV show, was at least entertaining; the film it "inspired" is anything but. Built on a script that floats on cliches and little more, LIS fails to engage at every level. The story seems to have been pieced together in separate meetings, without any cohesive transitions. Boffo F/X do not a good movie make, and even talented actors like Gary Oldman, William Hurt, Heather Graham, and Mimi Rogers barely phone in their performances. Far too long and far too insipid, LIS isn't even much of a time-waster.

Talk about a movie that lives up to its reputation -- In a Glass Cage is relentlessly intense from start to finish. The story of a Nazi doctor /pedophile in hiding and the strange young man who comes to work as his "nurse," this film explores taboos with relish. Unfortunately, it devolves into horror movie shtick toward its end (thereby obfuscating the very real horrors it has developed to that point), but In a Glass Cage packs a wallop , earning its reputation as one of the more disturbing movies ever made. It 's very much a European movie, and, given its horrifying subject matter -- pedophilia, the torture and murder of children, the relationship between monsters and their victims -- it could never have been made in the U.S. Strongly recommended for viewers who have strong stomachs and are not otherwise easily offended; all others are urged to avoid it at all costs.