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...though the 3rd "American Pie" film was a disgust fest, one could wonder just how much of a turkey the 4th entry of the franchise has to be when it suddenly appears in TV commercials selling as DIRECT TO DVD. Though film #1 brought American classlessness to a new low by making Intercourse with a cherry pie acceptable, the scenes of some young schmuck getting stuck in a clarinet are certain to have the film going populace laughing to tears. Oh gosh, what will those wily folks in Hollywood think up next?? Where will Eugene Levy's next breathtaking performance show up? "American Pie: the Miniseries", the drama behind bringing the the epic film series to the big screen? Watch as union cooks continue to bake up replacement pies while Jason Biggs masters acting by simulating sex with the hot tasty bakery treat over the duration of 37 takes. Watch as Jason Biggs mulls over having three agents depart his employ during the span of the film series production. Watch as Biggs realizes, finally, that yes, "Saving Silverman" quite probably really is the zenith of his short, stupid career and that he might as well accept "Inane B.S." as his nickname. Watch as America finally realizes that Chris Klein has zero to no talent except as the sterling poster child for generation X. Hold back your surprise as Tara Reid tries to......do something. Watch as Mena Suvari almost trumps her legit acting career straight into the toilet. Watch as original director Paul Weitz tries to resurrect what was a promising career by attempting a "Hill Street Blues" reunion TV movie. Better yet- don't watch.

I saw "Hitchhiker's Guide today-" not sure why, as I hated the book (I couldn't get past the first 10 or so pages) and hated the PBS series. This movie had about 2 laughs and has zero soul. The director forgot one of the first rules of film making- make it tangible. I shouldn't be surprised I suppose- he has such a vast body of directing experience behind him! There's stuff in it that occurs that one is supposed to just suddenly know about, understand, relate to. And no, reading the book is NEVER a prerequisite for taking in a film. A flat, boring film that's just a mess. And though the following are NOT spoilers, I was pleased as the opening credits scrolled up the screen to see both Helen Mirren and Alan Rickman listed, and then equally disappointed to find they only portrayed VOICES in the flic. One positive aspect of this movie- I actually enjoyed John Malkoviches performance (a rarity for me).

I saw "Ali" the other night- Smith is very good- film is just OK. Directing is unremarkable-to-junior college film 101. Interesting that Mario van Pebbles pulls off playing Malcolm X- a good but too restrained job of it. Guy playing Howard Cossell is cartoonish- largely due to the appliances on his mug to try and get him looking like HC- however the friendship between Ali and HC comes through. Smith deserves the Oscar nom he got. The essence of the boxer comes through, but the entire story is still awaiting lensing. Film should have been helmed by someone else. Perhaps since Spike Lee did such a good job on his X biopic, he'd have been a better choice. You won't be wasting your time watching this though.

...watched my DVD of ROTJ yesterday. I honestly hadn't seen the film since the orig version- I had bought the VHS set (used) of the "special edition" but had only seen the 1st film- I'd watched a few minutes of that version's Empire.... Other than the end of Jedi showing all the new "celebration" footage establishing the cities to be seen in Chapter 1 and 2, and the additional Bespin stuff, and the re-ghosting of Anakin ala Hayden "I seriously need some actin' lessons George!" Christiansen (in what might be said to be his BEST performance yet...) it was unchanged. And that means a big yawn. Jedi disappointed me on many levels- repeating the Deathstar, the scene where the Emperor is trying to do in Luke (with "energy bolts"- when will something replace the lightening effect?!?!) and the shots of Darth looking back and forth obviously in a nature brain lock of "What do I do??"- it could have been executed differently (I know- there's only SO MUCH expression one can give a big IL' dumb black helmet), the use of the goofy-ass giant fish guy as a commanding general, give me a break (GMAB!), the use of what-ever-the-crap-it-was-supposed-to-be as Lando's co-pilot aboard the Falcon. Geeze, George- Those last two were primo instances to exercise your obsession with CGI!!! And since Star Trek VI and a couple of films that overused it, that silly expanding energy ring got tired BEFORE you used it in the "special edition". At least continuity was maintained- BOTH 'splodin' Deathstars had it.... (although in Jedi you get to see the sucker expand past the viewer's POV- that was sort of cool). And he did add flames to a TIE fighter spinning out of control into a Star destroyer. Adding all the additional celebration stuff at the end doesn't help the film- the lethargic Pricess Leia performance goes unexplained ("Oh Paul honey! Put down that guitar and pass me that doobie, or toss me a 'shroom button!"), making Han look like he's regressed to some naive kid with very stupid lines, Luke returning to Dagobah to "complete training" after he's already told Jabba and the 'world' that he's a Jedi (and effectively demonstrated it in spades) was a weird plot device for what? Showing the casperization of Yoda. Whoopee! Hey George! That dropping blanket after der Yoda vanishes was some hot trick, dude.... Oh and how 'bout when the rescuers are entering Jabba the Butt's palace- here we have all sorts of guises- bounty hunters of every shape and size (staying in the shadows I noticed......why? Doesn't scum and villainy have a right to party openly with the fat sluggoid? Or are they too aware of the trapdoor to Rancor land?), even Leia, disguised by a 1953 Chevy AM radio headpiece (makes me wonder what fantasy of youthdom Geo. Lucas was hung up on in that design...), IS disguised, and in comes Big IL' backstabbin' Lando in some gawd-awful seashell and bones facepiece that looks like something Gilligan made up for the 3rd Halloween party on his island.... Geeze, Dude! You own and run a magnificent skyborn floating city that has fabulous wealth written all over, and you dig up this piece of Jawa poodoo?? Now, seeing Leia in a too brief (and I sincerely believe it could have been BRIEFER) beach outfit was OK, but isn't even the thought of Yoda and humanoidal women together a bit "10 minutes past perverted"? And George did add more babage to the whole Jabba's lair sequence proving once again the old Popeye film making maxim: "Out of story substance? Add womens...." The flying cycle chase(s) are fun, as is the use of the two-legged At-At's, but the whole syrupy teddy bear Ewok stuff? Again, <cough> GMAB. May the forest be with you.

Unlike other comments on this site to the contrary, Charlotte

Rampling didn't just "leap off the screen in 1982's 'The Verdict' "

[an overrated rather contrite movie] but was well into a great and

varied acting career by then and continues to amaze, delight and

show an uncanny naturalness with "Swimming Pool", a very Euro

film that doesn't get bogged down in much overindulgence of trite

"atmospheric" scenes as so many French films tend to do. I had

the feel of a writer's frustrations hitting me from the screen as Ms

Rampling brought the tiredness of celebrity (albeit probably

relatively minor), and especially the sealed marriage with her only

love- writing and a need to set off in a fresh direction in a subtle but

sincere performance. Twists of the tale were handled admirably

and I would love to see another story with this character and this

film's below-surface intellect.

I saw this film last night. While it held my interest- I just don't care about this movie. It's in a (remotely) similar vein to the type of story-telling or rather story that "Pulp Fiction" seems to have triggered. Inane events about inane personages. The attempts at unusual violence for films is not in the same league as PF however. I honestly like all the actors in this film- even down to the minor character played by Crispin Glover (who will never live down playing a cartoonish character called Mr McFly Sr in those Back to the Future flics). And for once Renee Zellwiger is in a role that is more tailored to her limited abilities. But the characters are beyond bland- so maybe it is a story for today's America? This sort of "story" has all the excitement of changing a cat box......for the cat that is.

Usually wary of Wayans-directed films, this was a pleasant surprise- 5 seconds into the film I was busting a gut. Yes, it spoofs, yes, it slams, and yes, it runs the gambit of the humor scale. It's funny- nonsensically, or more apt a description- it's funny because of the poking it does at recent fright-film fare. Go see it.

I agree with the first poster of comments, Melissa. This has remained in my head for a long time (especially Monte Markham's "replacement" astronaut's word to his "wife" "I carved your initials on a Martian Apple Tree...". This isn't a space tale but a tale of humanity and all it's facets. A lovely tale for a TV production (was an "ABC Movie of the Week"). If it plays or comes out on tape, I'll ship you a message, Melissa. BP

"If you can't say something good about a movie..." or so the paraphrase goes. I suppose the most glaring thing I can cite about the film is- I DIDN'T PICK UP ANY TIPS!!! What's up with that? "Modern American Male looking for Love, Lust and just OODLES of blood, desires that special someone who can die C-R-E-A-T-I-V-E-L-Y. Should carry own HMO plan." Now- how many times have you seen THAT personal ad? Patrick Bateman (acted by Christian Bale- the child star of possibly the best Spielberg film, 1987's "Empire of the Sun") as portrayed here is less than two-dimensional. And maybe that's the rub and I just don't get it??? Yowza! There is lots o' talent in this here flic. Bale tosses his native UK-eseic accent wonderfully- but the fascination just DOESN'T CARRY THE FILM!!! No- I didn't read the novel (simple fact: not interested), but due to a true devotee of that raucous best-seller having dropped lots of "visuals" about it over a span of time I think I had a feel for it. The director is relatively new, and though she makes a professional-looking production, she don't have the suspense thing down. She could take some lessons from mother Hitchcock, such as "WATCH MY PSYCHO!" The film tells you the guy is sick. It shows you why. It ends inconclusively- even hinting that maybe the carnage didn't occur at all. Huh-wha....? Roll credits. Certainly as inventive as the conclusion of "Fight Club", I'd say. I was expecting Jackson Pollack and all we get is a spilled cans of Campbell's Tomato Soup. Wassup wid dat? And the really clever part- Bateman constantly reviewing audibly, in front of the potential [more like "upcoming"] victims, the on-going careers and discographies of such fledgling '80's rock artists like Huey Lewis and Whitney H., that just got me sooooo involved with the almost chronically-deep characterizations. Maybe we or I have become so inured by carnage in the past 20 years or so of American film that I am now starving for a bit of STORY to go with it! Want to get involved in good suspense, wit, and plot? Read the new Spenser novel.

Spacey gives his best performance yet; Bening does well (for once not being grating). Supporting cast is good. This film makes no claim to attempts at realism and is more akin to a weird, unimportant dream. A film that keeps you interested but has nothing that compels to watch again. This entire film feels as though one is being transported through an insomniatic skism- the super-dysfunctional mother (Bening) that most of saw growing up at a friend's house (but never our own). A Dad, basically an O.K. but uninterested (but interesting) guy in a doldrum-rut finding a spark to reignite his libido/life (daughter's g/f- played by Mena Suvari) and augmented by new neighbor kid/pot dealer played very intriquingly by Wes Bentley. The daughter seems to be, along with new boyfriend (Wes) one of the few with 2 feet planted firmly in reality. Well-known TV-quality actor Scott Bakula finally portrays the role he seemed destined for- the stereotypical gay (as portrayed in the non-PC days when "gay" roles entering mainstream film) other neighbor. Chris Cooper- the hugely underrated actor (he was the father in "October Sky") is too disturbing as a retired hardcore Marine Colonel and Wes' father. This is a melodrama played up for the moment due to a lack of current input of fakish Lawrence Kasden fare, but without the fake 'tude attached- the psycho-tropic flippantism still intact. See this movie, be entertained for a while then go see other films.

I just came back from "Summer of Sam"- I was stunned. Lee is one of the premiere American directors. When his films don't bore they are great- now I have two fav Lee films- this one and Malcolm X. He is technically possibly the most learned film maker around. Lee consistently blows me away with his ability to apply what he's learned- both in film school and to adapt new film-making manners. This film has so many different types of atmosphere- but appropriate- NOT showing off. No, zero, none- zip, dry portions. He also captured the period to the "t".

The sequence where the dog is talking to Berkowitz is too creepy- for the first 1/2 second I thought it comical- then it turns to "hair straight up on the neck" time. What surprised me was the AMOUNT of known acting talent in this flic- I was amazed and delighted to see Bebe Neuwirth. There is a sequence at Plato's Retreat that actually borders on X rated stuff.

The shooting sequences are VERY harsh- very violent- and are very convincing. Hard to take. Too real.

John Leguizamo will get an Oscar nod for this, I am sure. He's a good actor.

Will Smith continues as a sure-fire entertainer by tackling what is now a classic of TV lore. Yes, they do incorporate West's being black into the script (I had wondered if they would or if it would even be acknowledged) but it plays into the plot line using the bad guys being from the south. Kline again amuses and enhances a film partner. GCI work is astounding and fun- doesn't dominate. This felt like a good fun 2-hour episode only missing the halted manner of West on-film originator Robert Conrad and smarty-mouth Ross Martin. It's an intro- showing how the two got paired and ends leaving us waiting for more rollicking, sexy fun in the Wild, Wild West.

How to wrap up in summation thoughts and feelings for what started out as viewing a tremendously enjoyable series that has led to a desire to know the Spenser universe as well as creator Robert B. Parker? Two words: Intelligent, non-pandering. Every so often the rarity of a great ensemble cast manages to translate story-to-screen week-after-week in a way that induces the viewer to come back. Robert Urich as Spenser brought an intellect mind to the P.I. genre as no one had prior and his partnership-friendship with long-time associate Hawk (as played by Avery Brooks in the role he shall forever shine in [versus his "Deep Space Nine" stint] displayed, without ever coming right out and stating it, that men being close with other men is not only O.K.- it (friendship) is what life is all about (and that you don't discuss it- you live it AND accept it). The third ingredient, Spenser's paramour, shrink Susan Silverman (as played by the ravishing Barbara Stock) makes for a group of impenetrable smarts and savvy to tackle the most twisted of crimes and criminals. Spenser's police associates, Sergeant Belson (Ron McLarty) and Lt. Quirk (long-time renown actor Richard Jaeckel) complete the team- and... the complement. As portrayed in the novels, they each ultimately are part of a crime-fighting machine, only not in the TV-formulistic manner. One doesn't feel as though the producers of the show have a checklist being annotated during planning and blocking meetings. Stories feel real, with a human flair versus a TV production mill affair. Being set primarily in the Massachusetts-centered New England, and MUCH of the time on location also gives the series a freshness. Invariably "Spenser for Hire" will air in re-runs again. My recommendation: watch it, then go get the novels (there are now 20+). As for the "TV movies" that were on and produced by Lifetime- they are just O.K., each came directly from a Parker Novel (with screenplays authored or co-authored by the creator himself) but other than Urich and Brooks, the remaining principles are cast with different people and the "magic" never quite propagated. But even change can be surprising- which is what I am hoping the upcoming new A&E production of one of the more recent Parker novels, "Small Vices" will be.

Great Fun! The effervescent Cate Blanchette and Jeremy Northam once again show why they are the Bette Davis and Lawrence Olivier for the new millenium. Minnie Driver ALWAYS delivers (and grows more stunningly lovely film-by-film) and Rupert Everett's abilities shine (making this tinsel-townie forget about the on-going controversy over his private life). These four Brits are as fine a cast as one could desire. Unfortunately Julianne Moore, an American TRYING to be a Brit reaches her nominal height in acting. But ignore her strained "performance" and see this bright, timeless serio-comic tale of true heart-feelings over-coming dastardly nit-witage. I am biased- the directing adds this to the building library of the new British filmaking that I am scrambling to see more of. This one is not so Merchant-Ivoryish as just clearly, and joyfully executed entertainment that includes the audience as intelligences, not lemmings. Have fun here!

"SW:TPM" rivals the first flick as my fav- (though the OVER-abundance of whimsical characters makes me almost yetch). And Jar-Jar gets tired. One sequence that has NOT been ballyhooed is tremendous (and...wet). The young Anakin is a bit too young- the kid is barely in the "kid" age. Young Anakin (Jake Lloyd) is fun to see, but he's too young for a lot of this. There's Natalie Portman as Queen Amidala- she's too weak at times. I had noticed this in the trailers. She simply does not engage my allegiance to fight for her to the death. She does pull off much of the flic though.

Samuel Jackson as Mace Winddu is always great. And can Liam Neeson ever go wrong? You know he announced this week he is quitting acting? Probably a good place to do it at- a high point (and besides- his character, "Qui-Gon Jinn" ain't coming back [Oops! Plot point unveiled!!]). The look of this film is lush compared to ANY of the first 3. Lucas and ILM gang have don't a GREAT job. I predict this could be the first Sci-Fi best pic at the Oscars. Music was up-to-par (been listening to it off and on for 3 weeks). William's best is still the Original theme (heard here at the opening as usual- sequing to new themes particualr to Episode 1) and CE3K, hands-down. I am glad George L. directed and said he'd do the next 2. He's not a great director but he's a good story-telling director and I feel like I am in an easy chair with a loved-one in my lap watching his films (or at the Samuel Goldwyn, the AMPAS theatre in B.H.- cooooozy!). I am also glad we are returned to Tatooine- not enough Jawas for my taste (or Tuskin raiders!), this time around. Remember the Teaser Poster for Star Trek 5 (the Shatner-directed one)- a theatre seat with a seat belt- well that film didn't live up to the suggestion, but perhaps the poster for this should have had restraints keeping one at the edge of their seat. This is a great time. "Pay no attention to that reviewer behind the newspaper......go see it!"

John Cusack, Billy Bob Thorton, Cate Blanchette, Angelina Jolie and the supporting cast make for an entertaining film of life and its trials highlighted by the occupational strains of being air traffic controllers. The performances are fine- Thorton once again on a character tangent that shows his keen powers of interpretation; Cusack- has he EVER not delivered?; Blanchette- I totally zoned and forgot she was in this prior to sitting down in the theatre- showing an thorough ability to act "American" as a somewhat stereotyped, somewhat non-PC wife; Jolie as an eccentric matches Billy Bob's left-handed manner of tackling life yet ultimately displays a character that is too common in reality: a person that apparently feels to be an individual she has to stick out with behavior that is at once both socially unacceptable and tired in its in-your-face attempt to "shock". The film does manage to show the dedication to the task of controlling aircraft AND the requirement for a specific breed of men and women. Cusack and Billy Bob are these types in the film and pay homage over-all to a profession that I for one very much appreciate. The competitiveness is mostly fictitious- as portrayed in the film, it simply would not be tolerated in the real-world. I like the quirkyness of almost all of the characters, certainly the camaraderie of the controllers and the ability of the film to show, maybe unintentionally, that unlike the renown "high-stress" destructiveness of the air traffic control profession- they have the same problems all of us have, but probably arrive at them sooner. It's a fun, captivating, well-acted and written movie that ventures into a refreshing not too-tread upon area.