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Great Director Sidney Lumet has brought many great police dramas to life over the years. Such as the marvelous 'Serpico' With Al Pacino. 'Prince of the City' 'Q & A' among many others. But even he can't overcome the poor performance of his sadly misplaced leading lady in the already flawed 'A Stranger Among Us'. The problems begin with the film's prosaic title. Already 'A Stranger Among Us' seems trite and contrived. Perhaps sticking with the UK moniker 'Close to Eden' wouldn't have sounded as much like the title of a Lifetime movie. Griffith strikes out as a police woman who goes undercover in New York's Hissidic Jewish community to solve the disappearance of a young jewelry shop keeper whom she ultimately discovers murdered..From one of the opening scenes when Griffith asserts her character as a tough talking, trigger happy cowboy, or girl in this instance, we know the plot is headed for ridicule. Griffith never seems to leave terrible enough alone as she comes up with a new, in your face, slogan for almost every new scene and situation. Then things really take a turn for the absurd when one of the young potential Rabbis turns out to be disguised hunk Eric Thal. And grows even more ludicrous when Griffith, with the help of one the young Hissidic girls ( Mia Sara ) gets a total Jewish makeover to go undercover as one of their own. Her dyed blonde locks now toned down to a still teased, yet slightly more modest black. As she sets out to solve the crime, the relationship between her and Thal's persona Ariel seems as out of place as the police women herself. For one thing, Griffath, who looks like she's lived the hard party life she has, looks way too old for Thal, as she does for all her leading men. And where did she get and why does she employ that God forsaken Marilyn Monroe accent? Eventually the forbidden romance comes to a head, as we suffer through formulated scenes where Thal and Griffith lament the differences between their worlds. And you sense that Griffith just needs a chance to wrap her legs around the religious student for him to flush the whole faith down the toilet. In Griffith's defense it is a difficult premise to make work and I can't think of one actress who could have pulled it off convincingly. Thal tries to play it straight as the fledgling rabbi but has only his costume to work with.The whole thing plays out like kind of a reverse version of the Harrison Ford film 'Witness' Only the plot is much less imaginative and the romance can not find any foothold here. In the end Lumet didn't have no where near as much to work with as he did in most of his other films. And any hope of anyone taking any of this nonsense seriously wast lost on the incompetence of Griffith.. No doubt Lumet was forced to cast her based on the success of box office hits like 'Working Girl'. The poor old man must have been tearing his hair out. anyway, the shock ending isn't much of a shock, and you've probably already turned the channel by then. This one is definitely not kosher. Miss it. 4 out of a possible 10 T.H.

When Mel Gibson first blazed onto the American screen as Mad Max in the memorable Australian import 'The Road Warrior', well everyone including me thought we were seeing the gleaming debut of a special actor. But after watching Gibson stumble through the ludicrous 'Bird on a Wire' We ask ourselves what in the world has happened to his once promising career. Equally as bad is the limited Goldie Hawn who does nothing much but let out, what is supposed to pass for a comedic scream in almost every scene. The forgettable story centers around Rick ( Gibson ) or Billy Ray or whatever stupid handle they address him by throughout the ridiculous plot. He is in the the witness relocation plan you see after ratting out some dirty drug friends fifteen years earlier. It seems they wanted him to agree to go along with a murder, this is how they establish that Gibson is really a good guy, and he refuses by turning states evidence against one of the main bad guys. Sorenson, portrayed lifelessly by the wood faced David Carridine. Billy Ray seems to be hiding out pretty well. Working an odd job as a mechanic in Detroit. Until his old girlfriend Marianne (Hawn ) recognizes him while he is pumping gas into her car. Various references are made to the couples drug crazed romp through the latter part of the 1960s. And it turns out when the feds faked Gibson's death, Marianne was left jilted at the alter. And she is still royally P.O.d, especially after Billy Ray initially denies that he is Rick in the first place. Well, you guessed it, soon the criminals led by Carridine, show up looking for revenge and the couple hits the road looking for deliverance. Gibson tries on a variety of different accents for different situations, including American, Southern, and even homosexual. But the only one he gets right is the unintentional Australian which keeps bleeding through. Hawn trots out that same ditsy dumb blonde routine she's employed in a double figured number of films. It may work when you're twenty five and cute. But it's just plain obnoxious when you're over forty and beginning to look haggard. Gibson seems to by trying to make a comic spin off of his 'Lethal Weapon' character only without the suicidal tendencies. His tight jeans and long hairdo selling his true artistry out more with each passing frame The chemistry between the two is nonexistent, And Gibson lacks an essential element for comedy. He isn't funny. The film tries to borrow its premise from clever road films like 'Midnight Run' but lacks any of the wit or excitement. It's hard to believe that director John Badham is the same man which presided over the wonderful 'Saturday Night Fever' and other hits. The film dredges on towards its meaningless, predicable and far gone conclusion. I for one was glad to see it end. This film is disappointing at kindest. Especially since we know how good Gibson can be. If there's anything else on besides this movie, watch that instead. Sub par, 4 out of a possible 10 T.H.

Writer John Hughes, Perhaps better known for his popular yet overrated 'Home Alone' series scores here with a charming and delightful romantic comedy starring clever comedian Frank Whaley. When the town liar Jim ( Whaley ) loses his umpteenth job in comical fashion. His father lays down an ultimatum. If Jim loses one more job he will be kicked out of the house. Where Jim has already confessed that he loves living at home since the accommodations are four star. Having burned most of his bridges with the local businessmen through his incompetence Jim has few options left. And we find our hero as 'Night clean up boy' at none other than the local 'Target' store. Well this leads to all types of mishaps and hilarious situations which are executed nicely, by the clumsy and exaggerating yet imminently likable Jim. Enter the crush interest, portrayed by the fabulous Jennifer Conelly. Josie is the daughter of a local bigwig, yet she seems disenchanted by what life in the small North Carolina Town has to offer. She is the apple of Jim's eye, and just about every other male's eye within the range of vision. Conelly really looked beautiful in this role. It was before she had dieted down to where she now has two pool cues for legs. Nowadays Conelly looks as if she's had two crackers a day for the last three years. And the nose job which makes her face seem sharper and pointier does not become her. But she looks amazing here as Whaley discovers after they've locked him inside the store for the night, to look after things and tidy up. Josie, you see, in an act of rebellion has locked herself inside the store in a botched shoplift attempt. And it turns out her and Jim are the only two people in the building. The dialogue between Jim and Josie is refreshing even if it isn't realistic. Jim is incredulously surprised when Josie identifies him as the town liar. Even though she doesn't mean it as an insult. But Jim does treat her like a person instead of a sex object and this is something that Josie is not used to. The two share TV Dinners in front of the electronics presentation and even a slow dance. And you can relate to the way Jim would feel in the presence of such a gorgeous creature. He does not want the Sun to come up. It's not perfect of course. Anyone would have a hard time believing that beauty Queen Josie would fall for the twerpish bullshitting Jim. And the actors are being too serious for comedic license. But the thing is, you want to believe it, and that only adds to the film's charm. Eventually, the whole thing starts to unravel and the film degenerates into the Hughes tradition of bungling burglars and other stupid nonsense, and the magic is lost. But for a brief time the suspension of disbelief makes us exist in this modest oasis of romance, and there's no red blooded American male who didn't imagine himself there with Conelly. But between the capable antics of the sidesplitting Whaley and the remarkable beauty of the breathtaking Conelly. They are more than enough to carry a film that definitely has some top moments. Credit Hughes for coming up with a good premise than finding the perfect actors to make it work. A very enjoyable and original romantic comedy. 7 out of a possible 10 T.H.

'War of the Worlds is a very impressive remake of the very impressive original. The 1953 classic starring Gene Barry is equally as spectacular when placed in the perspective of its own era. The 2005 version stars superstar Tom Cruise as everyman Ray Ferrier. A divorced father of two who is hosting his teenage son ( Justin Chatman ) and his ten year old daughter ( Preteen flavor of the month Dakota Fanning )for the weekend. While their mother ( Ferrier's ex ) is vacationing at her parents house with their wealthy stepfather. Cruise's teenage son is not too happy with this arrangement or with his dad for that matter. And there are various references to Cruise's irresponsibility and selfishness and right away you know that Cruise will end being a hero based on the criteria of this formula. Well it isn't long before the weather anomalies associated with these types of disaster films line the sky. And the Ferrier household turns from fighting each other to staring in awe at the late Autumn sky which is full of black cloudy vortexes. You know the rest. The invaders take the city by storm. And here is where we begin to see Spielberg's spectacular touch. These effects are nothing short of breathtaking. As the hidden aliens ride gigantic tripods, which are sort of reminiscent of the 'Imperial Walker's' in George Lucas's ' The Empire Strikes Back'. Only much more frightening and foreboding when placed in a real scenario like New York. Actually the effects themselves are the star of this film. Cruise might be too fine of an actor for something with this much action. Just check out some of his sublime performances like those Oscar nominated rolls in 'Magnolia' or 'Born on the Fourth of July' if you need a reference point. Someone like Gene Barry, who has a cameo as the Grandfather in this adaptation. was more than capable of doing the work without distracting us from the film's excellent special effects. That's not to say that Cruise doesn't have some scenes which require difficult acting. One of the best scenes of the film involves a mob attempting to steal the van which the Ferrier family commandeered from their local garage after all things electrical are blacked out by the aliens. Cruise handles the panic, fear and rage like the seasoned veteran he has become. Even though he could be accused of overacting at times, the whole premise is over the top. Eventually the family makes it to the cellar of a burned out farm, where the encounter the reclusive surviver of a wiped out family, portrayed in an extended cameo by Tim Robbins. Here Spielberg and Co continue to dazzle us with fantastic other world visions. And when a snaking eye comes into the cellar searching for survivors of the carnage above, we are reminded of the suspenseful kitchen raptor scene in 'Jurassiac Park'. Genarally the film is pretty dark. From the insidious intent of the raiders to the execution of their evil plan, some parts may be too frightening for smaller children. Over the years Spielberg has proved to be one of the greatest, if not the greatest film makers of any era. One of his specialties is the Summer blockbuster and he executes that genre to perfection once again here. Although even the mighty Spielberg isn't immuned to the occasional clunker, you will find no such worries here. It's a good film to see on a Summer Saturday night. It's a good film period. 7 out of a possible 10 T.H.

From the classic opening scene when a young paint store worker struts down the Brooklyn street with a bucket of latex, to the stirring BeeGees rendition of 'Staying Alive, you know that director John Badham's Saturday Night Fever' has attitude. And attitude would seem to be just what you'd need to succeed in a place like New York. It's the story of Tony Manero. An Oscar nominated performance by then teen idol John Travolta. Who was the star of the popular TV sitcom 'Welcome Back Kotter' Manero, although languishing in a minimum wage job during the day, takes over the dance floor at the local disco by night. He is the king and an icon to his loudmouthed and juvenile friends. Who all seem to be on a road to nowhere. As pointed out to him by his new love interest Stephanie ( Portrayed by Karen Lynn Gorney ) The problem with this love interest is that she's not all that interested in him, Unlike his drooling groupies at the 2001 Disco. (Which was actually filmed inside the famous studio 54 ) And this causes Manero to stop and think that his life may be headed down a dead end street as well. This picture is not just you're mindless dance romp. Travolta creates a character who is totally believable. He makes you think that Manero is as crude as his idiotic friends. But it's the great way Travolta emotes and you can see on his face what's going on in his character's mind. It's still his best performance to this date. There are plenty of moral implications and concerns. Manero's brother is/was a priest, who returns home to their Italian parents to break the news to them that he's lost the faith. One of Tony's friends has gotten his girlfriend pregnant and is pressured to marry her by both sets of parents as well as his local priest. You can see just that little trace of the 1950's morality still remaining in the disco era society. Today, almost thirty years later. A single mother does not wear the same scarlet letter as she did even then. And recent revelations of child molestation in the Catholic church would probably make a family weary of being related to a priest rather than proud of the fact. But it's fun seeing the disco era as it really was instead of some cheesy imitation. If I had one problem with the film it would be with Gorney. Stephanie tells Tony and his friends that she's 'Only twenty' Yet at the time of the filming Gorney was thirty one. And she really does seem and look too old for the roll. As my father so crudely pointed out. 'You can't make a woman's ass that's thirty one look twenty.' But she can do the scenes. At one point after her and Tony meets her old boyfriend, she is reduced to tears by his jealous barbs. Gorney does fine work in this scene and you can feel the strain. Maybe that's what they were thinking when they cast her. That and the fact that she has a great Brooklyn accent. While the film has a great story with a little bit of everything. The music really is special. The soundtrack, which was dominated by the BeeGees, is the very cornerstone of the disco craze. When Tony and Stephanie ultimately dance to their 'More Than a Woman' a truly great song. To Badham's half fast half slow motion direction. The results are pure bliss. Actually the whole film is charming and fascinating, and I believe extremely underestimated. 'Saturday Night Fever' is about life. About difficult choices and conflicting voices. About growing up and having the courage to chase what you want. And it sounds and looks beautiful. Whether you like dancing or not, this movie's for everyone 10 out of a possible 10 T.H.

Anthony Burgess book of the same name is really the rarest of gems in English letters; The philosophical novel. The main character is the near futuristic street thug Alex, played in director Stanley Kubrick's ultra violent screen adaptation by Malcolm McDowell. Who brings a priceless and vicious vigor to the roll which is almost impossible to top. Alex and his gang of 'Droogs' wreak havoc on 21st century London, as they rape, rob and rampage throughout the early scenes of the film and novel alike. Both stories following each other very closely with just a few minor changes. But when Alex is betrayed by one of his traitorous droogs after giving him a thorough 'Tollchocking' He finds himself holding the bag for a burglary gone awry. Which turns into the bludgeoning death of an elderly cat lover. With a long and frightful arrest record Alex finally lands in prison. Where he sets out to convince the in house Chaplin and anyone else who'll listen that he is reformed and ready to rejoin society. And when a radical new treatment becomes available to one lucky inmate. A therapy which can be completed in a mere two weeks. Alex considers himself the perfect candidate to be revamped and released in a fortnight's time. Not realizing that he will become 'A Clockwork Orange.' When Kubrick previewed his film for critics and audiences alike. People were stunned by what they saw. And whether or not you liked it or hated it one thing was for sure. No one had ever seen anything like it. The 'Ultra violence' is amply gratuitous and the rape scenes are harrowing, especially for the era that only immediately followed the sexual revolution. It's hard to imagine that Kubrick got the code and ratings administration to slap an R rating on there. Actually the film was originally hung with an X rating and it only after Kubrick revamped the editing, which included speeding up some scenes which were downright pornographic that he was able to get the labeling changed to an R rating. The dialogue is similar to the dialect which Burgess employed in his brilliant novel. Which is Alex's own mix of Russian, street slang and the regular King's English. Hearing McDowell speak these lines with wit and vinegar is very satisfying. His performance is a special accomplishment. I'm sure he brought more terror and life to this persona than even Burgess, who was also an accomplished conductor and writer of classical music, dared dream. And Kubrick isn't too bad himself. No one had ever even attempted to make a film this daring up to that date. And whether you gather the moral implications or not. There's not one scene that wouldn't entertain as it's own entity. With the engrossing and fascinating McDowell leading the way in almost every frame. Many have called Kubrick the greatest film maker of all time. Including, among others, the not too shabby himself Martin Scorsese. And after watching 'A Clockwork Orange' and being thrilled by it for the umpteenth time. I can find no avenue to disagree. This film is spectacular reel after reel. Do yourself the favor of seeing it for yourself. 10 out of a possible 10. T.H.

Director Elia Kazan's harsh portrait of a monopolized Cleveland lake front and its beleaguered dock workers is just as good today as it was the first time I watched it, and as I'm sure it was when it was released in 1954. When ex prize fighter Terry, portrayed by the one and only Marlon Brando is given a cushy job inside the warehouse by corrupt Union boss Johnny Friendly, expertly portrayed by Lee J. Cobb. largely because his brother 'Charlie the Gent' Another outstanding performance by Rod Stieger, is in tight with Friendly and his gang of mob toughs. But Terry begins to have an attack of conscience after he unwittingly arranges the murder of acquaintance Joey Doyle at the the hands of Friendly's ruffians. His situation is further clouded when he runs into a sympathetic priest ( Reuniting Brando with his old friend Karl Malden ) and the sister of the murdered Joey, Edie ( Portrayed by Eve Marie Saint in her stunning screen debut ) Although there's plenty of action and Brando is usually remembered for his famous 'I could have been a contender' scene opposite Stieger, the most fascinating scenes to me occur between Brando as the unrefined Terry and Saint as the parochial Edie. The dialogue between the two, which starts out as sort of a teasing banter, and grows more serious at a pace perfectly commanded by master director Kazan. Is realistic and spaced nicely. At one point early in the film Terry says 'I bet you don't remember me do you?' Saint replies with the perfectly delivered line. 'I remember the first time I ever saw you.' At that exact second, a note from the musical score kicks in to enhance the scene. This is an exact imitation of the early moments of a love relationship. Although the story of the dock workers fighting for their rights at the risk of their very lives is compelling, This is one of the most dynamic love stories in the history of cinema, Their love seemingly appears out of nowhere and beats incredible odds to persevere. As Terry's character tries not to buckle under or succumb from the pressure of each conflicting side. There is plenty off other good work from the rest of the cast, Cobb has some comical lines as the overbearing and ruthless Johnny Friendly. And Malden is a stalwart as always as the workingman friendly clergymen. But the film belongs to Brando, who finally received the Oscar after incredulously being denied the prize for his amazing performance in 'Streetcar Named Desire' And of course director Kazan who's stark black and white scenes were managed flawlessly and coordinated seamlessly with both the actors and the tender musical score. There is not one frame out of place, or one thing I would have changed about this film. A timeless and touching American icon. As good as you've heard. 10 out of a possible 10 T.H.

Writer and Director David Lynch loves to torture his audience with a stiff left jab. He is not only one step ahead of the rest of us. He's so far ahead we may never catch up. But Lynch takes mercy on his viewers, while delivering perhaps his most endearing classic with the masterful 'Blue Velvet.' When young Jeffrey, played by the underrated Kyle McLachlan, returns home from school following his father's sudden and serious illness, He takes a shortcut on the way home from the hospital. While angling through a vacant lot he makes a ghastly discovery. A severed human ear lying on the ground. Curious, he sets out to solve the mystery of who it might belong to. Along this path he meets up with somebody else's high school sweetheart, ( Laura Dern ) and they set out to solve this puzzle while heating the incubation of their growing love. From the opening scene, when Lynch shows us a passing fire truck right off the cover of the Saturday Evening Post, we realize that this film is more about the things we can't see then the things we can. Lynch has a very artistic way of showing you these examples of goodness. Only to make you shiver when he drags you underneath the streets to show you the evil which no society has ever been totally free of. In this case that evil's name is Frank, played by screen icon Dennis Hopper in an amazing performance which might be his best in a career which spans almost fifty years. Frank is a bad man who is inexplicably tormenting a broken down lounge singer ( Isabella Rosallini ) as Jeffrey discovers through his unauthorized detective work. McLachlan is clean cut and polite as the innocent Jeffry. And so handsome that he purposely represents the athletic ideal in another example of the good which Lynch keeps teasing us with. As for Laura Dern as his partner in crime fighting and maybe more. I don't see her as the beauty queen for which she is so often cast. But I can't deny that she is a good actress and her performance is worthy. But Hopper as the deranged Frank dominates the screen. His viciousness bellies everything Lynch has shown us when relating to the Elm Streets of Jeffrey's Northwestern hometown. Hopper captures the insidiousness and violence perfectly while his director begins to deluge our minds with much darker images. When Lynch is criticized it is usually because his films tend to branch off in totally obscure directions. Leaving the audience perplexed and guessing not only at the meaning but wondering if there's even any common sense to it at all. Lynch swears that his films make sense. But to everyone's relief 'Blue Velvet' does come to an explicable conclusion. While it's not exactly your Hollywood ending with a bow on top. No one could call it obscure. Ultimately 'Blue Velvet' is not only Lynch's best film. 'Which is a stellar list in its own right, it could easily be the most daring and beautiful feature of its entire decade. Even people that don't understand him agree, Lynch is a genius. And 'Blue Velvet is his crowning achievement. 10 out of a possible 10 T.H.

Screenwriter James Gunn tries to add some new twists to George A. Romero's creepy 1978 script. But it's a hard act to follow. Our story follows registered nurse Ana ( Sarah Polly ) Who takes to the hills

with the rest of the Milwaukee area after her husband is murdered along with half the town by packs of rampaging zombies. It isn't long before she crashes her car off the panicked highway and runs into still human police officer Ken, played by the always excellent Ving Rhames. Banding together while dodging and executing the zombies alike, they meet up with a few more straggling survivors led by Mikhi Pfifer who has a pregnant girlfriend in desperate tow. In dire need of a safe house, and learning that many potential havens have been overrun by the bloodthirsty dead. They finally have to settle for breaking in to a large shopping mall. The problem with this, compared to Romero's genius original idea is that all the surprise element is gone for fans of the 1978 film. And the shocking quaintness of the inhabitants taking advantage of the mall's finer points seems lost in the shuffle of some pointless twists. In other words, during Romero's story, you could feel enough horror as to where you could picture yourself locked inside the mall. And you could relate to the extreme relief the raiders would be feeling in that situation. I didn't feel the same sense of urgency and therefore terror here. We don't even see that much of the mall. Instead, we have a revolving door of new characters most soon to be zombie food. And none all that interesting. In the original the cast was narrowed. Making it much easier to cozy up to the characters. Here a hard rock soundtrack keeps kicking in, not much of a substitute for Romero's eerie elevator music. There are some pluses, both Phifer and Rhames give credible performances as men in an impossible situation. Seeing how naturally these fine African American actors blend seamlessly with the rest of the cast, is a credit to Romero's vision. When 'Night of the Living Dead' debuted in 1969, Romero was ostracized for going with a black or 'Negro' leading man. He was told at the time that it was an outrage which would not wash with white audiences. Well here we are thirty six years later, and because of pioneers like Romero, black actors get the opportunities they deserve, while we scarcely notice the difference. All in all, I'd say 'Dawn of the Dead is not a total loss, it just doesn't approach the queasy horror of the original. And even though these zombies run much faster. Were still not quite as frightened that they might catch up. actually, this film is much more like an American version of '28 Days later' the British zombie takeoff, than it is to respecting Romero's Satanic vision. Good entertainment, but not permanently scarring horror. 6 out of a possible 10 T.H.

In the second installment of the adaption of the Marvel comic book hero's saga. Peter Parker ( Tobey Maguire ) is exhausted and disillusioned at the prospect of continuing his double life as his alter ego Spider Man. Beset with financial troubles and lovesick for his childhood sweetheart Mary Jane Watson, Portrayed modestly by beauty Kirsten Dunst. Fearing he can never be with Mary Jane and protect her from Spider Man's mortal enemies at the same time, He sets out to try and erase Spider Man from his consciousness. But there are plenty of pitfalls along the way. And the more Parker tries to keep things calm, the more catastrophes flare up. Most of them just aching for the return of the wall crawler. And when yet another mad scientist is hideously altered by a benign experiment gone awry, there is never any real doubt that Spidey will return. Otto Octavious or Doc Ock, one of Spider Man's main nemesis in the best selling comic book, is portrayed with maniacal intellect by Alfred Molina. A fine actor who has had excellent rolls in lots of top notch films including 'Boogie Nights' and 'Magnolia' but will probably always be remembered as 'Moody' in the docudrama 'Not without my daughter.' If I did have a problem with this film it would be with Mcquire. If you're going to remain true to the gist of the comic book, which I think this movie otherwise does an excellent job of. You'd have to also remain true to the Peter Parker character. Peter Parker was not a nerd. He was a shy young man who blossomed through the lessons he learned as the incredibly powerful Spider Man. Mcquire looks to me like a real nerd, and therefore he has no room or way to blossom. I think they could have fit someone hunkier with a set of horn rimmed glasses at the beginning and convinced me that they had bulked up through web slinging and grown up through crime fighting while still looking like a movie star. In Mcquire's defense, playing a super hero can be difficult, because it is so outrageous to think that someone could ever posses superpowers, left alone make anyone believe a real human being would choose these reactions to the world in their situation. And he is credible inside this theory. I'm not saying Tobey Mcquire is an incompetent actor, I'm saying he is wrong for this roll. He is simply too milk toast for my tastes. Especially when he's attempting to court the beautiful Dunst. Who's elegance leaves no doubt as to why Spidey would prefer to be human. There are lots of pluses though. Molina is a strong and convincing villain. And the special effects are an absolute wonder. The entire effects crew received an Academy Award for their efforts and it's easy to see why. The deadly artificial limbs sported by Doc Ock, are as convincing as they are terrifying. Whether he's walking down the street, climbing a wall or battling the wall crawler toe to toe, it is a breathtaking spectacle. I have never seen a film, including the amazing 'Star Wars' sequels, which could boast effects as realistic and stunning as these. For fans of this genre there is no drop off from Spider Man to Spider Man II. It is much more like another issue than it is a sequel and this is a credit to the brain trust behind this engine whether or not they meant to present it this way. They tease you with the human struggle, then knock your noggin off with thrilling action. This is a blockbuster worth every penny. Don't miss it. 8 out of a possible 10 T.H.

Writer and director Quentin Tartentino reportedly worked in a video store for a time. No doubt it was during this period when he decided he'd had his fill of formulated and prosaic conversations between actors. And contrived plots which plodded towards unsatisfying finales wrought with gunfire and unnecessary explosions. You will find no such nonsense in Tarentino's masterpiece 'Pulp Fiction' With a complex and extremely entertaining plot, which is filmed out of sequence, a device which sometimes confuses audiences. Not here as the whole thing plays out and comes together like a puzzle which everyone is having a lot of fun putting together. It is the story of a boxing fix. two handgun wielding robbers and two hit men all interwoven together and connecting at some point. But the most amazing thing about Pulp Fiction is the dialogue. The actors talk about normal everyday things, not just points to move along the plot or set up a conclusion. A good example of this occurs early in the film while the two hit men, played by John Travolta in his Academy Award nominated come back roll as Vince Vega, and Samuel L. Jackson, also nominated for Hollywood's biggest prize, as Jules, the second of the contract killers, are driving in a car on their way to an ordered murder. They begin talking about Vega's recent trip to Europe. There is a reference to various fast food restaurants. And Vega comments that because of the metric system in France the Quarter Pounder at McDonald's is called a Royal with cheese. The ease at which the actors speak the dialogue freely helps to create a realistic atmosphere where it seems like two people are just talking. Someone might say that two men on their way to a brutal execution might not be on the subject of fast food. But who's to say where normal or abnormal conversation might lead. Tarentino caught on to this before anyone else. And this is the most ingenious thing about the film. That and the fact that the scenes are funny, original and thrilling all at the same time. The film also has fine performances from Tim Roth, Eric Stoltz, Ving Rhames, and Bruce Willis among others. But none better than Jackson, who's roll as the repentant hit man developing a conscience was

the breakout part this tremendous American actor needed to finally achieve the recognition he deserves. He is comical and reverent in his newfound religion all at the same time. Also look for Harvey Kietel, in a swell cameo as 'The Wolf' a man called in to clean up messes which you can't tidy up yourself After this film came out, many imitators cropped up and tried to copy Tarentino's writing style. Along with his obsession with 70s black exploitation films and karate movies. But this film is positively one of a kind. It could easily be the best film of its decade. Groundbreaking. 10 out of a possible 10 T.H.

Adopted from the novel by Phillip K. Dick. Blade Runner is a blend of 1940s private detective yarns and futuristic society landscapes. Beautifully shot on stunning stylized sets by director Ridley Scott, fresh off another totally original success with his earlier film, 'Alien' Scott manages to create a future as unpredictable as the actual passing of time. Bizarre neo- Victorian dance fashions. Chinese vendors and gigantic hologram advertisements, hovering cars locked on an invisible monorail, that even now twenty three years later still manage not to resemble an 82 Pinto. The main sci-fi story centers around Deckard ( Harrison Ford ) Who is a 'Blade Runner' That is a cop who specializes in one field. His area of expertise is locating and destroying 'replicants'. Android slaves with a built in four year life span, which is apparently a couple of years too long for their uptight creators when they jump an off world shuttle and slaughter the entire crew in the process. They then return to earth in an effort to blend into normal society. Where it's Deckard's job to hunt them down. Fans looking for a reprisal of Ford's Han Solo roll will not find it here. Deckard is somewhat more downtrodden than the upbeat Captain of the 'Millinaum Falcon' From the outset, Deckard seems burned out, and has to be blackmailed into doing the job. He is much more stern and serious for this sci-fi fantasy. Unlike 'Star Wars' there is nothing for children in this movie. This is a dark tale, conveyed by director Scott's stark use of pale color and shadow. Ford's quiet understatement and pauses when delivering his lines really sets the bleak tone well and he's always giving the audience the impression that Deckard isn't the bad ass he once was. It's a fine performance by Ford, but Rutger Hauer as the Nexus six android Roy Batty steals the show. As he and his gang of fugitives try to figure out how to reverse the four year life span while staying one step ahead of Deckard, Hauer as Batty makes you afraid for the people they are interrogating. In the end even Deckard seems terrified of the violent and murdering Batty. Hauer's oratory summery during one of the final scenes is moving and memorable. Also look for E. Emmet Walsh in another strong supporting role as Deckard's overbearing and wisecracking boss. All in all, there isn't too much bad you can say about 'Blade Runner.' If I had one knock, it would be that I didn't feel the date was pushed far enough into the future. Even when the film came out in 1982 it seemed that technology wouldn't have the chance to catch up to the premise. I think Dick and company would have been better served had they tried for the latter part of the 21st century rather than the first part. But this is one small bolt loose in an otherwise tight machine. Blade Runner is a fantastic marvel. 9 out of a possible 10 T.H.

Once upon a time there was a great American film. Which combined horror and comedy with equal thrills. This film featured clever direction. Groundbreaking special effects and superb comedic and serious acting. It was entitled 'An American Werewolf in London.' Sixteen years later the long awaited sequel was finally pinned onto the poster board outside your local theater. Surely it would have at least some of the thrills of the original. Think again. 'An American Werewolf in Paris' is an incomprehensible mess from start to pitiful finish. The problems begin with the leading man. Tom Everett Scott's performance is stiff and tiresome. From the outset he seems intent on proving that all young people are simpletons. In his defense, not even a seasoned Shakespearean thespian could have extracted a good performance from the juvenile and witless dialogue. At one point, one of Scott's deceased friends, who's soul is doomed to walk the Earth after being carved up by one of the werewolves, Is finally able to leave for the afterlife. He then quips to Scott and his friends. 'Okay guys, see ya.' What a memorable goodbye. Julie Delphy soon shows up as Scott's mysterious European love interest. Basically, she's a French girl playing the French girl. It isn't much of a stretch. But all this stupidity isn't even the most disappointing thing about the film. The special effects, such an integral part of the superb original film, fall far short in this flop. The werewolves look like cartoons. And no matter how well you sculpt a cartoon with sinewy lycanthrope muscles. It's still hard to get scared of a cartoon. So instead the vacationing American gang, led by the ultra weak Scott, keep finding excuses to return to the werewolf's catacombs lair. Here it's much easier for this incompetent special effects crew to keep the computer enhanced creatures or absurd beast masks under the cover of darkness. Some have said that if you don't look on this film as a sequel it's not as bad by comparison. I disagree, this film can not stand on its own, and is even more of a disgrace when compared to the brilliant original. If it doesn't want to be looked on as a sequel it should not have borrowed most of the title from the 1981 film. I , don't care how much you love werewolves. Or how much you worshiped 'American Werewolf in London.' as I myself did. This one is simply not worth wasting your time. 'Okay guys, see ya.' Terrible. 3 out of a possible 10 T.H.

Based on the Pulitzer Prize winning play by Tennessee Williams, 'A Streetcar Named desire' is set in post World War II New Orleans and centers around a young married couple attempting to keep their bond despite a noted class distinction. Stanley Kowalski, played by Marlon Brando in perhaps one of the greatest performances ever to project off the big screen, is a young Polish American living in a cozy apartment with his quasi-newlywed bride. Stella, a magnolia fresh off a Southern plantation, portrayed with equal panache by Kim Hunter. Things seem to be going along pretty well until Stella's older sister shows up on the doorstep. Blanche Dubois, ( Vivian Leigh ) is a figure as obnoxious as she is tragic, and almost from the very start she is despised by her Polish brother-in-law. Kowalski suddenly discovers that his middle class roots, which hadn't seemed like a much of a point of contention with his new wife, are the subject of snide insinuations and clandestine conversations rolling off the tongue of his sister-in-law. Who, it turns out, is not without considerable baggage herself. That's when the once toasty love nest ( Complete with the memory of twinkling Christmas lights ) turns into a war zone. Things are further complicated when Stanley's Army/factory buddy, brilliantly portrayed by Karl Malden, suddenly takes a shine to Miss Dubois, The incredible thing about 'Streetcar' is not just the quality of the acting, but the way the actors approach the complex and beautiful dialog. Brando combines dynamic sexual magnetism with passionate anger, possessive love and cynicism. Vivian Leigh's tragic character perhaps mirroring the insanity she suffered through in her own life, is portrayed with raving vanity one minute and fleeting youth the next. As she often hears and sees flashbacks which the audience does not. William's dialogue manages to do the impossible, that is to blend in poetic imagery with normal conversation, while not sounding sickly sentimental or downright ridiculous. This is as much a credit to the actors themselves, especially Leigh, who really had to do the bulk of the tough solo

scenes in which Blanche begins to lose her mind for good. But Brando is simply too hard to beat. Stanley Kowalski is fully rounded in every sense when this great American actor delivers his lines. Perhaps the only injustice is that Brando did not receive the Oscar for this film, while his costars Hunter, Leigh and Malden all did. Numerous attempts have been made to remake this film, both on the stage and for television. But no one has been able to execute the premise like this wonderful quartet. A fantastic and moving American classic. 10 out of a possible 10 T.H.

Although some critics panned Pacino's performance as over the top, and his Cuban accent as bordering on the absurd, the film has amassed an ample cult following over the years since its release. And Pacino himself has said on many occasions that 'Scarface' is his favorite film in which he has appeared. Despite his detractors many also thought that Pacino shined as the ruthless Tony Montana. An anti Castro Cuban criminal freed from the bonds of communism by the dictator's decree which casts out undesirables. He then lands on the shores of Miami along with his womanizing yet equally as murdering sidekick Manny, respectfully portrayed by Steven Bauer. It doesn't take Tony long to launch his own lethal version of the American Dream. There are many horrific killings throughout the film as Montana carves out his own terrifying niche in Miami's drug trade. Taken in by a local drug lord/Mercedes Benz dealer ( Robert Loggia ) Montana soon finds that his ambition to 'Get what is coming to him.' Which he describes as 'The world and everything in it.' is not without some pretty stiff competition which he is more than up to the task of meeting head on. The main trinket Montana wishes to add to his growing collection is his boss's live in girlfriend played by then newcomer Michelle Pfiffer in an excellent performance as a woman just as addicted to being kept as she is to the cocaine that she continually sniffs. But we never lose sight of Pacino in an engrossing portrayal of a homicidal maniac let loose on a free society after being so long repressed by a regime as terrible as he. The most amazing part about Pacino's performance is how both he and the audience are totally absorbed into the character, at some point you tend to forget that Pacino is in there. Although Montana seems larger than life, you will believe that he has a life of his own. And he takes many lives in this film. To say the violence in many of the scenes is gratuitous is a gross understatement. Often forgotten is Montana's blunt yet clever sense of humor. Just when you feel you can't stomach the gore anymore Pacino will deliver a shining sliver of wit that brings a grin. Interestingly Pacino and co-star Loggia used to dine and hit many of the South Beach night spots while still in character of their Scarface rolls. Like him or lump him Tony Montana has became a part of American culture. I say deservedly so. This is an excellent film. 9 out of a possible 10 T.H.