Bell, Book and Candle (1958)

Adapted from the stage comedy of the same name, Bell Book and Candle stars Jimmy Stewart and Kim Novak, fresh from their successful teaming in Hitchcock's Vertigo. Novak plays Gillian Holroyd, a genuine, bonafide witch who runs a south seas antiquities shop. Falling in love with her neighbor, publisher Sheperd Henderson (Stewart), Gillian casts a spell on him. With help from her aunt (Elsa Lanchester), she obliges him to dump his fiancee, and ex college rival, and rush to her side. All of this goes against the grain of Gillian's Endora-like mentor Mrs. DePass (Hermione Gingold), who does her best to counterract the love spell. Meanwhile, Gillian's wacky warlock brother Nicky (Jack Lemmon) courts disaster by coauthoring a book on black magic with Sidney Redlitch (Ernie Kovacs). Legend has it that a witch can neither cry or fall in love. If she falls in love, she will lose her powers....can you guess what happens?

Rumor has it that this is the inspiration for the televisions series Bewitched. There are several striking, undeniable similarities. This film was released in 1958, and I find it just as enjoyable today as I'm sure it was then. Memorable performances by Novak as the icy-cool Gillian and Stewart in his last "romantic leading man" role drive the film. Jack Lemmon and Elsa Lanchester add a lot of quirky flavor as Gillian's spell casting family. Fast pacing, clever writing, great costumes and fabulous eye-popping technicolor make this a film worth watching over and over. It's sure to cast a spell on you too.

If watching unpredictable films are your cup of tea, Bell, Book and Candle is the one to watch. The teaming of James Stewart and Kim Novak is excellent. The supporting roles from Elsie Manchester and Jack Lemmon bring a touch of comedy to the movie. And the sloppiness of Ernie Kovacs as the snooping author brings dimension to the story.

A scene at the Zodiac Club where Lemmon bangs on the bongos with his combo brought the atmosphere of the counterculture of the late 1950s in Greenwich Village. It was hilarious when the band blared their tune of "Stormy Weather" and speeded it up in front of James Stewart's character's fiance. You could feel the tension between Kim Novak and the woman since Novak's character was a witch, and was falling for Shep(Stewart) she got Nickie(Lemmon) to get the band to annoy Novak's rival. I thought this scene stood out.

Though some make think the movie is outdated, it is not at all. I loved the wintery street scenes of New York during Christmas time and the swurling colors of purple, pink,and green throughtout the film. The soundtrack was good too.

An excellent romance film, but also a film of relationships of characters from different worlds.

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Shepherd "Shep" Henderson (Jimmy Stewart) is a nice, normal, everyday kind of guy. He is a publisher with everyday problems and works in an everyday kind of office. His fiancé, on the other hand, is much less than everyday, being the beautiful, and slightly obnoxious, Merle Kittridge (Janice Rule). When Shep's neighbor Gilliam "Gil" Holroyd (the always stunning Kim Novak) becomes irked with Merle, she decides to cast a spell on Shep to make him fall in love with her. Be careful what you ask for, sometimes you get it.

At the beginning of this movie Merle acts in a way that makes the audience generally dislike her. While we have yet to like Gil, we know that Merle is a manipulator. Thus, we find it easy to accept what Gil does to Shep and indirectly to Merle. Unfortunately for Gil, the more she is around Shep, the more she grows to like, and then love him. Of course, there is the inevitable heart breaking scene when Shep discovers, and believes, that she is a witch. There are moments near the end of the movie where you want the two to get together, but you wonder whether it can possibly happen. Kim Novak's Gil is perfectly played in the closing moments, where all of us want to smack Shep and tell him to wake up to the fact that Gil truly loves him and that love has changed her forever.

This movie features an excellent cast of supporting characters. Jack Lemmon is Gil's brother Nicky Holroyd. Nicky is the kind of warlock who enjoys doing little things, such as turning lights off and on, and tricking people. However, Nicky is humorously harmless. Hermione Gingold is Bianca de Passe, a rival witch to Gil, who has a more traditional approach to witch craft that appears relatively old-fashioned compared to Gil's modern sophistication. Shep turns to Bianca to help remove the spell Gil has cast on him. Elsa Lanchester is Queenie, a slightly bumbling witch who admires, assists and may be slightly afraid of Gil. Ernie Kovacs is writer Sidney Ridlitch who has been working with Nicky on a book about witches. Gil will never allow the book to be published, so the scenes with Sidney are an exercise in humor and futility.

Then there is Pyewacket the cat, Gil's familiar. The name comes from an interrogation by witch finder Matthew Hopkins in England during the 17th century. The name seemed to fit witches' cats, and other such cats have been name Pyewacket since, though Hopkins did not record what kind of animal Pyewacket was to have been.

The words "Bell, Book and Candle" refer to an exorcism. The movie opens with striking the bell, opening the book, and lighting the candle. The movie ends with striking the bell, closing the book, and blowing out the candle, which is supposed to be how to remove a witch's powers.

This movie was Jimmy Stewart's last appearance as a romantic lead. His costars were getting younger, with some half his age, and Jimmy felt the pairing was inappropriate. For the final third of his career he played father figures or average Joes.

"Bell, Book and Candle" is a charming romantic comedy that is interesting from several viewpoints. It is an interesting artifact of sophisticated New York, and the highly idealized way New York society appeared to be in the 1950's. The treatment of witches is somewhat different from other portrayals, where witches are often old hags bent over a cauldron in a smelly cave or broken-down hovel. The hip Zodiac Club had avant-garde music with a strong beatnik flavor. Few movies captured the essence of the beatnik style, with this movie being one of them. Jack Kerouac could easily have been in the audience.

This movie is a winner that showcases Kim Novak's talents even more than Jimmy Stewart's. Most of the movie is lightly humorous, but the end of the movie is emotionally powerful as Kim Novak's emotional performance pushes the light comedy aside. This movie is a wonderful treat from an era when sophistication still meant high style, and we could still be amazed by happy endings even when we expected them.

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This is a delightful film with Jimmy Steward and Kim Novak that tells story of a family of witches in modern day (1950s) America. Kim Novak is the aloof young witch who makes it her task to take Stewart away from his snooty girlfriend who just happens to be an ex-college friend of Novak's. Casting a spell over Stewart is initially easy but Novak soon falls foul of her own powers when her act of revenge becomes an act of real love for her hapless victim. Unfortunately witches who fall in love, loose their powers, and Novak soon finds she can no longer control her cat familiar Pyewacket who is the source of her powers. This causes her real heartaches as she strives to gain Stewart's love by mortal means and there are many rib ticklingly funny moments as the young witch learns that human love can be painful as it is wonderful. Jack Lemmon in one of his earlier roles plays her nutty but likable Warlock brother who spends most of his time in a nightclub banging out funky rhythms on his bongo drums and Ernie Kovics is great as an eccentric author drawn into the plot by his interest in the supernatural. This is a gentle fun film that sparkles even forty years on, with its wry wit, superb photography and cracklingly good music score that has your feet tapping long after the film has ended. Well worth watching if you like a romantic, supernatural comedy.

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A few months after they made 'Vertigo' together, Kim Novak and Jimmy Stewart made 'Bell, Book and Candle.' Two movies could hardly be more dissimilar, but this one shines as brightly as the Hitchcock film, in a very different way.

Kim's a witch, and Jimmy's a publisher with whom she falls in love. Complications set in when it becomes obvious that Kim is becoming humanised by the experience, and is beginning to lose her witchly powers. Will she give them up? Of course she will, but not without a fightand it's the battle that's such comic fun to watch.

'Vertigo'in a class by itselfaside, this is Novak's most complete and engaging performance. She's gorgeous, she's funny, and she's a woman you'll remember for a long time. It probably helped that she'd learned to adore and respect Jimmy Stewart when they worked for Hitchcock; her comfort level with him is highly evident. It probably also helped that she was doing her first Columbia film after the death of her boss and nemesis, Harry Cohn. Kim was calling a lot of shots on this one, and you can see her blossoming. Her touch is perhaps most evident in her spectacular Jean Louis wardrobe; her most beautiful dress is severely high-necked in front, but completely backless. It's a WOMAN's idea of sexy, not Harry Cohn's, whose tastes ran more to the frontless.

Stewart's impeccable touch with comedy is every bit as awe-inspiring as his dramatic work for Hitchcock. How did one actor get so much talent? He's backed up with a terrific supporting cast, too. Hermione Gingold and Elsa Lanchester are two witches, Jack Lemmon is Kim's warlock brother, and Ernie Kovacs is a tippling writer trying to sell Jimmy an idea. Lemmon is especially good here; this movie was one of the performances that made him a star.

The George Duning score is one of the chief delights of 1950's film; it's what we think Kerouac-era beatnik jazz wasand probably wasn't. Jazz fans will recognise the playing of Pete and Conte Candoli, hired specially for this movie, in the combo playing in the Zodiac nightclub Kim uses for a hangout. For those who appreciate truly esoteric performances, there's also French singer Philippe Clay performing his famous "Assassine", with Hermione Gingold providing a hilariousand accuratetranslation. One of the few disappointments around 'Bell, Book and Candle' is the fact that its soundtrack is not currently available, despite the enormous popularity of the old LP version-used copies sell for a fortune. Rhino owns the rights, I believe, and they could do a lot worse than to do a CD release (hint, hint).

From its witty openingfull of a king's ransom worth of African and Oceanic art used to symbolise the cast members in the title sequenceto its end, this one is sheer elegant delight. At the film's close, Kim gives up her powers in favour of her romance with Stewart, and I've heard a few people say that maybe that was a 1950's cop-out. I see it differentlyall her friends want her to be a witch, and Kim chooses what she wants instead of meeting anyone else's expectations. The power of choice trumps mere black magic, and that, to me, is as it should be.

What you should choose is to see this charming artifact of a time when Hollywood still knew what it was doing. "Bell, Book and Candle" has gorgeous people, places and things, it's got wit and heart, and it effortlessly merges art both high and low. See it as soon as you canyou'll be very glad you did.

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Bridget Jones the Edge of Reason

So many sequels, so little time. Should you spend some of that time with this sequel to the popular and funny Bridget Jones' Diary? If you have a taste for the light and frothy, certainly. If we were discussing the book, The Edge of Reason, I would say "no"--there are far better books, and better sequels, out there. But this is that rare case where the second book was rushed out to capitalize on the wild popularity of the first, and disappointing----while this movie, not so rushed, is only casually based on and certainly better than the book.

Although neither book nor movie quite live up to the first, fans of the first movie will be well entertained by the second. And I, for one, am immensely glad that at least one horribly painful scene in the book is not even hinted at in the movie: Mr. Darcy keeps most of his dignity intact.

Can you enjoy this movie without seeing the first Diary? Yes, you learn enough of the characters early that this movie can stand on its own. However, I would bet that if you even smile during this one, you will want to rent or buy the first. You'll laugh out loud.

Especially if you love Colin Firth and Hugh Grant, as I do, this sequel is time well spent. I can't spell out why Colin Firth is so attractive, but there it is: he is. He is a much greater presence in this movie than the first--after all, he (as "Mark Darcy") and Bridget have a real relationship as the movie opens. Of course they ---uhmm--"mess" it up ("language, Bridget!") with misunderstandings, jealousies, and very funny mishaps. I am not a huge fan of humor based on one character's running the continuum from private embarrassment to public humiliation; yet Bridget, who constantly manages to embarrass herself and others in public, is such a good sport and so charming as Everygirl, that we laugh or groan with her in recognition of those moments in ourselves, and not at her. There are some great laughs in this movie.

Some of them come with Hugh Grant, who seems to have lost the weight that Renee Zellweger gained. Too thin but still devilishly attractive, Hugh's rakish character Daniel Cleaver hangs around to take advantage of the misunderstandings between Bridget and Mark Darcy-even if he has to "hang around" Thailand to do it. Cad that he is, when Bridget really becomes a damsel in distress, he evaporates into thin air. That's all right. We know there will be some rough times in between, but surely Mark Darcy, human rights lawyer, will come cantering in on a white horse to save Bridget from Thai prison, right? Not quite. But with a few comic kinks, close enough.

I don't expect Renee Zellweger to receive another Oscar nomination for this one. She is fun, she is appealing, and she is good, but this is not the script for it. I've heard the British objections to her inconsistent, not to say hokey, accent, and while they have some merit here, I do applaud her for bravely diving into Everygirl-dom, a little overweight, a little embarrassed and embarrassing, but with self-awareness enough to make her a cult favorite of all of us "Singletons". She's effervescent, and she's resilient. Gotta love her.

If the movie was shot on location, it largely lost the advantage of it in Thailand, but that is a mere quibble. A stronger criticism: the first movie's soundtrack was marvelously energetic and witty--who could forget "It's Raining Men"? This one, however, tries too hard: too many oldies which are favorites because they are very good songs, but which have been used in too many soundtracks. Even slightly new arrangements don't imbue them with the freshness the movie deserved. However, the costumer showed some wit in this episode, as well as underscoring some of the broader humor.

Not serious, not deep, not an exercise for the intellect, "Bridget Jones: The Edge of Reason" is enjoyable and bubbly, and a darned good time. B--

After reading the reviews online I was a little hestitant about seeing the movie afterall, it's common sense that the sequel to any good movie never really turns out the way you want it too... but, in this case I was pleasantly surprised. The movie is what fans of Bridget have waited for-

What happens after happily ever after we all wonder when we see the end to any movie and in this one we get the chance to see a piece of what becomes between the buff Bridget and her "perfect" boyfriend Mark-who folds his underwear before he goes to sleep. In this reality strikes their relationship as Bridget and Mark deal with snobby/single friends, lesbian kisses, Thai prisons, break-ups, family, weekends spent away together, and work-also a beautiful young secretary with long legs who happens to work with Mark. Of course, as in any squel there is a comeback by Daniel Cleaver who everywhere Bridget turns manages to see his face as he has just landed himself his own television show and is the same as ever-and still going after Bridget. Can Bridget and Mark manage to survie??? Well I think we all know the answer to that.

Colin Firth is more charming in this as Mark Darcy than he was in the first and of course, Renee does a wonderful job as the buff Brit who never seems to get anything right. Hugh Grant is davishly evil and once again you see that wonderful on-screen rivalry between Hugh and Firth.

This was the film I have been waiting for after seeing the words "the beginning" in Bridget Jone's Diary... and I loved seeing Bridg and Mark together. I found myself swooning after Mark who likes Bridget-"likes her just the way she is"--wobbly bits included... what girl dosn't want a man like Mark? And Bridget maintains to be the symbol of all womanslightly overweight and wanting wedding bells to dong.

This is a movie for fans and a must see for any Colin Firth or Hugh Grant fan. All in all rent this one or do what I'm doing and buy this one!

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I don't usually review films that I only saw by chance and then didn't like, but I'm making an exception here, as "Bridget Jones The Edge of Reason" is a true disaster all round. I saw the first movie and found it mildly amusing, so when this turned up I thought I'd give it a go, but I'm sorry I bothered.

Basically, the Bridget Jones in this film is a total idiot, who messes up everything in her life including her pride, her love life, and her career. Not in a funny or endearing way, though, which would encourage sympathy. And not in a zany Lucille Ball-type way either, that would get you laughing. No, just in a totally stupid and pointless way that makes you want to hit her. Every embarrassing faux-pas or misunderstanding the character stumbles through (and there are dozens) just makes you want to switch off and leave her to it. She messes up every single aspect of her relationship, her job, and her holiday by saying and doing the most brainless and unfathomable things, in ways that a real person would never do. Or if they did, they wouldn't have any friends...and certainly not Hugh Grant and Colin Firth fighting over them!

Rene Zellweger playes Bridget as a totally unloveable, boring and socially inept loser...I don't think this is the actress's fault, or even due to the original charcter in the Helen Fielding novels, but more due to the terrible script and direction. Why does Bridget walk everwhere like a constipated duck, for example? Why does she laugh and sigh at every stupid blunder she makes, and just waddle on to the next stumbling point? Even when she's lost the love of her life, it's all summed up with a shrug and a rueful smile. Come on, girl, try and make us care! I sure didn't!

If that wasn't bad enough, the last third of the movie almost made me shout at the screen...Dopey Bridget is duped into smuggling a massive stash of cocaine out of Thailand, and gets caught trying to board a plane at Bangkok airport. She then gets thrown into a Thai women's prison. This notoriously unpleasant predicament really doesn't belong in a (supposedly) frothy comedy like this is, but it just gets worse, as have-a-go Bridget gets all (and I mean ALL) the inmates on her side which results in a huge sing-along scene and lots of laughing and hugging. Sorry, I don't think so somehow. This sugar-coated representation of the notoriously brutal Thai prison regime left a nasty taste in my mouth...not alleviated in the slightest when Bridget gets an anticipated (but blatently unlikely) full pardon and early release, just because her lawyer boyfriend pulls the right strings.

The above illustration is the worst example, but I didn't find any of Bridgets other antics entertaining or affecting in the slightest either. She's somehow got a high profile TV reporters job, but she can't even do it. Everyone makes jokes about her weight and she just thinks it's funny. With a central and supporting cast of usually reliable performers, it's tragic how lame this film has turned out. There's nothing apparent to make you understand or care about any of the lead characters actions. And that means a waste of 90 minutes in my book. Make better use of your time and give this one a miss.

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Everything Bridget learned, grew, appreciated and worked towards in the first film is undone by the calculated stupidity and unfunny blunderings committed in this sequel. It seems that the only time Bridget can be a happy, self-confident woman is when she's on borderline of misery and happiness. Once happy, she struggles to undo everything she might have done right.

Hugh Grant's character is a sleazy, but fun cad and he plays Daniel allowing us to enjoy him while at the same time showing his appalling self-involvement. However, abandoning Bridget when she's caught at the Thai airport was a stretch and out of character, even for a narcissist. Just because a man's a skirt-chaising, flirtatious louse doesn't mean he needs to be portrayed as an intolerant oaf.

Also, in the first film, Renee was filmed beautifully. Her skin was glowing and even in her granny panties she looked kittenishly sexy. In this film, the director aims certain shots to make every crease in her skin, every fold of flesh and every little wrinkle stand out and frame Bridget as a silly, flabby fatty which, even with the extra pounds, she is not. Why was it necessary to show her in negative situations in the worst negative light?

The movie and the character might have resonated had she not been directed and shown in such a ridiculous manner. As it was, it was dreadful.

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Bridget Jones 1 was amusing and light. Bridget Jones Edge of Reason should never have been released. This movie is absolutely terrible from start to finish. Firstly, it lacks the originality and charm of the first one -a symptom of being a forced sequel. Secondly, it's not funny in the least. Thirdly, the acting is terrible. I am usually a fan of Renee, but she is terrible here. Hugh Grant puts in his usual canned performance, and someone should really tell him it's time for him to try a slightly different role in the interest of saving his career and pride. Colin First is just plain unlikeable. Anyway, I wouldn't recommend this movie to anyone.

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Dangerous Liaisons (1988)

At first glance, DANGEROUS LIAISONS appears to be an extravagant eighteenth-century period-piece, which it is; the powdered wigs and overflowing corsets typical of the genre are all here, and the cinematography is appropriately glossy. But boiling beneath the elegant surface are the deviously twisted sensibilities of two monstrous characters--the Marquise de Merteuil (Glenn Close) and the Vicomte de Valmont (John Malkovich), a pair of schemers (and former lovers) who take pleasure in coolly manipulating and seducing those around them. The Marquise challenges the Vicomte to seduce the virtuous Madame de Tourvel (Michelle Pfeiffer), but when the latter finds himself genuinely falling in love with his intended prey, the game quickly turns fatal--with devastating consequences for everyone involved.

A period-piece? Yes, but one honed with a distinctly contemporary menace. It's rare, for example, to find a period-piece with such delicious, razor-sharp dialogue (which garnered the film an Academy Award for Best Screenplay Adaptation). It's also rare to find a period-piece that focuses primarily on sex, but treats its subject matter with so little eroticism. DANGEROUS LIAISONS is more about power and one-upmanship; sex merely serves as the weapon of choice. It's a diabolically entertaining film, a decadent one even; there's something both disturbing and enjoyable about watching the two central characters indulging in their elaborate power plays.

The performances are strong for the most part (Close, Malkovich, and Pfeiffer all received Oscar nominations), although the women fare much better than the men. Glenn Close does a magnificent job as the evil Marquise, and supplies the film with some of its most explosive moments--the scene in which she quietly utters the word "War" without batting an eyelash is chilling beyond words. I didn't completely buy Malkovich as the charming lady-killer (a small but serious flaw that undermines the whole film), but he does a fine job with what he's given. Keanu Reeves, as usual, is utterly unfathomable, even in a relatively minor part. The best performance of all is delivered by Michelle Pfeiffer; as the tormented wife, she bares every inch of her moral anguish, and the results are heartbreaking to behold. Behind the cold-blooded duo of Close and Malkovich, it's Pfeiffer who provides the emotional heart of the film, and in every one of her pained expressions lies the evidence of the very human consequences at stake.

There's a certain degree of sinful pleasure hidden beneath the depravity of "Dangerous Liaisons," a film that is perversely elegant in its execution and daringly naughty in regard to its story. Based on the novel by Choderlos de Laclos, the script by Christopher Hampton explores the cause and effect nature of love, betrayal, and sinful intentions in both humorous and serious lights. While the material could be easily morose and unaffecting, director Stephen Frears spices up his canvas with a beautiful cast and a well-constructed production design.

At the center of the story are two people who feed on the misery they cause others as a way to keep their urges for one another suppressed. Glenn Close is the seductively evil Marquise de Merteuil, a self-proclaimed "virtuoso of deceit" who believes it her duty to dominate the opposite sex, and avenge her own. Her latest undertaking involves the daughter of her naive friend Madame de Volanges (Swoozie Kurtz), for whom her former lover left her. In hopes of ruining daughter Cecile's (Uma Thurman) reputation, she calls upon beloved friend and partner in evil, Vicomte de Valmont, played by John Malkovich. Valmont, like Merteuil, prides himself on his accomplishments, and prizes the feeling of success that comes with the devastation he causes to women.

But he has different plans in mind, involving the seduction and ruin of one Madame de Tourvel (Michelle Pfeiffer), whose ideals and virtues are the exact opposite of these two wicked souls. His plan is concocted from the most cruel of intentions: to make her want him so badly that she does not relinquish her beliefs, but instead is crushed by them once she gives in to his advances.

Imagine his surprise when he finds that his task will not be as easy as he had at first hoped. When he finds that Tourvel is far more resistant than first expected, he agrees to aid Merteuil in her quest for revenge against Cecile. As the two weave their intricate web of deception and betrayal, Valmont finds himself in a position he never imagined possible, and Merteuil finds herself in danger of losing her grip over him.

As you may have noticed, I've left out much of the important plot points concerning other characters; half the fun of this film is the unveiling of each evil plan, all of which fall into place in a manner that is ingeniously devilish and supremely potent. The manner in which these actions are carried out, and the overall effects they have, are unsettling, to be sure, yet there's a wondrous sense of awe about them, one that stems from the craftsmanship of such detailed revenges that are disturbing and mesmerizing at the same time.

For such a devious story to work, a talented cast is in order, and "Dangerous Liaisons" supplies us with precisely that. Glenn Close is outlandish as Merteuil, mastering with incredible wit and sensibility the calculating nature of her character. She wonderfully portrays the physical beauty used to mask the cold-hearted novice with terrific gusto; in Merteuil's "win or die" conversation with Valmont, Close sells us on the character, and also proves her worth as an actress.

Mirroring this delightfully evil performance is that of Malkovich, whose delectable wit and cool masterminding of deceit are supremely effective. For his character to work, there must be two key factors involved: we must believe enough in his ability to seduce and destroy, and we must be able to accept the change of heart that comes after meeting Tourvel. Malkovich is able to accomplish both with suave, debonair charm and true emotional feeling within his words.

High praise to the supporting cast as well, who all give well-rounded performances. Pfeiffer portrays Tourvel's resistance and innocence perfectly, as well as the heartache and hardships once she accepts her feelings for Valmont. The two pawns in Merteuil's wicked game, Cecile and her young love, Chevalier Danceny, are played by Thurman and Keanu Reeves with a much-needed naivety and innocent virtue that casts Merteuil and Valmont in an even more chilling light.

In my praise of the cast, I've neglected to mention the superb art direction and production design for "Dangerous Liaisons." Some of the best sets and costumes ever designed for a period motion picture reside here, conveying the elegance and aristocracy of pre-Revolution France in a very accurate manner; the bawdy, forceful score by George Fenton also receives high marks. Anyone looking for some fiendish fun with a believable premise need look no further than this film, a sheer delight of whimsy, devilish evil, and grotesque elegance.

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The two movies, `Dangerous Liaisons' directed by Stephen Frears and `Valmont', directed by Milos Forman are a real anomoly in that they were released at almost exactly the same time and tell almost exactly the same story, based on an old novel, `Les Liaisons Dangeruese' by Choderlos de Laclos. It is a minor tragedy that `Valmont' received so much less attention and promotion than `Dangerous Laisons'. I suspect that had a lot to do with the fact that `Valmont' was released by the company Orion which may have been in its last throes of survival and simply did not have the means to promote the film.

The only bright side of this situation is that the `Dangerous Liaisons' implementation of this story is much better. It is a sign of the value of `...Liaisons' that it is much better than a really worthy movie.

I believe the difference in the quality of the two movies lies directly on the aptness of the casting and the quality of the acting. On all the lesser qualities which go into making a movie such as set decoration, cinematography, editing, music and the like, the two films are easily on equal terms.

The heart of the matter is in the comparison of `...Liaisons' casting of Glenn Close and John Malkovich in the principle roles versus `Valmont's casting Colin Firth and Annette Bening. While Firth is physically much more believable as a Casanova type, Close and Malkovich are far superior than Bening and Firth at playing world class scoundrels. At the secondary level, `...Liaisons' casting of Uma Thurmen and Keanu Reeves as the two young innocent lovers is immensely more satisfying than the `Valmont casting of unknowns Fairuza Balk and Henry Jones. My memory of their relative careers is a bit dim, but this movie is ample evidence of why Uma and Keanu are big stars today and Fairuza and Henry are footnotes to cinema history.

Of the fifth major role, we have `...Liaisons' casting Michelle Pfeiffer versus `Valmont's casting Meg Tilly. This may be the only role where the two movies are close. Tilly gives a great performance as a naïve young wife who ultimately gives into Valmont's seductions, but I think Pfeiffer is even better. Here, the difference may have been in the writing, as I suspect Pfeiffer's role is just a bit more strongly written, so Michele had more to work with.

If nothing else convinces you, compare the seduction scenes between Malkovich and Thurmen versus Firth and Balk and the mix of sweetness with darkness in the former versus the pure soft core porn of the latter will carry the day.

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I won't rehash the whole plot, we all know the story. I'd give this version of Dangerous Liaisons more stars if could. I only have one thing to say. I'm tired of all those people who say that John Malkovich wasn't handsome enough to play Valmont. Justin Chang from California wrote that he "didn't completely buy Malkovich as the charming lady-killer" and that casting him in the role was a "a small but serious flaw that undermines the whole film". Bulls**t!

How could anyone watch Malkovich's stellar performance and think of nothing except looks. Hollywood is so full of "good-looking" actors and actresses who can't act their way out of a paper bag. In modern times we often value conventional beauty over all other aspects of a person's character. A lot of these Hollywood hunks wish they could act as well as Mr. Malkovich. Get over it, people, no one will ever play Valmont better!

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First I have to say, this is probably my favorite movie of all time. The acting, (with the exception of Keanu Reeves.) can not be beat! The cinimatography is awesome and the score brings it all together. But, this DVD is not the quality I expected. I bought a DVD copy of this movie in February and was disappointed to find it wasn't the best transfer. My VHS version has a better picture. It was obviously transfered from poor quality print of the film, or poor quality video. There are several scenes that have white splotches that pop up. And, what looks like there may have been scratches on the film. I just finshed watching the copy I received today, and all those flaws were on the new copy also. I would only recommend this to you if you don't have the VHS version and are going through withdrawls. Otherwise save your money until Warner Brothers gets serious and cleans up the DVD some.

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Morning Glory (2013)

I never have time to go to the movies these days with my busy schedule. I usually enjoy the comfort of my home and refuse to pay the ridiculus prices at the theaters. I promised my wife I would take her to the movies when "Morning Glory" came out. My wife loves Rachel McAdams, ever since she made "The Notebook". I was expecting to be bored and asleep by the first half hour. I was surprised that I was really getting into this movie. I laughed at the poor anchorman who is put through hell to boost ratings. I also found myself enjoying Harrison Ford's character. Nobody plays a better grouch then Ford. I loved Rachel McAdam's characters spunk and refusal to give up. I'm surprised by many reviewers hating that about this character. I don't understand why everyone expects dedicated workers to be unpleasent people. I am always joking around and having a good time. I put in over 14 hours of work a day and seldom get enough sleep. I work 7 days a week sometimes. I can relate with this character. Just because you put in a ton of hours of work doesn't mean you have to be a social outcast. If you like Harrison Ford, Rachel McAdams, Diane Keaton, or any of the other actors in this film. You are going to love them in this film. It is a funny film with great actors. I would watch this movie again and knowing my wife she will probably buy the dvd when it comes out.

MORNING GLORY

STARRING: Rachel McAdams, Harrison Ford, Diane Keaton, Patrick Wilson, Jeff Goldblum, John Pankow and 50 Cent

WRITTEN BY: Aline Brosh McKenna

DIRECTED BY: Roger Michell

Rated: PG 13

Genre: Comedy

Release Date: 10 November 2010

Review Date: 28 October 2010

Becky Fuller is an absolute delight to be around. Not only is she irresistibly attractive and adorable, she's funny, smart, dedicated, and truly talented at her job, which not too many people on the planet could pull off. So why on Earth a television network would let her go is beyond her comprehension and ours. Nevertheless, she's fired from her job as executive producer, due to budget cuts. Rachel McAdams gives one of, if not thee best performance of her career as Becky, in Morning Glory.

Now that she's been let go she is desperately seeking employment elsewhere only to find dead end after dead end. Finally, she catches a break when she's hired on as executive producer for a morning show in the slumps.

She has her work cut out for her to say the least. The show is a disaster. The lead anchor is a chauvinistic creep, the network can offer only pathetic jokes for stories, and virtually no one really has a desire to be there, nor do they take their job seriously.

The person that displays this best is Colleen Peck, played by the lovely Diane Keaton. A veteran of the morning show, she wakes up every day no doubt asking herself why she is still there. Along with everyone else, Colleen cannot really see any potential in Becky, offhand.

It's evident the news cast needs immediate revamping to get their ratings up, if they are to stay on the air. Enter: Harrison Ford. Ford plays Mike Pomeroy, a television legend who has long since hung up his hat as a news reporter. His solid plans of lackadaisically waiting out the time left on his contract are interrupted when Becky is struck with the notion that Pomeroy could be precisely what the show needs.

Becky forces him out of his fantasy world and back into reality, where he must lower himself to the likes of a morning news caster. As he showed in his previous film Extraordinary Measures, when it comes to playing a bitter recluse, Ford has the act down. Together they will try to do all they can do to save this sinking show and that's where the laughs come in.

Morning Glory scored big laughs with the packed audience I shared the experience with; especially when Becky has to `up the ante' so to speak, by orchestrating some hilariously drastic interviews and broadcasts that include a feeble man screaming his brains out on a roller coaster, with a camera mounted two inches from his head. Cut to Harrison Ford's face as he watches open mouthed, out of sheer morbid curiosity and we are laughing our heads off.

Screenwriter Aline Brosh McKenna knows comedy and she knows romance and she knows how to balance the two perfectly in an artistic melody. She's shown this before in 27 Dresses, The Laws of Attraction and Three to Tango. Morning Glory isn't a rom-com by any means, but it has a little romance nestled in there for good measure. Patrick Wilson has a small part as the office hunk and he is charming and likeable without bogging the story or the comedy down with heavy romance.

Director Roger Michell who's brought us such gems as Changing Lanes and Notting Hill, has delivered another one. He lets great actors do great acting and he brings us to a world that I found fascinating and that I haven't seen too much of in movies, which is: what it takes to produce a live television broadcast. Not sure it's a venture I'd sprint to the head of the line to work in personally; but I certainly enjoyed watching humorous and believable movie-people at each other's throats in it for nearly two hours. You will too.

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Not many movies have been made focusing on network shows being made, even fewer still about network news. Perhaps the most well known was BROADCAST NEWS, a stand out movie that makes many best of list time and time again. While that movie focused on network news, I don't believe any film has chosen morning news programming until now. MORNING GLORY gives us a glimpse of that world in perhaps an off kilter way.

Becky Fuller (Rachel McAdams) is an up and coming morning show producer in New Jersey just waiting for her big break. The day she thinks she's getting a promotion her world turns upside down. Instead her position is being condensed into another and the budget doesn't allow for two people. She's lost her job.

With her mother recommending that she give up her dream, Becky sets out to prove her wrong. A number of ignored resumes later Becky gets a call from IBS and their morning show, Daybreak. The station is one of those small networks with no budgets and no hits. Daybreak falls behind every network competitor they have. Executive Jerry Barnes (Jeff Goldblum) gives Becky the chance to turn it all around and to make the show something different.

What Becky first discovers is that she's inherited a complete mess. One reporter who seems a bit dim, a weatherman who wants to do a story on wind vanes, an ex-Miss Arizona past her prime named Colleen Peck (Diane Keaton), an anchor with a foot fetish and a staff that tosses questions to her in rapid fire succession. Day one finds Becky taking the reins, answering all questions and firing the anchor. Now to get things rolling she simply has to find a new anchor. With no money and no budget. Better still would be using someone already under contract to IBS.

Becky finds her man in the form of famed news journalist Mike Pomeroy (Harrison Ford). Pomeroy is a prize winning reporter currently doing bits for a news program that doesn't appreciate his past. Idolized by Becky, she sees her chance when she examines his contract and discovers a loophole that will result in his joining her show. But he doesn't go willingly.

Instead Pomeroy does everything in his power to disrupt the morning news program he's been recruited for. Pomeroy is a bit pompous and feels the morning news show is below him. While Colleen is more than willing to do any story presented her, Pomeroy snubs any and all stories lobbed his way. Instead he simply reads the news in the most monotone voice possible and ignores the fluff pieces that Colleen does with relish.

When Becky gets the word from Jerry that she's taken the show to the lowest ratings it's ever had and the show will be canceled in 6 weeks, she tosses caution to the wind and presents a more forceful producer than she did in the past. Her first act is to take the weatherman who was simply reporting on a new roller coaster and strap him in with a camera sending out his reactions over the air. This results in one of the funniest items in the movie but also angers Pomeroy.

As Pomeroy and Becky go head to head, battling every step of the way, she gets coaching from her new boyfriend, one of the men behind the networks weekly news program. Adam Bennett (Patrick Wilson) has a past with Pomeroy and a nickname I can't repeat here. He informs her that Pomeroy is the third worst human being in the world. But through his remarks Becky just may find a way to get Pomeroy on board and save the show. She has just 6 weeks to take it from the bottom of the heap and increase the ratings by 1.5 %. Can she do it?

The movie moves along at a frantic pace and you may find yourself clutching the remote just to take it back a moment or two when you miss something. It does offer some hilarious moments along the way and you get the sense of family that develops among the staff of Daybreak. That's one of the things that brings a certain amount of charm to the whole film.

The one troubling piece revolves around Ford as Pomeroy. Played incredibly straight faced and with more than enough bitterness to go around, Ford's portrayal of the newsman reduced to the morning slot shows a reporter devoid of emotion, a man who's lost himself in his work and never returned. At times this seems like the perfect way to portray this character. But at other times he just seems mean and nasty, the chances of him truly changing unlikely. Either this one of Ford's best performances or one of his worst.

The movie doesn't offer any real depth to its characters or its story, but it is an enjoyable way to spend an evening. Its one of those guilty pleasures you watch only to know that it has little new to offer and can't be taken seriously. But its still fun. Its worth watching for the laughs and performances but won't leave you seeking a sequel.

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This is yet another variation on a basic Hollywood formula movie a few name actors, up and down struggles followed by happy resolution, the tension between career and personal life, friends supporting each other, heartless and selfish corporate bosses, older people who still "have it", a little casual sex, and no deep message or purpose. I have to like a movie, however, that made me laugh really hard, smile a lot, and like the characters. I also found the story a good parody on TV morning variety shows. Moring Glory makes a nice "date" movie, or fluffy escape after a hard work week.

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This is the kind of film that defies criticism. It's light entertainment that doesn't have a pretentious bone in its body. Consider it "Broadcast News" light. The film is balanced by Harrison Ford's curmudgeonly anchorman and Rachel McAdams buoyant executive producer complimented by Diane Keaton's chipper co-host. Ironically, Keaton could have played the McAdams part some thirty-five years ago. Ford effortlessly steals every scene he's in even if he is silently stewing over the fluffiness that surrounds him. Though not wholly original there is enough wit in the script to distinguish it from its ilk. Time will tell if this becomes a rom-com classic or a TBS staple. Regardless, it's a good way to spend a date night at home.

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Admission (Blu-ray + DVD + Digital Copy + UltraViolet) (2013)

I loved this film. It was a complete and total surprise. Tina Fey and Paul Rudd have incredible chemistry. Lily Tomlin steals every scene she's in. I found it funny and very moving. The film was marketed all wrong like it was a comedy but it was much more than that. I think the male dominated critics really gave it a hard time or had the total wrong idea of what the film was when they sat down to review it. It's really an indy film. I truly believe it will have a bigger life on DVD and on pay cable has people discover it's quirky charm. See this film. It's delightful.

Admission is a new romantic comedy featuring two seriously successful comedic actors, Tina Fey and Paul Rudd. Both are extremely likeable in most everything they are in, and are usually very funny. In this instance, while they each have moments of laughter, it was lighter on the humor than I expected, and heavier on the weighty emotion. This caught me by surprise.

Tina Fey works in the Admissions department of Princeton University, and leads a very settled existence, even carries on a boring relationship, and is content. Paul Rudd is a globe-trotting do-gooder (think a one man Peace Corps) who runs a school for now, but can't seem to stay in one place for long. When Rudd contacts Tina Fey regarding an exceptional student, each of their lives become more complicated. And humor, but not quite hilarity, ensues.

I don't have a huge issue with the fact that I feel like I've seen the storyline before, but with slight alterations.... I expect that in a Rom-Com. My problem is that I've seen it done much better. While both Fey and Rudd are likeable, they seem to have little chemistry together. And there just weren't enough laughs to meet my expectations. Having said that, Lily Tomlin, who plays Tina's mother, is a force of comedy in this film.

I also found the ending unsatisfying. Nice enough, but over the course of many Rom-Coms, I expect more. If you want a little more drama in your comedy, maybe this is for you. While I liked it, it would definitely be a rental, and not a full-on purchase.

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This was neither romantic nor comedic. Your time would be better spent cleaning your toilet than watching Admission. Kept waiting for the movie to get better, instead it continued on a downhill spiral where it crashed and burned.

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Lily Tomlin plays a feminist who hangs a painting on her wall of a fish riding a bicycle to remind her that she doesn't need men. She once had a one night affair in order to have a child, not a husband. She gave birth to Tina Fey's character, Portia, who becomes successful in her work but notices that there's room for improvement in the nurturing, love and romance departments. Her plants die, is uncomfortable with children and doesn't see that her husband is having an affair. Back in college she got pregnant and gave her child up for adoption because she didn't believe that she would have been a good enough mother. With the help of some new friends, a pregnant cow and an accident on a form, Portia's gets admitted to, and discovers the joy of, love and connecting. She confronts her mother and breaks the spell.

A light romantic comedy/drama with a high school/university backdrop.

"I think my voracious reading came from a deep longing for something that was missing. I was searching for someone, for my story, to not feel so alone."

(The Eagles' song Desparado ".. let somebody love you .." chosen for the movie's tagline "Let Someone In.")

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I can not believe I watched the entire movie, I kept waiting for it to get better and it never happened!

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R.I.P.D. (Blu-ray + DVD + Digital Copy + UltraViolet) (2013)

"Un-dead police officers?" Really? C'mon! This PG-13 action-fest once again had me scanning my mental Thesaurus... Absurd? Ludicrous? Preposterous? Ridiculous? Outrageous? Goofy? Hilarious? I think you get the picture. If you've seen the ads you know a recently slain cop joins a team of undead police officers in the Rest In Peace Department.

This goofy comedy, written by Phil Hay/Matt Manfridi ("Clash of the Titans") and directed by Robert Schwentke ("Red") is a sure-fire winner, full of action, comedy and Computer Generated Imaging. I freely admit that there were times things got too, too silly and my interest faltered, but then the story rallied again.

We watch:

* Jeff Bridges ("Hearts of the West") is Roy, wearing a Buffalo Bill beard and mumbling like he has a lower lip full of chewing tobacco; he's an old-time lawman on the third sixty-year extension of his assignment.

* Marisa Miller (Victoria's Secret model) in her slinky gold dress, is Roy's avatar when he walks among us.

* Ryan Reynolds ("Chaos Theory") is Nick, slain by his trusted partner and stunned by this new turn of events. He quickly adjusts to the idea that he can't be killed any more, at least THAT is a relief!

* James Hong ("Safe") is Nick's avatar.

* Mary Louise Parker ("Red") is Proctor, the R.I.P.D. orientation officer in her short black uniform and white knee-length go-go boots...she made me think of Diana Rigg.

* Kevin Bacon ("Frost/Nixon") is Officer Hayes, ready and willing to comfort his partner's widow.

The CGI technicians had a blast and the audience saw blowie uppie stuff galore! Our poor heroes are really up against big-time trouble: Global Warming, the Black Plague and bad cell-phone reception. At least Amazon will tell us when the DVD is available.

I'll say right up front I've never seen a Men in Black movie (Will Smith leaves me VERY cold as an actor) so I don't know nor do I care if this film is similar (how many 'Hangover' type films have come out in the last few years, several of which are as good or better than the original?) but this film was quite enjoyable. Jeff Bridges is a hoot! Mary Louise Parker and he work so well together that I wish the movie had actually centered around them. Not to say that Ryan Reynolds isn't good here but there a reason he hasn't become the big star that many folks thought he would after The Proposal. He just doesn't bring enough depth to a role. I liked the humor and the silly plot didn't bother me a bit. Kevin Bacon role seems a bit slight but Bacon is a very good actor who's had many underwritten roles and he knows how to overcome them. I wish James Hong and Marisa Miller's roles had been a bit expanded but the notion behind their roles is a pretty good one. This isn't a great film but it's a pretty good way to spend an hour and a half. I hope Bridges and Parker team up again soon in another movie. Recommended.

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This movie will not win any Oscars, I would guess, but it's a heck of a lot of fun.

Jeff Bridges was great, and It's nice to see a female star who is played as just smart, attractive and solidly in control rather than a brainless bimbo.

Ryan Reynolds does a solid job too. Great special effects.

I'd say a cross between Dead Like me and Men In Black.

Don't listen to the critics, this film was a blast to watch.

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This movie is only pretty good because it is pretty predictable and isn't totally appropriate for kids. I did like it though because it has a ton of action and suspense. This movie is also 3-D which makes it even cooler because of all the action scenes.

This movie is about a guy named Nick (Ryan Rey6nolds) who has a good wife and works for the police department. He also has a good partner (he thinks) until his partner wants the gold that Nick has so he kills him. Nick then works for the Rest in Peace Department and he is paired with a new partner named Roy (Jeff Bridges) who is a cowboy. Nick and Roy have to save the world from a guy named Hayes (Kevin Bacon) who is going to build something to bring the dead back to life!

The main characters in this movie are Nick, Roy, Hayes and Julia. My favorite character is Roy because he is really cool, good at fighting and hilarious! He is so funny and is just a really weird guy. He does some things you wouldn't think he might do and it makes everyone laugh.

My favorite part in the movie is when a big fat guy gets shot in the butt with a grappling hook by Roy. He was flinging him all around and trying to kill the bad person that's technically already dead. I just thought it was really funny.

I would recommend this movie for ages 10 and up because there is a lot of violence in this movie and it's rated PG-13. It also has some stereotypes that might not be the best message for kids. All in all it was pretty funny as long as you realize that is what it is meant to be a comedy. Reviewed by Anthony A, KIDS FIRST! Film Critic. For more film reviews, go to kidsfirst.org

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I saw this movie in theaters and absolutely loved it. It was filmed slightly different than most movies I've seen which was very cool, and Ryan Reynolds and Jeff Bridges did a phenomenal job.

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