Dead Heat (Midnight Madness) (1988)

Dead Heat kinda fell into obscurity right away, so I don't think it even reached cult film status. This is one of those that you may have caught late at night in the old glory days of HBO. It's not a horror film, it's more of your typical buddy action/comedy in the vein of Tango & Cash, but with a few horror elements thrown in. Zombies are roaming around robbing jewlery stores and causing other assorted mischief due to a new resurrection machine. The zombies are pretty much normal looking people who are a pain in the ass to kill. Some are a little yucky and decomposed too. Treat Williams and Joe Piscopo are the cops on the case. Naturally, Williams being the straight cop and Piscopo being the wisecracking tough guy cop. I've always liked Williams, and though his performance is nothing to shout about, I enjoy his presence. Piscopo is another story. In general I do like Piscopo, but his role in this film is I guess a real love it or hate it affair. The humor of the movie is almost all set on him, yet he is probably the unfunniest wisecracking cop I have ever seen in a movie. He has absolutely no delivery and the jokes seem forced and just plain bad. It's strange coz he is so not funny that it actually becomes kinda funny. Funny for reasons other than intended. Plus, he's supposed to be a big, buff badass, yet he's always saying stuff like, "Oh, that's gross!", "That's really disgusting", and "I think I'm gonna throw up". These aren't tough guy lines, and he comes off sounding like a wuss. Steve Johnson's fx are pretty good. We have a mean looking mutant biker guy, a disintegrating woman, and a Chinese restaurant full of reanimated ducks and pigs and stuff. Williams' half melted face in the last 10 minutes looks good too. Some cool appearances here too, including Darren McGavin, who you may remember as the leg lamp obsessed dad in A Christmas Story("Oh, you should see what it looks like from out here!"). Vincent Price has a small walk on part as well. The leading lady is quite flat and boring. All in all, Dead Heat may be a cheap action/comedy, but it obviously had more money invested in it than other films of this type. The fx are top notch and the film really doesn't look that cheap at all. This is no masterpiece for sure, but I must say that I really miss this kind of film, coz stuff like this just isn't made anymore. Enjoy.

This is the epitome of the type of movie Anchor Bay releases on DVD, crisp, clean, clear and celestial. Dead Heat is by far a cult movie that can be seen as both an action and horror movie. Our leads, LAPD detectives Roger Mortis (Treat Williams) and Doug Bigelow (Joe Piscopo) are investigating crimes, which are being committed by people who are deceased. When Roger is killed during the investigation, he is brought back to life, by the same element that is resurrecting these criminals, to solve the mystery.

The movie itself isn't suppose to be taken seriously, at least that is how I watched it. Joe Piscopo provides many one liners that are really funny, and one liners can be hard to pull off. Treat Williams also provides some dry and wry humor. It's cool that Vincent Price was in this movie, which gives it the official horror stamp of approval. There are plenty of dummies, fake blood, and cheesy effects to keep you going. It also has this buddy cop vibe to it, now it isn't Lethal Weapon or anything, but still a buddy cop movie. The sour cream on the taco is it was made in the 1980s! So if you love those late night cop movies and have a taste for things that are undead, you get them both in the same eighty-four minutes!

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I saw this in the theater way back when and I thought it was hilarious so I went and saw it again. Treat Williams is a cop who dies and yet he lives on and decomposes throughout the film. Piscipoe is not funny normally this is the only time you'll ever see him being funny. The film was not well received and I think it has somewhat of a cult following since only a handful of people actually liked it. Haven't seen it in ages so I don't know how well it would hold up. I remember it being really cool though. This is what 80's movies were all about... being really terrible with cheesey special effects, but entertaining as all hell. I won't buy it until it comes to DVD.

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I had no idea this movie even existed until a few months before its release on DVD. I never saw it in theaters when it came out in 1988, and by the looks of its box office receipts I wasn't the only one that missed it (ahem). I was only 11 back then and it was an R-rated film after all, so there's my excuse. How it escaped my keen horror radar in the following 16 years is a complete mystery, however. You'd think that I would have caught it some late night on television or on video at least once in all those years, but DEAD HEAT proved as elusive for me as a successful movie career did to Joe Piscopo.

While Joe Piscopo may not have had a stellar career in movies, as soon as I found out that he was in DEAD HEAT and that the film is billed as half "buddy cop comedy" and half "zombie horror", that's all I needed to hear. I was sold. In a rare move for me, I bought the DVD without even having seen the movie. My instincts proved correct once again as I found out that zombies plus Joe Piscopo equals comedy gold! Actually, gold might be overstating it. Comedy silver? Maybe. At the very least, DEAD HEAT is pure comedy bronze!

It doesn't take long before it strays from your normal buddy cop formula in a big way. When Roger (Treat Williams) bites the big one in a doggie euthanasia room while fighting a hefty undead two-faced biker (don't ask me about the two faces, I don't get it either) and is resurrected shortly thereafter, it becomes a race against time as he and Doug (Joe Piscopo) try to find Roger's killer. Can they find his killer before his body decomposes and he turns into worm food? Can Doug keep from becoming a walking corpse himself? Who's behind this zombie crime wave? Did Joe Piscopo's career tank after SNL or what?

Piscopo's character Doug is a veritable one-liner factory, churning them out fast and furious. It's probably because we're too busy trying to absorb them all that the audience essentially ignores Treat's character, Roger. Joe Piscopo delivers the lines with ease, some being real gems and some are just plain bad. The bad ones don't linger too long because there are enough good ones to get you through. These one-line jokes make up essentially all of the comedy, and in that respect the script is a little weak.

Like a lot of horror movies, the special effects and makeup are almost a character in themselves. Dead Heat is no exception. I was highly impressed in the job that Steve Johnson (SPECIES) did. With no CGI, all the effects withstand the test of time, even after all these years. There's a particularly nice scene of a woman who fast-forward decomposes right before your eyes. Even better than the decomposition scene is the Chinese restaurant scene. In one of the most phenomenal scenes in all of movie history, you can see all manner of animal get resurrected and get very ornery. From a pig on a platter and a flying liver of unknown origin to, best of all, a completely skinned undead steer on the attack. It's so utterly ridiculous, it's brilliant, and I doubt anything quite like it will ever be seen again on celluloid.

Director Mark Goldblatt's vision for DEAD HEAT was for it to be a legitimate comedy/horror crossover. If you hold it up to that standard it definitely falls short, especially if you compare it to the 80s film that was the most successful at it, RETURN OF THE LIVING DEAD. Where ROTLD was funny, yet still very much a horror film, DEAD HEAT doesn't nearly compare. There's just no horror to speak of. All of the scenes that are supposed to scare just don't work very well. Zombies attacking with Uzis in broad daylight are more laughable than horrific. They would have been better served to just concentrate on the comedy.

Simply put, despite its shortcomings, DEAD HEAT is a fun piece of cheese that is distinctly 80s. Vincent Price has a small, but important role, and what his presence adds to a film you just can't quantify. This is one of his last films, and it's worth seeing almost for that fact alone.

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This turkey movie star Treat Williams(Deep End of The Ocean) as a cop who gets killed and is brought back to life.This a buddy moive much like the "Lethal Weapon" movies, but it does not take itself too seriously.It not too scary and I would even think that by today's standards t would rated PG-13! If you like a turkey movie once in a while buy this one! Plus it does not cost as much as the other videos they have here! Face it guys,this video is bargain! Now go buy it and have some laughs while you watch it! Also starring is Vincent Price as the villian trying to take over the world!

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Middle of Nowhere (2008)

I don't know where this movie came from. I don't recall its being released in the theaters though, with this cast, it's difficult to believe it's direct to video. But, whatever the case, this is a rare find. It's an indy type film with nothing but writing and acting at its core. No big sets or fancy frou frou. Just a good story with a well honed cast and adroit handling by the director.

Anton Yelchin plays a bright, beyond his years, but troublesome teen who is one step away from the military academy. He has been banished to a water park for the summer where he performs a lackluster job. Eva Amurri also works there and can go to college if she can come up with the trump. Mom (Susan Sarandon) can't help her unless one of her schemes comes to fruition. She's more interested in trying to launch a modeling career for her younger daughter. Yelchin convinces Amurri that helping him sell weed to the locals is a quick way to make the dough necessary for college. She ends up agreeing and that's when things start to happen.

They could not have picked a better actress than Eva Amurri to play Sarandon's daughter. They look so similar it's difficult to believe they're not related in real life. And both do an excellent job here. I suppose I've like Yelchin enough in the few movies I've seen him in but he builds a great character here. I wanted to sit and have a beer with this guy. He is someone I truly wanted to get to know which says as much for the script as it does for his acting.

This is a slice of life type movie where everyone is in a sort of limbo. They are on their way somewhere but can't quite find the key to the door. They also have some serious baggage from their pasts which they need to drop in order to move on. Things DO come to a head and some crap hits the fan but they come to realize them for what they are and resolve themselves to deal with them instead of letting them ruin or scar them.

This movie doesn't take any obvious turns and doesn't feel a need to tie everything up in the end which I liked. I would like to re-visit all them in a few years and see what happens to them. How will their lives turn out?

This is just a plain, good movie. There is one plot point that might be a bit forced but it's a minor argument compared to the greatness in everything else that happens. I don't know if this will change your life but it's much more than a popcorn movie. If you're looking for something with meat on it's bones this is a great choice.

MIDDLE OF NOWHERE is one of those surprise films that appear to have gone direct to DVD not because they are unworthy of theater showing but because they are thinking films rather than explosively entertaining/CGI/3D extravaganzas. The script (Michelle Morgan) is smart, the concepts are viable and refreshingly not overdone, the direction (John Stockwell) shows great respect for the talents of the actors, and the cast is as solid as could be assembled for a film about touchy subjects. The theme that is born at the beginning of this film and grows in importance right to the end is the parent/child conundrum: when is parenting adequate and what are the drivers for dysfunctional family units.

Grace Berry (Eva Amurri, in a very natural and focused tough role) explains to a college scholarship counselor (Sharon London) that she needs financial aid to begin her higher education to become a doctor, but though she is a brilliant student, the counselor refuses to award a scholarship because of Grace's exceptionally bad credit rating. Distraught, Grace challenges her mother Rhonda (Susan Sarandon) when she discovers Rhonda has used Grace's name to open credit cards and has spent them to the limit. Grace needs big money to attend college and her summer job at the water park in town is minimum wage only. Also working at the water park is the happy-go-lucky Dorian (Anton Yelchin) who flirts with disaster, having found an 'extra job' selling weed to the rich folks of the city. After a lot of patter Dorian gently coerces Grace into being his driver (Dorian has no car, having been grounded for misbehavior by his grumpy uncle who is serving as relief for Dorian's adoptive parents), and the two begin a quality friendship that fills emotional and financial gaps in each of their lives.

But the truth about Grace and Dorian's parents surfaces: Dorian was given up by his 15-year-old mother for religious reasons and has been placed with quasi-appropriate wealthy parents; Grace lives with the knowledge that her father committed suicide only to come to discover that the suicide was the result of discovering that Rhonda was (and still is) having an affair with his brother Bob (William Haze). Grace's discovery comes through a conversation with her Aunt Polly (Karen Bramen, in an excellent role for this new actress) and Grace's mother-favored younger sister Taylor (Willa Holland), and the revelation sets off a series of events that propels the story to an end. Yes, there are sidebars expected in stories of teenagers: Grace falls in lust with rich kid Ben (Justin Chatwin); Taylor rebels against her mother by cutting her hair thus ending her mother's obsession with Taylor's becoming a model and Taylor seduces Dorian; Dorian confronts his birth mother; there are fights where Dorian is injured and finds himself alone without family support. But without a sugarcoated finale, the film ends quietly, affirming the importance of friends a kind of love than can replace gaping holes in family relationships.

The movie truly belongs to Eva Amurri who proves she is becoming as fine an actress as her mother, Susan Sarandon. The film also allows Anton Yelchin to demonstrate a much broader range to his acting than he has been given before. The entire cast is excellent. This is a coming of age story with far more attention being paid to the adult end of the developmental spectrum. Grady Harp, July 10

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I have literally seen Anton Yelchin grow up on screen. In truth, he was never my favorite child star and I'm not sure I thought he'd transition effectively from misunderstood youth to leading man material. But taking a page out of the Joseph Gordon-Levitt handbook, Yelchin seems to be doing just fine by picking indie roles that interest him and growing as an actor. His quirky energy and distinctive presence distinguish him from much of young Hollywood, and his ability to have quietly built an impressive resume has been nothing short of amazing. I don't mean to derail my talk about "Middle of Nowhere" to discuss Yelchin, but he ends up being the film's most compelling performance. A solid and appealing sleeper by John Stockwell, "Middle of Nowhere" is one of those quiet little films likely to be discovered and appreciated through the years. It may not be groundbreaking by plotting standards, but it has an overall sincerity that works better than you have any right to expect!

"Middle of Nowhere" tells the story of Grace (Eva Amurri), a bright girl from a troubled family. With big plans to escape from a small town existence, Grace gets little support from her flighty mother (Susan Sarandon). Sarandon focuses all her energy on her younger daughter who she is convinced is "model material." But underlying the difficult family dynamic is the fact that Grace's father committed suicide years ago, and the family has never really dealt with the truths behind the act. New to town is Dorian (Yelchin), an exiled troublemaker spending a back-to-the-basics summer with his uncle. The two form a tentative friendship at the water park where they both work. Grace, desperate for college money, soon gets ensnared in Dorian's extracurricular activities. He is a successful pot dealer, and not without some family demons of his own!

But "Middle of Nowhere" is not just a silly teen caper--it treats its subject matter in a suitably believable way. Quirky and amusing, at first, the film focuses on real life pain and difficult circumstances to fully reveal its three dimensional characters. That's the strength in "Middle of Nowhere"--you'll care about what happens to these kids! Surprisingly free of expected cliche (although Amurri's romance with a privileged boy plays out by the numbers), the relationships established in the film are well conceived. Amurri is steadfast and calm, but it's Yelchin who (once again) steals every scene he's in. A suitably ambiguous ending plays true to his character, and I appreciated the choice that Stockwell made in not wrapping things up with a convenient bow. Warm and sweet, and at times quite funny, "Middle of Nowhere" is a solid sleeper! KGHarris, 1/11.

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NOTHING SCALDS MORE than the moment a teen discovers mom and dad aren't perfect. Not that they make mistakes, everyone does that. No, that parents and other caregivers can make HUGE, life altering errors in judgment for little more reason than "I couldn't help myself."

That's the motivator in this coming of age flick directed by John Stockwell ("Blue Crush," 2002). Grace (Eva Amurri) can't get into college because of the debt her mother accrued by opening credit cards in her daughter's name without paying them off. Dorian (Anton Yelchin), an adopted teen with a streak of mischief a mile wide, finds himself sent off to spend the summer with his disciplinarian uncles. He comes from the rich side of town, Grace arrives with both feet planted in poor town.

Yet this is no John Hughes Cinderella story. Both teens take jobs at a water park, their mission to sweat and be hassled by bratty kids for minimum wage. But then serious Grace and prankster Dorian form a team and devise a way to make money illegally to achieve their goals.

We learn a lot about them and their families and big surprise we get to like them. We actually care about their problems. No, there aren't any big tragedies or major triumphs. It's just a story about people trying to get by and it's not too bad. Conversation sounds improvised and natural. Susan Sarandon, Amurri's real mother, and Willa Holland co-star.

Blu-ray video looks just fine with a sprinkling of film grain throughout. Set in Louisiana, color is rich, especially during daylight. Audio is serviceable, mostly front centered and dialogue driven. Extras also include a 26-minute making-of offering interviews with cast and crew, much of which is repeated in a set of individual cast and crew interviews. Also find deleted scenes that were best deleted.

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I rented this film and it was worth the money and time. Susan Surandon plays a witty and alcoholic mother who is still internally dealing with the separation of her husband and then the task of raising her two children. As with any family, the kids have their own aspirations and interests and one leads the other. The older daughter is going through an experimentation phase as she explores sex with an odd companion she meets at work. The younger sibling follows along!

This was an interesting and funny at times film. The characters are played well, but it is hard at times to follow their motivation. I believe that that was part of the way it was written, but it took me back to a time in my life, when I too was going through changes and transformation of being a teen.

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Leap Year / Love Happens Double Feature (2009)

I have yet to see love happens but Leap Year is one of my favourites since before.

The thing about it is that I dont really think it needs motivation why it is good, it just is.

Maybe not the best movie though if your looking for a fulfilling love/life story with alot of filosofical goodies.

Mostly because the part of the beginning feels alitle bit unnatural and doesnt float so well. But after the first part. It do does just that.

Floats just like a boat I mean. Takes you on a fun but still also alitle bit "fulfilling" trip so to speak. The chemistry seems genuin between the actors and it has both karisma and an ok story.

I hope you watch it, because if you don't. You would miss out I promise.

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Casino Jack (2010)

How long can you screw someone before you get caught? The true story of super-lobbyist Jack Abramoff (Spacy) and his partner Michael Scanlon (Pepper). After finding a contribution loophole, Abramoff and Scanlon begin to exploit this and become very, very rich. I enjoyed this movie. I like true story movies, and I really enjoy political ones too. There was a lot of stuff in here I didn't know about. The amount he took and the favors he gave out are astounding. This movie really exposes the lengths that he and other senators will go to in order to get what they want. The movie is filled with different movie quotes from the "Godfather", "Rocky" and others, which is fun (Spacy is a pretty good impressionist). Overall I really liked this movie, and found myself liking Abramoff even less then before. The amount of money he through around to get his way is enough to make you sick, especially when you think a lot of our tax money went to helping him by a casino boat. Abramoff gets an F, as for the movie, I give it a B+.

Would I watch again? Yes I would, this is the kind of movie I like

A Jack Abramoff film had the real potential to become an A film. Something happened on the way to the theatre. The story is one that needs to be told, good actors, but it is a film that is too outlandish and too over the top. This is probably the real Abramoff. The man who gives lobbyists a really bad name. He put Tom DeLay into the eyesight of the real world, and DeLay was found guilty at his trial. The dirty tricks and murder and mayhem attributed to Jack Abramoff and his ilk is so messy and so ugly that comparing it to the Watergate may seem second rate. All of the power in DC it seems, was beholden to Jack Abramoff. Money was given and spent freely to win elections. Abramoff says plainly that without the money he spent in Florida on Bush's behalf, Bush would not have won the Presidency. I agree with him that our country may have been a better place.

What seems to me to be the best of the film, is a scene in a Senate hearing with John McCain presiding. Some of the Senators present were given money by Abramoff and yet, here they were berating him for his practices. The real hearing with McCain present is interspersed with actors. It is quite extraordinary. Real names are used, and the actors portraying them are very much like them. This part of politics that we seem to see more of on a daily basis is abhorrent to most of us. To the politicians who inhabit DC, it is business as usual.

Jack's family stood by him. He is portrayed as a man with an ego bigger than he is. A little off center and downright crazy at times. Someone who spent money literally like water. He bought and sold and then bought and sold some more. Little thought to anyone but to his need to be the biggest man. Well, he failed.

Recommended. prisrob 04-09-11

Beyond the Sea

Love at Stake

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Lots of movies poke fun at American politics by following the lives or careers of real or fictional government officials. These include movies such as Wag the Dog, and Primary Colors. This might be the first movie to do it from the standpoint of corporate lobbyists. This film follows the career of Jack Abramoff, key fundraiser for the GOP throughout the 1990's and early 2000's. The movie examines his rise through the world of influence, finally landing him in jail. Key to his story is the parallel themes of his amoral use of his skills to further the GOP, side-by-side with his personal faith to his Jewish heritage. This does bring up one point the movie left out, but should have really included, and that is the many of the politicians he helped come to power catered to evangelical Americans that often looked down on Jews as the betrayers of Christ. The film is well cast for all the roles except one, and that is Jack Abramoff himself. Outside of being a white man of about average height, Kevin Spacey bears little physical resemblance to Jack Abramoff in either voice, face, or cut. Hence the 4/5 instead of 5/5 stars.

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Kevin Spacey does a terrific job in this movie.. he plays a Republician that take Money offthe top and pockets it.. It's a TRUE STORY and I would recomend it to EVERYONE TO SEE!

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Kevin Spacey is great in this movie. We actually rented it first and it was so outstanding, we decided we needed it in our collection so we can watch it over and over again. Yes, it is that good! If you haven't seen it, I highly recommend it. And, as usual, Amazon delivered in their normal FAST way.

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Love Ranch (2010)

More like "Raging Bull" (boxing) and the F-word (Joe Pesci) than about a brothel. And the first half looks like a B-movie

I'm a HUGE Helen Mirren fan, and I loved the DVD version of Director Taylor Hackford's film "Ray", so I was anxious to see this film, directed by Hackford and starring Mirren (his wife). Before watching the film, I clicked on the "bonus features" and watched the six-minute "Introduction" by Hackford and Mirren. It looks like it was filmed in their living room with home video camera. Hackford was doing most of the talking and Mirren looked like they had just woken her up. Not a good start.

Then I played the film. It is based on the life of Reno's famed Mustang Ranch brothel in the 1970s and owner Joe Conforte and his wife. The "R" rating appears at the beginning and the explanation is "sexual situations and strong violence". Hmmm...... a film about a whore house with no nudity? Strange. Well, as another reviewer pointed out, for the first 45 minutes of the film, it looks like Mirren is sleepwalking through her role, and the hairdo she wears looks like a cheap wig (it isn't). Co-star Joe Pesci reprises his standard "Good Fellas" persona with the F-word being more than half of his dialogue (I'd love to have seen his dialogue portion of the script.). But after that 30-40 minutes, things change and we get real acting from Mirren. You'll know when that starts because she loses the curly hair and for the rest of the film its her standard straight hairstyle. (Was this symbolism that Hackford was giving us?).

Anyway, if you looked at the cover art, you'd never know that this is a film about boxing, yet a good portion takes place in the ring with Hackford trying to make the fight scenes look like "Raging Bull" though in color! with a lot of graphic violence. The whole business of prostitution takes a back seat (one waaaay back!).

The bonuses included deleted scenes (with commentary) and a full-length audio commentary track with Hackford. It was hard enough to sit through this film once,, so I passed on listening to that.

So, Mirren fans may want to see this film but should know not to expect anything approaching "The Queen". (There's a moment in the film where Pesci, as her husband says (between the F-word) "Who do you think you are? The Queen?". Far from it Joe!

Hopefully Hackford will get his act together and start making quality films again. This certainly isn't it.

Steve Ramm

"Anything Phonographic"

Joe Pesci is typed cast as a New Jersey thug. He plays the co-owner of the Love Ranch (Mustang Ranch) Charlie Bontempo (Joe Conforte). His co-owner wife, Grace (Sally Burgess) is played by the classy Helen Mirren. They had owned illegal brothels, which appears to have been easier than the headaches associated with legal ones and having to deal with "25 psychotics," as Grace puts it. The movie captured the bikini clad girls of the era. There is brief nudity and sexual situations as one would expect from such a movie, but it is minimal. Pesci drops the f-bomb like only Pesci can. The movie failed to capture the frequent celebrity appearances at the ranch. It focuses on the year 1976. Grace finds out she has cancer and maybe six months to live. She tries to tell Charlie, who is too busy with the talent. Charlie gets an idea for Argentinian boxer Bruza (Oscar Bonavena) to train at the ranch to attract clients. While at the ranch Bruza and Grace have an affair. The movie is based on a true story and did a fair job in following it. The closing dialogue of the movie implies that the ranch's tax problems came shortly after the shooting of Bruza in 1976. That is not true. It wasn't until 1990 that the IRS took over the Ranch and Joe Conforte fled to Brazil. The Mustang II ranch shown at the end of the movie was erected in 1982.

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LOVE STORY is a peculiar movie. It is based on the true story of the notorious Mustang Ranch just outside of Reno, Nevada, a brothel that was world famous run by a couple by the name of Joe and Sally Conforte who had chutzpah and an ongoing run-in with the IRS and the law in bringing in boxer Oscar Buenovena as an addendum to their game of wealth. The facts of the brothel's existence are true as are the characters portrayed in the film, but a considerable amount of artistic license as to dates and chronology of event were taken by writer Mark Jacobson. The result is a strange conglomeration of a story, boring as roadkill during the first half but awakening into a rather tender melodrama in the second half. And it is worth the wait. Taylor Hackford directs his wife Helen Mirren, and as we have come to expect, anytime Mirren is in a film there is at least a modicum of fine acting.

The Confortes become the Bontempos for LOVE RANCH (aka Mustang Ranch of history) and Joe Pesci as Charlie Bontempo is an ex-con with a potty mouth who married Grace (Helen Mirren) 20 some years ago, and together they have built the world's largest brothel the first legal one in Nevada. Grace at first is cheap and tacky, walking with a cane and constantly reminding Charlie of her importance: her character changes a it when she is diagnosed with terminal cancer by her doctor (Broadway singing star Harve Presnell in a tiny and last role; he died in 2009) . Charlie beds all the women who work at Love Ranch and Grace is aware of it. Grace befriends her 'staff' Gina Gershon, Ling Bai, Taryn Manning, Scout Taylor-Compton, Elise Neal among others and Charlie tends to the business of promoting the Ranch as well as taking chances with other projects, such as tempting famous Argentine boxer Armando Bruza (Sergio Peris-Mencheta) to move to the Ranch for training in preparation for a fight with (supposedly) Muhammed Ali. Bruza arrives and insists Grace be his manager and she reluctantly accepts out of a sense of being attracted to Bruza. Her girls, especially Irene (Gina Gershon) encourage Grace to live for the moment and give in to the desire for an affair with Bruza. Grace and Bruza do indeed find each other's soft core and fall in love. Bruza is prepared for a fight, but in the fight he staggers through the first rounds only to win by a late surprise knockout: Grace rushes Bruza to the hospital because of his unstable status and there she discovers Bruza suffered a previous brain injury years ago resulting the placement of a metal plate in his skull. This discovery and the events that it initiates bring the film to a tender but tragic end on many levels.

The cinematography by Kieran McGuigan is splendid when surveying the beauty of the land around Reno but uncomfortably monochromatic through most of the rest of the film. The musical score by Chris Bacon (who has many fine credits for other films) is almost unbearably bad. Joe Pesci, made up to look very old, is in this viewer's opinion miscast: he rarely gets beyond being a screaming filthy mouthed moron. Helen Mirren transforms Grace from a tawdry Madame to a truly beautiful but tired partner for Charlie, opting to spend her few final days with one who can demonstrate his care for her. Sergio Peris-Mencheta manages to make his blustering character one of compassion and vulnerability.

In all this is a movie that, once over, seems well worth watching as the credits reveal all the facts about the destinies of everyone involved in the story. Get past the first half hour or so and you're in for a fine film. Grady Harp, October 10

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I REALLY love the movie. Maybe its because I'm about the same age as Helen Mirren appears to be in the film but I was captivated by the entire story in particular after the Boxer professed his interest in her. I think that the stark contrast between the hard world of prostitution compared to the abandon to the passion of the moment and the truly tender romance between the two lovers, both of them hardened and deeply injured by life, made for great drama and tragedy. Their wild abandon to share a few moments of true nurturing and caring sent a wonderfully simple message love while you can. Yes, there were some corny scenes, and some raw comedy but I truly loved this movie I cried at the end and I will watch it again and own it soon. And readers, I repeat, if you know an older baby boomer woman looking for a fantasy cinema fling this is definitely a Baby Boomer Romeo and Juliet flick with a unique love story based on a true story.

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Joe Pesci is typed cast as a New Jersey thug. He plays the co-owner of the Love Ranch (Mustang Ranch) Charlie Bontempo (Joe Conforte in real life). His co-owner wife, Grace (Sally Burgess) is played by the classy Helen Mirren. They had owned illegal brothels, which appears to have been easier than the headaches associated with legal ones and having to deal with "25 psychotics," as Grace puts it.

The movie captured the bikini clad girls of the era. There is brief nudity and sexual situations as one would expect from such a movie, but it is minimal considering the topic. Of course Pesci drops the f-bomb like only Pesci can. The movie failed to capture the frequent celebrity appearances at the ranch. Rather it focuses on the year 1976. Grace finds out she has cancer and maybe six months to live. She tries to tell Charlie, who is too busy with the talent. Charlie gets an idea for Argentinian boxer Bruza (Oscar Bonavena) to train at the ranch to attract clients. While at the ranch Bruza and Grace have an affair. The movie is based on a true story and did a fair job in following it. The closing dialogue of the movie implies that the ranch's tax problems came shortly after the shooting of Bruza in 1976. That is not true. It wasn't until 1990 that the IRS took over the Ranch and Joe Conforte fled to Brazil. The Mustang II ranch shown at the end of the movie was erected in 1982.

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Santa Claus Conquers the Martians: Remastered Edition (1964)

It's the kookiest Christmas ever when Santa Claus is kidnapped by Martians in this "you have to see it to believe it" Christmas "classic." Maybe you've seen this movie hilariously skewered on Mystery Science Theater 3000, but you have to watch it on its own to truly appreciate it. Santa Claus Conquers the Martians is just so bad that I can't help but love it, and that explains why I am giving this deservedly one-star movie four stars. The Martian get-ups are more ridiculous than Marvin the Martian's normal attire, the sets redefine the very definition of cheap, the acting is over-the-top and generally horrible, and Santa is well, he's just a little bit weird, if you ask me. Every time the guy starts in with his distinctive laughing (usually for no apparent reason), I am reminded of the fact that Satan is spelled with the same letters as Santa.

Things aren't going so well on Mars. It's bad enough that the Martians are all colored a ridiculous shade of green, dress like rejected superheroes, and wear ridiculous antenna-spouting helmets on their heads at all times, but now the children of Mars are all acting depressed and withdrawn; all they want to do is sit and watch Earth TV. Kimar (Leonard Hicks), the leader of Mars, seeks the advice of the planet's 800-year old wise man and is told that he must bring Santa Claus to Mars so that the children can actually have fun and be children for a little while. Voldar (Vincent Beck) opposes the plan every step of the way, arguing that Kimar's plan will soon result in a whole planet full of lily-livered, mush-brained nincompoops. Kimar wins out and sets off for Earth in the most pathetic spaceship of all time to catch Santa and bring him back to Mars along with two Earthling children. Well, Santa starts up a new workshop on Mars, hoping he'll be allowed to return home in time for Christmas, but Voldar is as tenacious as he is ridiculous-looking and is determined to kill Santa and stomp out all signs of Christmas spirit on the red planet.

Santa Claus Conquers the Martians features a young Pia Zadora as a little Martian girl, but perhaps the movie's most unforgettable feature is the swinging theme song, Hooray for Santa Claus. If you watch the movie, you'll have this silly song in your head for days. Dropo (Bill McCutcheon) gives a memorable performance as Mars' resident screw-up with a heart of gold, but my thoughts always remain with John Call and his disturbingly weird portrayal of Santa Claus. I can pretty much guarantee that this movie will make you laugh with its unashamed ineptness, and bad movie lovers are ineligible for their very first merit badge until they have watched Santa Claus Conquers the Martians and lived to tell about it.

This DVD from Intermedia (Woodhaven), is the best version on DVD. The print quality used is much better that that used on other DVD's.

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Yeah, "It's a Wonderful Life" is a pretty good movie. However, the movie I joyfully watch every Christmas is about martians who, lacking a Santa Claus to bring joy to martian kids, kidnap Santa from Earth, along with two children. "Santa Claus Conquers the Martians" is almost sublime in its badness, and with painted-green martials in skintight suits, a Santa with a lewd chuckle instead of a "Ho Ho Ho," incredible wooden acting by the cast (one of whom is Pia Zadora), unspeakable special effects, and a horrible theme song, it is a masterpiece of the so-bad-it's-good school of film. Just TRY getting the theme song out of your head.

The DVD from Laserlight looks exactly as one would expect it awful. The supersaturated colour scheme has not aged well, and looks very grainy. There are many scratches, but that only adds to the film's strange charm. Unfortunately, the first fifteen seconds or so of the film's opening credits are not on this DVD, depriving loyal fans of seeing EVERY BIT of "Santa Claus Conquers the Martians." Unsurprisingly, there are no extras, although the menus are pretty good.

Read Best Reviews of Santa Claus Conquers the Martians: Remastered Edition (1964) Here

You've got to be in a silly or giddy mood to truly appreciate this '60's classic. From suspense formulation to character development, SCCM tosses convention aside and disobeys all film making rules. In fact, it is so poorly done, it is downright enjoyable! Enjoy it with your friends for a good laugh. Be enchanted with lovely Pia Zadora's film debut (I think) as the cute little Martian girl. Be inspired as Carl Don's character, the 800+ year old Martian wiseman, proclaims, "We Need A Santa Claus on Mars!" Get downright geocentric as the Earth's Christmas Holiday spirit prevails over the Red Planet's system of overbearing logic and Grinch-esque gloom.

Most importantly, jam to the film's wonderful jingle, "Hooray For Santa Claus", which I truly think is the best thing to come out of this movie. I believe this theme song is the most underrated Christmas carol of all time.

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You can get it for a dollar at Target. And, for only a dollar, it is the best value-to-price ratio ever. You and your friends will spend hours laughing at the silly quirks this movie is made up of. Voldar, Droppo, the whole gang are going to entertain your socks off.

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Sweet Home Alabama (10th Anniversary Edition) (2002)

I was a bit hesitant to watch this film at first because romantic-love-triangle-comedies all end the same way. Plus before the movie started, the audience was packed with high school teenagers with their cellphones. (They could litterally fiddle around with them for hours while looking seemingly busy.) But my mom insisted and I obliged. Anyways, the movie turned out to be pretty sweet and heartwarming.

Melanie Carmichael (aka Melanie Smooter), played by Reese Witherspoon, is an up-and-coming New York City fashion designer who has just been proposed to by Andrew (Patrick Dempsey), the mayor's son. (Quite an impressive proposal I might add, with the Tiffany store open just for them.) There's only one problem, she's still legally married to Jake (Josh Lucas) in Alabama. That's where the real story begins. Melanie drives back to her hometown and nags Jake to sign the divorce papers. He drags his feet while Melanie gets some time to get reacquainted with his family and friends, whom she left for seven years. She desperately wants to believe that she's a whole new person (with the last-name change and all), and ends up hurting the ones who love her. Does she get her divorce and who will she be with in the end? Ah, for that you'll have to watch the film!

I think the more interesting aspect of this film is watching Melanie come to her senses and acknowledge her roots. In New York, she might have had to cover up who she really is to get to where she's at -changing her last name and fabricating a tall tale about her family. But it was a lie waiting to be exposed. When she goes back to Alabama and brings this pompous personality back with her she is reminded that it won't get her anything but the disappointed looks of her friends and family; the people she left behind.

In a nutshell, even though the ending was relatively predictable, the story is poignant enough and had sufficient humorous scenes in it to keep the audience hooked. (I particularly liked it when Melanie realizes that being married to Jake means that they still have a joint account at the local bank.) Also, I think Reese Witherspoon gave a good performance, and it's always nice to see Candice Bergan in a frenzy.

This is one of the better romantic comedies I've seen this year.

LEAP rating (each out of 5):

============================

L (Language) 3 (Cute, has its sentimental moments. Never boring.)

E (Erotica) 0 (n/a)

A (Action) 0 (n/a)

P (Plot) 3 (In order to get married, Melanie must get a divorce, but going home and realizing how much she's left behind forces her to reconsider.)

Reese Witherspoon was wonderful as Melanie Carmichael! She plays the displaced southerner very well. Josh Lucas was the perfect counterpart portraying the southern hick. They have known and loved each other since they were kids, but of course life interferes, and that is where this movie starts. The town and residents are a typical stereotype, but it doesn't even matter because the film was that good. The writing and supporting cast are priceless. I do have to give special mention to Candice Bergen. She is at her best when she plays those dry roles.

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Witherspoon gives another strong, leading performance that proves she can make just about any movie look good. She stars as Melanie, a New York fashion designer whose dream is about come true. She's proposed to by New York's most successful and eligable bachelor, who also happens to be the mayor's son. Before she can say for sure, she quickly travels back home to country-side Alabama, to try and get a divorce out of her high-school sweetheart Jake (Josh Lucas). The film was better than I expected. It was pretty funny and heartwarming, while Reese gives a sweet performance in SWEET HOME ALABAMA. It's kind of a chick-flick, but proved high for a comedy on my standards. If you're in the mood for something light and funny, sweet and entertaining, "Alabama" is worth seeing.

Read Best Reviews of Sweet Home Alabama (10th Anniversary Edition) (2002) Here

Sweet Home Alabama, which stars the adorable Reese Witherspoon (Election, Legally Blonde), is a homespun delightful movie. In my opinion, it is a welcome relief to those of us who dislike violent or depressing movies. You actually walk out of the theater humming the song with a wide smile on your face.

Melanie played by Reese Witherspoon is a charming fashion designer who is being courted by the son of the Mayor of New York City. Embarking for an evening out, the young couple arrive at Tiffany's where Andrew proposes to Melanie. Trying to keep their engagement a secret, though, is hard to do and suddenly the Mayor, played by Candice Bergen, is planning a wedding for several hundred at The Plaza. Only problem is not only isn't Melanie from a wealthy and old Southern family as she's led others to believe, but she is also still married to her childhood sweetheart Jake played by Josh Lucas (A Beautiful Mind). Now Melanie must return to sweet home Alabama and obtain Jake's signature on the divorce papers which he has stubbornly refused to do all of these years.. What ensues is a down home Southern yarn, complete with a reenactment scene from the Civil War, which leads to sorts of revelations.

I really enjoyed this movie. While it was refreshing and humorous, it also offered several warm and tender moments. The cast was well chosen and included some memorable actors. Among them was Candice Bergen, Mary Kay Place as Melanie's mother with Fred Ward as Melanie's father and Jean Smart as Jake's mother. Adding to the enjoyment was the beautifully photographed scenery from Florida and Georgia and a first rate soundtrack which I still can hear several days later. I do recommend you see this movie reminiscent of the great Frank Capra films of the past. And see if you don't find life in Sweet Home Alabama truly sweet.

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With any other actress as the lead in this movie, I don't think it would be as nearly as enjoyable as it is. Reese gives us an irresistible charm that usually brightens up any movie that she's in and makes it better than it usually is. The same can be said for Sweet Home Alabama. A movie which is so predictable, you can almost utter each line yourself before the characters get them out of their honky tonk mouths. However, something can be said about predictability and in times like these, I think it's great to have a movie come out that you know you can fall in love with. Sweet Home Alabama is a perfect fit. Reese plays Melanie, a very succesful fashion designer who's left behind her hillbilly home. Living the glamorous life, she ends up falling for the mayor's son played by Patrick Dempsey, a handsome and rich man who happens to honestly adore her. Just when she thinks he couldn't get any more perfect, he proposes to her at Tiffany's. Just one problem ... she's keeping a big secret from him she's already married. That's when our main character decides to go back to her hometown to get a divorce from her stubborn ex named Jake played by newcomer Josh Lucas. In typical romantic comedy fashion, Melanie and Jake get on eachother's nerves to the point that they wanna either strangle eachother or fall in love all over again. I don't wanna give to much away, but Melanie basically has to decide between her childhood sweetheart and the new prince in her life that wants to sweep her off her feet. It's predictable and very hokey, but you can't help but fall in love with this movie. One of my favorite scenes is when Melanie visits her old dog at a pet semetary and opens up about why she had to leave the animal behind. Its heartbreaking and very touching. Reese won't win any oscars for her portrayal as a confused small town girl, but she sure will win your heart.

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Dr. Strangelove (1964)

Regarding the review cited as the "most helpful critical review," in which the main criticism is that the aspect-ratio of this DVD is 1.66 throughout instead of "variable" (some shots 1.33, some 1.66), I'd like to put to rest the unfortunate idea that Kubrick ever intended this film to be seen with a "variable aspect ratio."

Yes, the film was photographed that way; but no, it was not meant to be seen that way. Let me explain:

"Variable aspect-ratio" seems to be a term invented to market an early DVD release of "Dr. Strangelove." The term has no meaning in the film industry because no film has ever been released that way (except for that misguided "Strangelove" DVD -a mistake which has now been corrected).

Much of "Dr. Stangelove" was photographed with no matte in the camera, thus exposing the entire 1.33 film frame. Many shots, however, were filmed with a 1.66 matte in the camera, reflecting Kubrick's intention to release the film to theaters in 1.66. Therefore, if you transfer this movie to tape using an unmatted film element, and you take the whole 1.33 frame for every shot, the aspect ratio will vary between 1.33 (shots filmed with no matte in the camera) and 1.66 (shots filmed with a 1.66 matte). But it seems self-evident that this is not the way any movie was ever intended to be seen, with the shape of the frame randomly bouncing around from shot to shot for no reason.

So why shoot it that way? Because Kubrick (and his cameraman) knew that the theatrical printing negative, and therefore every release print sent to theaters, would have the 1.66 matte printed-in from start to finish, making the entire film 1.66 for theatrical presentation.

Is it possible Kubrick shot it "variable" so that the eventual 1.33 DVD release could have a meandering frame-line? I know Kubrick was smart, but it's unlikely he was thinking of the DVD release in 1964.

In those days, movies were made for theaters; televised movies were mainly 16mm prints, edited for time and sold in syndication. The TV market as it existed in 1964 did not influence any film director's compositions. The theatrical release was all that mattered; and the theatrical release of "Dr. Strangelove" was 1.66. All of it.

Therefore, if one wants to see this film the way Kubrick meant it to be seen (and a new, matted 35mm print is not available), the film-to-tape transfer must recreate the matted 1.66 theatrical aspect-ratio throughout -which is what the "40th Anniversary" DVD and of course the BluRay do (thank you, Sony Home Video).

I oversaw film restorations for a major Hollywood film studio for more than a decade, so I know the subject of aspect ratios pretty well. Hope this info is helpful.

Could a sane man initiate global mass-destruction? Can any political system that would destroy all life on earth as it valediction claim the moral high ground, now that we've entered a murder-suicide pact so absolute it even involves all future generations of life on earth? Liberalism, conservatism, capitalism, communismthey all become moot in the face of extinction.

So we have "Dr. Strangelove," the movie that dares point out how our drive to destroy ourselves just might be some sort of twisted outgrowth of our libido. Hardly a moment goes by in this film without sexual text or context. Even the two bombs in the B-52 (named by its crew, "Leper Colony") are scribbled with what were then considered come-on lines. Deranged Gen. Jack D. Ripper (Sterling Hayden) has sent his air wing into the Soviet Union because he felt a "loss of essence" during the "physical act of love," and is certain this is caused by flouridated water.

Peter Sellars plays three roles, wimpy President Muffley, RAF Group Captain Lionel Mandrake and the title character, the bizarre, wheelchair-bound not-so-former Nazi advisor to the President. The awesome George C. Scott turns in a marvelous performance as Gen. Buck Turgidson, who has difficulty hiding his enthusiasm for Ripper's plan.

But the revelation here is Hayden (veteran of many a manly role), playing a character so concerned with losing his virility, he sets the world on course for an explosive and very final climax. Hayden's performance is a masterpiece of subtle derangementno drooling or chewing the scenary. Watch for Sellar's reaction when he realizes Hayden's burly, muscular symbol of American power, in his medal-bejeweled Air Force uniform, is completely, irretrievably round the bend. It's a moment of pure, comic horror.

Sellars' characterization of Dr. Strangelove is the epitome of the post-nuclear man as monster. He's completely comfortable, almost gleeful, when talking about mass-murder as an abstraction and a political expediency.

Beautifully filmed in black and white (which gives it a certain Cold War veracity) and featuring some impressive sets and effective, documentary-style combat footage, "Dr. Strangelove" is one of Stanley Kubrick's finest films, uncompromising as it condemns hubris and macho posturing on all sides. And it does it with a weapon hopefully more effective in the long run than A-bombs and H-bombs. Humor.

Watch for Slim Pickens as twangy-voiced Maj. "King" Kong: his final scene has become iconic, and will remain in your mind for days. This movie also features James Earl Jones' movie debut, and yes, even then he had that impressive voice.

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I would have loved to been a fly on the wall when the producers of "Dr. Strangelove" tried to sell it to the studio.

"Well, you see, guys, this film is about worldwide Armageddon. This Air Force general goes nuts because he thinks the Russians are sapping his semen with flouride, and he sends his B-52s to attack them. Problem is, if his forces succeed, the Russians will set off a doomsday machine that will kill all life on Earth. The president tries to consult with the Russian premier on the hotline, but the premier is too drunk to understand what's going on. So, the wrap up is that one American plane succeeds in getting through, and the pilot has to ride the H-bomb down to its target, like a bucking bronco. The world ends. Oh, and it's a comedy."

Thank God for Hollywood of yore...could you imagine today's studios saying, "Sure, we'll pony up about $50 million for this one"? Not a chance.

That's what makes "Dr. Strangelove" such a treasure: no movie like this will ever be made again. It is horrific and viciously comedic at the same time. It is also masterfully crafted, as you'd expect from a Stanley Kubrick film, and aside from some cheesy visual effects of a B-52, it doesn't feel the least bit dated.

If anything, the film's sarcastic, irreverent tone fits the cynical 21st century far better than the 1960's, a time when the president was a national hero. Am I the only one who can see Bill Clinton's face lighting with happiness at the prospect of being locked in a mineshaft for a hundred years with ten "highly stimulating" women?

But in the idealistic world of 1964, such thoughts were absolutely radical, which makes "Dr. Strangelove" more than a great moviegoing experience; it was a cultural watershed, ushering in the cynical late 1960's with a distinct "bang."

Of course, no review of this film would be complete without some of its absolutely amazing moments: General Ripper's speech about his "precious bodily fluids"; George C. Scott's megalomaniacal, hyperactive General Buck Turgidson, who argues for an all-out attack on Russia because the worst they can do is "muss our hair"; Slim Pickens' Major Kong, who, upon inspection of a survival kit (complete with nylons and a miniature Bible/Russian phrase book), declares that "a guy could have a pretty good weekend in Vegas with all this stuff"; and, of course, Peter Sellers' brilliant triple role as the befuddled U.S. president (who declares, "no fighting in the War Room!"), the properly British but quite persistent Captain Mandrake, and the self-asphyxiating ex-Nazi Dr. Strangelove.

The film is also a feast for the eyes; Ken Adam's "war room" set is absolutely smashing (in fact, Ronald Reagan, upon touring the real War Room in the Pentagon, complained that it didn't look nearly as impressive as it did in this film), and the footage of the "battle" for General Ripper's air base is amazingly realistic. The interior set of Major Kong's B-52 was painstakingly constructed from pictures of a real B-52 (as you'd expect, the Defense Department refused to cooperate in the making of this film), and is absolutely convincing.

Kubrick's direction is flawless, and manages to combine his well-known knack for ice-cold intellect with warm and very human performances.

In all, "Dr. Strangelove" is a treasure, and belongs in any collector's cabinet.

Read Best Reviews of Dr. Strangelove (1964) Here

I doubt that you could imagine how much it would pain me to give a single-star rating to an edition of the film I consider to be the singular greatest contribution to the motion picture. However, the new "40th Anniversary" edition of Stanley Kubrick's Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb is, unquestionably, requiring of such a rating. Why?, you ask.

Because about fifteen to twenty percent of the screen image has been removed!!!

If you take a look, you will see that this new "Special" edition of Dr. Strangelove is presented in anamorphic widescreen, with a 1.66:1 aspect ratio. This, as you can find from examining older editions of the film, is the first time the film has ever been presented in such a manner. The reason why (and you may cross-check this with the Internet Movie Database [IMDb] or any book on Stanley Kubrick worth its salt) is because Dr. Strangelove was NOT FILMED in 1.66:1. It was technically filmed with a varying aspect ratio (the reasons for which are still not fully explicated, as far as I've seen), but, in general, it was filmed in about 1.33:1.

So, you ask, how does a film shot in 1.33:1 get presented in 1.66:1? Did someone return to the original negative and uncover material previously hidden from sight, lost on every print and VHS, Beta, laserdisc and DVD copy heretofore released?

NO!

They simply cut off the top and bottom of the screen!!!

Such things are not unprecedented. An extremely similar case is the so-called "panoramic" Gone With The Wind. The film, made in 1939 (before there was anything BUT 1.33:1, the "Academy" aspect ratio), when released in the Panavision/Technorama age of the mid-1960's was similar chopped and changed to magically become 2.35:1. This edition was released on video and DVD a few times before, finally, it was restored to its original 1.33:1 glory.

Stanley Kubrick was absolutely notorious for his perfectionism and auteur status in the film industry, and I cannot believe that a company proposing to release a definitive "Special" edition of his greatest masterpiece would be so heartless as to unnecessarily delete a good portion of the screen.

Please avoid this new, bastardized Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb. While the few new extras thereon are of interest, they can easily be seen via rental from the local video store, as suplemental to the last "Special Edition" of the DVD (which, incidentally, clearly states on the back that it is "Presented in the original aspect ratio of approximately 1.33:1".

Thank you,

Marc-David Jacobs

P.S. For those of you interested in seeing the terrible editing job for yourselves, feel free to go out and rent the new edition and the previous edition and go to seven minutes and forty-eight seconds, which is the extreme tight shot of the B-52's CRM-114 decoder book. As you will see, an entire line of text on the top, and about one-and-a-half on the bottom are not completely missing.

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I have seen "Dr. Strangelove" over 100 times which proves either I need to get a life or I have very good taste. I hope it's the latter.

This is, quite simply, the most complete and the most brilliant film ever made. There is not one boring, poorly acted or superfluous scene in the entire movie. The performances are simply outstanding. Peter Sellers in his three roles is, as always, superlative. But George C. Scott, not generally noted for comedy, proves he is a comedic actor of the highest order.

Slim Pickens gives an absolutely hilarious performance as Major Kong. Watch how he takes his cowboy hat out of the safe, and his accent when he delivers the classic line, "A fella could have a pretty good weekend in Vegas with all that stuff!"

Keenan Weenan delivers an absolutely dead-on performance as Bat Guano ("if that really is your name...") and Kubrick somehow managed to drag a riveting performance out of Sterling Hayden, not normally known as any great shakes in the acting department.

This film is gorgeously directed, paced and is literally perfect. Watch particularly the lengthy scenes in the war room, with Sellers as President Muffley delivering his lines in a flat midwestern American accent to Dimitri, the fun-loving Russian premiere.

If you have never seen "Dr. Strangelove," you're in for a cinematic experience you'll never forget. You can watch it dozens of times and still laugh, still appreciate the outstanding performances and marvel at this perfect motion picture.

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The Extra Man (2010)

Writer Jonathan Ames seems to be a media darling these days. Creator of the successful HBO television series Bored to Death, he's now making the leap to the big screen with this adaptation of his 1998 novel, The Extra Man. Two adjectives that immediately spring to mind, whether speaking of Ames's fiction, non-fiction, or his life, are quirky and comic. And those are definitely the two adjectives that describe this film, co-written and directed by husband and wife team Robert Pulcini and Shari Springer Berman.

It's the search-for-identity story of Louis Ives (Paul Dano), a young English teacher we see fired in the film's opening scene. Louis uses the setback to follow his heart to Manhattan, where he hopes to pursue a career as a writer. His first priority is to find a home, which leads him to answer the apartment-sharing ad of the endlessly eccentric Henry Harrison (Kevin Kline). Soon, the introverted Louis gets sucked into Henry's wacky world, peopled with the likes of elderly billionairess Vivian Cudlip (Marian Seldes) and Klingon-like neighbor Gershon (John C. Reilly).

This is an odd story filled with quirky and sometimes off-putting characters. There's something anachronistic about Dano's Louis, exhibited outwardly in old-fashioned manners and vintagey three-piece suits and inwardly in his Gatsby-esque fantasy life. Classic fiction isn't the only thing Louis fantasizes about, though. In fact, he's tentatively exploring his sexuality and trying to come to terms with transvestite urges, all while pining for a pretty co-worker (Katie Holmes).

Henry, on the other hand, is larger than life, and Kevin Kline throws himself fully into the role--literally, as it happens, when the character dances. Henry isn't particularly nice. He doesn't much like women, and is adamantly against sex. He describes himself as, "somewhere right of the Pope." His apartment is cluttered and filthy. He's ethically-challenged and teaches Louis how to scam tickets to the opera and urinate in public. He is not the best role model. And, yet, that is exactly what he becomes, introducing Louis to the concept of "the extra man."

Henry's lifestyle is sustained by squiring wealthy elderly woman to their dinners and art openings and vacation homes. And it is Kline's innate charm, despite the character's flaws, that makes him believable in the role. It is also Kline's over-the-top performance that drives the film's humor. His line readings are priceless, and you simply can't help but laugh at his antics. In fact, a day after seeing the film, I dissolved into tears trying to describe him attempting to wipe his fleas onto a Yorkshire terrier. Who does that?

This isn't a mainstream film, and it won't appeal to every viewer. The humor is smart, edgy, strange, sophisticated, physical, and just weird. But I laughed long and loud. The performances (many by New York stage actors) were excellent, and Kevin Kline's alone is worth the price of admission. Not every joke lands, and parts of the film are uneven, but I never knew what would happen next. I think The Extra Man will find its audience among fans of Wes Anderson's quirky, charismatic films. It deserves to find an audience. Take a break from formulaic summer fare and give it a chance.

"The Extra Man" is a great comic experience, a joyful movie providing a lot of laughs with the sheer enjoyment of life bubbling in it.

The movie is about two fruitcakes, two off-the-wall flakes who get together and blend their nuttiness into a friendship. Louis (Paul Danol) is kind of unworldly, a dreamer, a teacher in an exclusive prep school in Princeton, New Jersey. Louis has an urge to be a cross dresser, and is turned on by women's undergarments. One day while holding up a bra to his chest in the faculty room, he's caught by a matronly staff member, is canned, and decides to go to New York to become a writer. He has always admired Gatsby.

In New York he answers an ad for apartment sharing and is interviewed by Henry Harrison, an older "gentleman" (brilliantly played by Kevin Kline), the apartment's resident tenant, who has weird, iconoclastic and screwy ideas about everything. Henry is broke but he's a walker, an extra man who accompanies women to dinners and events. He's not a gigolo, but he does like the good life with his wealthy older women friends of the Palm Beach circuit. Henry is his own worst enemy, is finicky, touchy, hypercritical and turns people off.

A neighbor in the apartment building is Gershon (John C. Reilly) another kook who is very funny because of his high-pitched voice (adopted for this movie). I think this is the kind of movie Charles Dickens would have loved, because the characters are done in broad strokes of caricature. Anyone who has lived in Manhattan will know that these oddballs would fit right in. In the movie nothing seems totally realistic, but that's the essence of comedy: the odd, the eccentric, off-the-wall fun.

One of the really exhilarating moments in the film is when Kline is teaching Louis how to waltz on the beach in the Hamptons with Reilly singing into a "microphone", a hood ornament that Henry has broken off a car inadvertently. It is a feel-great moment in the movie.

Kline is funny when he's teaching Louis how to relieve himself surreptitiously in the street, or when he's trying to transfer his fleas to a wealthy woman's lap dog.

It's great acting. You feel like you are really in New York, but it is hard to tell which era you're in because the director wants you to feel as if you've slipped back a generation or two in time. Both Henry and Louis live in the past and would be happier living in a previous era.

The movie`s wacky characters reminded me of a "Seinfeld" kind of humor. I haven't seen a movie in a long time that kept me laughing the way this one did.

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Not the perfect movie, but the perfect role. Kline's inept charisma is quite charming as the odd little man trying to be dashingly bold in spite of his crumbling existence. Romantic and whimsical as the seemingly unessential man defines his essential existence. We are all free to dream and create our dream reality. Thumbs up.

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I just watched this last night, and to be frank I don't understand the hate. I felt that Kevin Kline is a hilarious character in this film, he lights up the screen every chance he can get. He did great in this. Paul Dano is also one of my favorite actors, and I thought he did great as well. The supporting characters like John C. Reilly and Katie Holmes did great as well. I found it very entertaining and I would definitely watch it again. I would highly recommend it.

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4.5895 stars

I'm surprised by the tepid reception this got, but their loss! I howled with laughter many many times during this incredibly droll film, especially at the Kline scenes. The guy has never been funnier, except maybe in Wanda. This kind of humor is probably waaay too dry for many, but if you like Wes Anderson or Jared Hess or any other off-beat, smart new writer/director, there's something for you here.

I'd go so far as to compare this to Withnail And I and Death At A Funeral (the original) for its sustained yet muffled hilarity, and those are two of the funniest modern movies I know. Not all of The Extra Man is great, but most of it is, if your mind is open and your funny bone doesn't mind being tickled from various obtuse angles. I laughed more during this film than most any movie I've seen in a year or two, but then I like it dry, and this is that, to be sure.

Ames' characters are both endearing and frustrating, and ring true in all their satiric excesses. I liked everyone in this, and even Reilly's campy voicework somehow fits in, particularly in the beach scene. The cross-dressing might be a little weird for some, but then weird can lead to some very unique laughs, and the scene with the Spankologist has a gorgeous moment: watch her face after their first kiss. It glows in joy and memories of much younger days and it's actually very touching, made even better by being subtle and brief.

There's a lot of heart in this film, and I'm surprised more folks didn't feel it. I sure did, and think it's a minor masterpiece in its own way, especially if you know enough older people to enjoy the sly wit Ames and Pulcini/Berman share with us. I also thought the direction was pleasantly quiet and unshowy, but set up the best lines very nicely time and again. Plus, some of the scenes have something very warm and genuine about them, a real rarity in any film.

Maybe I'm nuts, but I loved almost everything about The Extra Man, and think that time will treat it very kindly. It's one of a kind, and Kevin Kline shows why he's one of the great comic actors still working, classic on the level of Peter Sellers.

If you don't mind a little pathos with your comedy, and like your laughs both broad and edgy, you might just find this to be a gem.

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