The Fisher King (1991)

This is the one for which Robin Williams should have received an Oscar; for as Parry, the victim of a senseless tragedy, he is nothing short of brilliant in "The Fisher King," directed by Terry Gilliam and co-starring Jeff Bridges (who also gives an Oscar-worthy performance here). Gilliam has created the perfect mood and atmosphere to tell the story of successful radio talk-show host Jack Lucas (Bridges), and the homeless and mentally unhinged Parry, whose lives intersect in the wake of an act of unconscionable violence that leaves them both barely clinging to the memory of a reality that no longer exists for either of them. With this movie, Gilliam has deftly crafted a study of the symbiotic existence of mankind and the impact of human nature upon the space we all must share in a world growing smaller day by day. Through Jack's eyes, Gilliam examines the nature of cause and effect, and the results thereof, and Jack's story ultimately becomes Parry's story, and aptly illustrates how the needs of one become the necessity of another, and what it means to finally be able to look beyond ourselves and delve beneath those layers of contemporary frivolity we all manage to build, which in the end are nothing more than pretentious insulations that keep us from the things in life that really matter. Even as Jack's own act of irresponsibility comes back to haunt him and make him question his own values to the very core of his being, Parry receives the brunt of it all from the other end of the spectrum, with consequences even more dire, though for both the result of their shared circumstance is life-altering. Williams gives a masterful performance here that illuminates so well how thin the line between comedy and drama really is. He brings the complex, tragic figure of Parry to the screen flawlessly, with attitude, expression and even body language that is impeccable, and all without a single false moment to be found anywhere throughout (by comparison, even as good as he was in "Good Will Hunting," for which he received the B.S.A. Oscar, under close scrutiny you'll find a moment or two there that do not ring true). This is quite simply the best work he's ever done, before or since, and he's given the cinematic world an unforgettable character that will undoubtedly make a lasting impression on anyone who sees this film. And, though Williams grabs the lion's share of the spotlight here, he by no means overshadows Jeff Bridges, who has also created a memorable character in Jack. He brings a depth to this role through which he readily displays the many different levels upon which Jack works and lives, from the egotistical, self-centered to the compassionate; it's like watching a struggle for domination going on within him, and waiting to find out which side will ultimately emerge triumphant. It's an exemplary performance, and it's a gross miscarriage of justice that Bridges didn't at least receive a nomination for Best Actor for this one. Proving, however, that justice does, at times, get it's due, Mercedes Ruehl was awarded the Best Supporting Actress Oscar for her personable portrayal of Anne, the fulcrum upon which Jack and Parry dramatically balance their tender and tentative psyches. Like Bridges and Williams, she gives a performance here that is totally credible, and she's a delight to watch. One of the strengths of this movie, in fact, is the incredible performances; and it's so gratifying to see such a good story brought to life and made so real through artistic endeavor. In a supporting role, Michael Jeter demands to be singled out for his part as the homeless Cabaret Singer, and also Amanda Plummer, as the hapless and endearing Lydia, both of whom are just additional parts of the aggregate that make this such a great movie. With "The Fisher King," Gilliam has given us a wonderfully textured morality tale, both entertaining and engaging and rich with metaphor and substance that will endure the test of time, because it is, in the end, a story for the ages. This is definitely one you do not want to let pass you by.

The Fisher King is a representational movie. It makes use of Arthurian legend, and parallels the legend of the Fisher King with the lives of the two main protagonists Parry (Robin Williams) and Jack (Jeff Bridges). Symbolism and metaphorical techniques are utilisied extensively throughout the film, which makes it an extremely visual experience to watch. However, the symbolism extends beyond the visual plane, to a very psychological one. For example, Parry's creation of a fantastical world full of 'little fat people' and the 'Red Knight', is very much representative of his own mental condition; the fantasy world, minus the Red Knight, represents Parry's acceptance/ignorance of his mental trauma. At the same time the Red Knight is symbolic of the pain and suffering as caused by the trauma itself.

Whenever Parry shows glimpes of sanity (lucid speech, dating, feeling love again, etc.), the Red Knight always appears in his life. While the Red Knight is at bay Parry is not catatonic or overwrought by his trauma. To overcome/accept the trauma of seeing his wife murdered before his eyes, ultimately Parry has to confront the Red Knight and vanguish him. However, he lacks the insight and strength to do this on his own. Enter Jack who ultimately feels responsible for Parry's condition! Jack is the equivalent of the fool or simpleton from the story of the Fisher King. Jack's intent is one of redemption, while he is absorbed into Parry's world. Eventually Jack begins to understand Parry's need for the Holy Grail, which represents Acceptance of Loss. If Parry is able to possess the Holy Grail, then he shall be able to vanguish Insanity as represented by the Red Knight.

While there are elements of fantasy and Arthurian legend woven into this story, there is also a theme of Christianity. Originally Jack is driven by a need to regain the former glory of his life when he was a successful talkback radio host. He wants that life back and believes that by helping Parry, he will overcome his guilt, and thus be able to resume his former life. Jack feels a false resolution in his life when he regains his former life. However, ultimately, when Jack agrees to undertake the quest for the Holy Grail, only then do his motives become self-less. He helps Parry because he wants to, not because he needs to drive away his own guilt this is very much part of the Christian Doctrine.

On the whole, The Fisher King is an intricate weaving of comedy, drama and tragedy. The direction by Gilliam is faultless, his attention to detail evident especially in the Chinese Restaurant scene, where he borrows from Chinese film-making techniques, using the vertical black bar wipe technique.

This is the type of movie which, on a superficial level, is only somewhat satisfying. However, it is on the psychological level where its real impact is felt tragic, hopeful and uplifting. It is not the type of movie to watch if you are expecting to be entertained!

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I have a passionate love for the Arthurian legends. To paraphrase Robertson Davies, however, these tales have a poor history of being adapted to stage or screen. "Camelot", "Excalibur", "First Knight", "Prince Valiant" -if you really love the tales, you know just how short these films fall.

Then there is The Fisher King.

No, you won't find King Arthur here. You won't find Camelot or Guenivere or the Questing Beast. What you WILL find is the essence of the Grail story. Parry (Robin Williams) is Percival the Fool as well as The Fisher King himself; Jack (Jeff Bridges) is a fallen king-of-radio. Both are wounded and in a related manner. Neither faces his problems head on. Each needs another to pave the way to forgiveness, acceptance, and redemption. The ultimate physical object that leads to this may be a swimming trophy, but it is also the Holy Grail itself. Why? Because it truly is, if you only believe.

Along the way you meet the not-so-in-distress damsels (Mercedes Ruehl won an Oscar for best supporting actress; Amanda Plummer, who deserved one as well), the company of knights-errant (the homeless of New York City), an evil Red Knight, two even more evil local toughs, and the false-prophets from the land of television. Each of these is a person, or a type, from our own world. They also happen to fit the tales of the Holy Grail rather well. Forced comparisons? I leave that to the individual viewer to decide, but I found the characterizations marvelous. This is not a film about Real Life, but it is a film about something truer, something closer to the soul.

This is a film that deserves multiple veiwings. If nothing else you are going to want to see the scene in Grand Central Station more than once (if you know the movie, you know what I'm talking about; if not, you are in for a beautiful treat). This is a film that teeters between rampant silliness and powerful truths. Somehow it never feels schmaltzy, forced, or preachy.

Watch this film.

Let the little man dance!

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This is one of my favorite films. For the most part it is solid but does take some thought and knowledge about how people deal with trauma. Although it falters at times and has a few artistic distractions it does teach several good lessons. To understand the meaning of the title one must know the story of the Fisher King. There are many variations of the legend and one very simplistic version is sort of given in the film and will not be repeated here. The Legend of the Fisher King deals with a man who was injured as a young man (again many variations of how) and suffered from these wounds throughout his life. His only respite was to be taken fishing. He eventually became the penultimate master of the Grail Castle. Every evening the Grail, Platen and spear would be brought out and those suffering would be healed. That is, all except for the Fisher King. The Fisher King could not be healed until someone asked him a specific question. The Fisher King did not need to know the answer to the question. As the years passed, nobody ever asked the question until one day, on his second visit to the Grail Castle, Percival, asked the question, "Whom does the Grail serve?" The Fisher king realized that the Grail did not serve to make him great but that it served those in need. He was humbled and his wounds healed. (He died several days later and Percival became the last master of the Grail Castle.) The film deals with this dilemma in Jack. Jack can not be healed until he understands "whom the Grail serves." Jack tries to help Parry so that Jack will be healed so Jack can get on with Jack's life. It is only at the end of the film that Jack does the first unselfish thing that he has ever done in his life. Jack is the only character that grows emotionally. Of course, this act has nothing to do with Parry's condition improving. Parry is not crazy and Parry is not demented. Parry was a high functioning person until he witnesses his wife's head taking a shotgun blast. Parry regresses into a fugue state and takes on an alternate identity. He takes on a character that will, in metaphor, deal with what he witnessed. What Parry lost was intimacy and in his psychological struggle to cope with that loss he is both chased by and chases the last image of intimacy he recalls. Any emotional closeness, even with Jack, triggers these flashbacks although the image is distorted through the metaphor of his fugue state and becomes the red knight/ (representing his wife's violent death.) Parry does not become psychotic until Jack replaces Parry's fantasized intimacy with real intimacy and gets him "the date". The distortion is shattered; the metaphor no longer replaces the reality of Parry's last memory of his wife because the intimacy is psychologically too close to what Parry had lost. His Post-Traumatic Stress Disorder (PTSD) flashback is no longer the Red knight but the reliving of the actual trauma. Parry's psyche is forced to regress further and he become catatonic. This is the mind's way of calling a time-out. With time he eventually returns to his previous fugue state and that is where the film leaves him. Although not for everyone and not always consistent, it is an excellent film if you are willing to pay attention and not get distracted by Hollywood smarm.

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I hadn't seen this film since it first came out on video. I remembered certain things about it: that I had enjoyed it, that the Holy Grail played prominently in it, and that Jeff Bridges was very good in it.

Those are all still true.

Jack Lucas (Bridges) is a radio "shock jock" who inadvertently causes a listener to go on a killing rampage. This affects him deeply and he quits the business, turns to alcohol, and moves in with Anne (Mercedes Ruehl), the owner of Video Spot!, a store which seems to carry as many porn titles as mainstream ones.

He is deeply depressed. One night, when he is about to end it, he gets attacked by thugs who mistake him for homeless. His life is saved by a group of homeless led by "Parry" (Robin Williams), a former history professor whose wife was killed in the aforementioned massacre. Parry has engulfed himself in the world of medieval knights (a "parry" is a type of sword thrust)--changing his name as well--and has received a mission from pixies to capture a trophy cup (which he believes is the Grail) located in a millionaire's castle-style home. Jack feels he must pay his penance by helping Parry retrieve the cup.

One thing that is holding Parry back is that he is continually besieged by the Red Knight (a hallucination that represents the trauma which with Parry is not yet ready to cope, that is, it only shows up whenever something reminds him of his past). Along the way, Parry falls in love with a publishing accountant and Jack and Anne do their best to get the ultra-shy couple together.

Terry Gilliam somehow brings this combination of Arthurian legend and modern New York together into a successful whole. Of course, the script by Richard LaGravanese is also first-rate. This is one of the most original films I have ever seen. Decisively top-rate entertainment.

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The Matador (2005)

Think you know Pierce Brosnan as an actor? Think again. This film reveals him as the anti-James Bond, a creepy assassin who suddenly grows a conscience in his waning years. No more REMINGTON STEELE, no more 007. This guy needs a serious injection of scruples.

When Julian Noble (Brosnan) is assigned to "rub someone out," there's no hope for his target. That is until one day he's contracted to take out a man in Manila and has a nervous breakdown, ending up face-down in a pile of donkey dung.

Then we move on to/flashback to Mexico City, where Julian meets up with Danny Wright (Greg Kinnear, ), a down-on-his-luck businessman who tries to befriend Julian in the hotel bar. But Julian's antisocial behavior gets in the way often and nearly forces Danny away. But they form a sort of twisted friendship and Julian takes Danny into his confidence while watching a bullfight and shows him how to function as a killer. Danny is both terrified and exhilarated.

Then, six months later, Julian shows up at Danny's house in Denver and ask for an impossible favor.

________________________________________________________________________________________

Brosnan deserves an Oscar for his performance as the confused and embattled assassin. I never, ever, ever saw Brosnan but always the character he was portraying. He completely creeped me out, even when some of his humanity returned.

Greg Kinnear was excellent as Brosnan's alter-ego, a Mr. Goody-Two-Shoes guy who needs an infusion of toughness to get his life back on track. The film is strange like that, too. Both men give some of themselves to the other, but in the process lose a portion of what they once were. For Brosnan's character, that was definitely a good thing all the way around, but for Kinnear's, we're not too sure.

The scenes filmed in Mexico were beautifully filmed, too. The shots of the colorful buildings, the huge stadium built for bullfighting, the cheesy bars, etc.

If you want to see a movie that'll tickle that dark funny bone, you couldn't go wrong here. Brosnan is masterful!

Julian Noble (a witty, debauched, ironic Pierce Brosnan) is a hit-man for hire and at a crossroads in his life: after years of killing for money, bedding anything within sight and inhaling as much liquor as he can, Julian is having trouble carrying off his assignments. Has he developed a conscience? Is he bored? Does he no longer need the money? It's never really made clear but "The Matador" is one of those films in which the journey is much more fun and important than the destination.

Along the way, Julian hooks up with a nebbish Danny Wright (a perfect Greg Kinnear) and Danny's wife (Hope Davis) both of whom hilariously accept Julian at face value: they are both excited and turned on by Julian's occupation and welcome him into their home for conversation, bourbon and pecan pie.

Director Richard Shepard keeps a tight rein on the proceedings and though much of the action has to be seen to be believed, the film rarely bogs down in its own absurdity.

The revelation of "The Matador" is of course Pierce Brosnan and, with this part, he once and for all sheds any notion in anyone's mind that he can only play James Bond. His Julian is paunchy, grizzled, graying and fun as hell to watch.

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Now this is an unusual and quite enjoyable movie, with Pierce Brosnan like you've never seen before and with Greg Kinnear giving a hilarious and touching performance, best for both in a long time. I loved the quirky conversations, the no bs jokes, the bright color schemes, the glow of cardamom yellow, aqua and flame red in the background, flower beds and their drinks. This movie is full of flavor, shades and produces quite a few chuckles, but also has some nice moments that make it an enjoyable experience and gives a sense of satisfaction at the end.

Brosnan plays Julian Noble, an assassin that meets up with Danny Wright (Greg Kinnear) in a bar in Mexico. Those two are as far from normal life style as possible in an exotic place; one just finished a "job" while the other has a semi successful business deal in the works. Julian finds out that it's his birthday and realizes he has no friends. As a secret killer, a hush hush man, he starts chatting with Danny at a bar and buys him a drink. The whole time the audience is made to wonder if he really wants to be friends or is Danny his next job. They talk and laugh, hit some rough spots, they get angry at each other, they laugh more, its back and forth like a husband and wife after thirty years of marriage. They argue all the time but they can't stay away from each other. They go to see a bull fight, that has a profound impact on their "friendship" when the bull fighter delivers the kill, Julian tells Danny who he is and what he does. He then proceeds to give him a hilarious demonstration of his talents.

I had a blast watching this, with fine performances from all the actors, witty dialog, jokes and offences, and scruffy, unshaven Brosnan, who paraded around in funky clothes and spoke words I never heard him utter. We watched him trot the globe form Budapest to Vienna, Mexico and Us to Danny's home and the trials and tabulations his failing career caused him. Once he's too tired to work, his midlife crisis hits him, he has no friends but Danny to help him out as his own boss it out to terminate the old dog, Julian himself. Half the fun was watching Kinnear and Brosnan collaborate, as they make a fine match, indescribable by words. It's a feast for the eyes and a holiday for my mind and a fun Thursday night movie to watch with someone close to share the laughs and gasps.

Kasia S.

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I saw this movie last October at the Milwaukee Film Festival with nearly 1,000 people (no joke) and the audience was laughing so hard; I missed parts of the movie. If you want a break from lions, apes, and wizards this is the movie to see.

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Pierce Brosnan has previously played Remmington Steele and James Bond. In this film, he plays a hapless hit man who lost his nerve to kill. This black comedy takes a large poke at the Steele/Bond legends that Brosnan have already done and made famous. Brosnan does this satire with a flair

When he loses his nerve, he chats with a simple man in a bar (Greg Kinnear). Kinnear's character reminds me of Albert Brooks's character from the bad remake of the IN-Laws..that is where the similar ideas ends. He befriends Bronson in his hour of need

Kinnear's wife is played by Hope Davis. This role is most lifelike I have seen Davis act since she did the role of Joyce in the film American Spendor

To give away the end would spoil the fun..just get it and enjoy it yourself

Bennet Pomerantz AUDIOWORLD

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The Player (2010)

"Players only love you when they're playing." --Stevie Nicks

Griffin Mill, whose name has a kind of ersatz Hollywood feel to it (cf., D. W. Griffith/Cecil B. De Mille), is not a player with hearts so much as a player with dreams. He is a young and powerful film exec who hears thousands of movie pitches a year, but can only buy twelve. So he must do a lot of dissembling, not to mention outright lying, along with saying "We'll get back to you," etc. This is what he especially must say to writers. And sometimes they hold a grudge. In this case one of the rejected writers begins to stalk Griffin Mill and send him threatening postcards. And so the plot begins.

Tim Robbins, in a creative tour de force, plays Griffin Mill with such a delightful, ironic charm that we cannot help but identify with him even as he violates several layers of human trust. The script by Michael Tolkin smoothly combines the best elements of a thriller with a kind of Terry Southern satirical intent that keeps us totally engrossed throughout. The direction by Robert Altman is full of inside Hollywood jokes and remembrances, including cameos by dozens of Hollywood stars, some of whom get to say nasty things about producers. The scenes are well-planned and then infused with witty asides. The tampon scene at police headquarters with Whoopi Goldberg is an hilarious case in point, while the sequence of scenes from Greta Scacchi's character's house to the manslaughter scene outside the Pasadena Rialto, is wonderfully conceived and nicely cut. Also memorable is the all black and white dress dinner scene in which Cher is the only person in red, a kind of mean or silly joke, depending on your perspective. During the same scene Mill gives a little speech in which he avers that "movies are art," a statement that amounts to sardonic irony since, as a greedy producer, he cares nothing at all about art, but only about box office success. His words also form a kind of dramatic irony when one realizes that this movie itself really is a work of art. As Altman observes in a trailing clip, the movie "becomes itself." The Machiavellian ending illustrates this with an almost miraculous dovetailing. This is the kind of script that turns most screen writers Kermit-green with envy.

Incidentally, Joe Gillis, the Hollywood writer played by William Holden in Sunset Boulevard--personifying all unsuccessful screen writers--actually does call during the movie, but Mill doesn't recognize the name and has to be told he is being put on, further revealing the narrow confines of his character.

In short, this is a wonderfully clever, diabolically cynical satire of Hollywood and the movie industry. This is one of those movies that, if you care anything at all about film, you must see. Period. It is especially delicious if you hate Hollywood. It is also one of the best movies ever made about Hollywood, to be ranked up there with A Star is Born (1937) (Janet Gaynor, Fredric March); Sunset Boulevard (1950); A Star is Born (1954) (Judy Garland, James Mason); and Postcards from the Edge (1990).

I must add that in the annals of film, this has to go down as one of the best Hollywood movies not to win a single Academy Award, although it was nominated for three: Best Director, Best Adapted Screenplay and Best Editing. I suspect the Academy felt that the satire hit a little too close to home for comfort.

--Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"

Can movies about the movie business actually be exciting and worth watching? "The Player" most certainly is an exciting and worth-while film that has many layers within it. At first glance, this appears only as an odd thriller that's both bizarre and unbelievable--but upon further investigation, you'll find out that this is something that is so much more than your ordinary thriller.

Griffin Mill is a studio executive that listens to movie pitches on a daily basis. Some pitches are great while others aren't as fantastic. One of the writers that Griffin never called back seems to have held a grudge against him, as he sends him threatening post-cards telling the exec that his days are numbered. Not knowing what else to do, Griffin decides to confront the suspected writer only to end up being involved in a murder. As he tries to cover his tracks and play it cool, it is clear that Griffin has been thrown into an uncontrollable scenario that could only be found in the movies.

I admit that the first time I saw this film, I didn't really know how to react to it. I didn't know if I liked it, but I knew that I didn't hate it. And, I confess that by the end of the movie, I was scratching my head in confusion. It was the second viewing where I really found out what the movie was all about and came to love it. The movie is not your typical thriller. It actually is more of a satire that targets the movie industry and movies in general. And, it's done in such a way that you really don't catch onto that with the first viewing, as you're caught up in the story and are convinced that you're watching nothing more than a thriller. This movie has a number of layers to it--even layers that I probably haven't caught onto yet. You know a film has unquestionable power when you are tricked into believing that it is something else the first time and then come to realize that it is something completely different the next time around.

The film is brilliantly directed by Robert Altman. There's no way in heck that the movie would be the success it is had it been under a different director. He knew exactly what he wanted and how to get it. The acting from Tim Robbins and company is really a sight to see. It's also a treat to see so many cameos by different famous actors that we all know and love.

The DVD has a few goodies to offer for those who enjoy DVD extras. The picture is decent looking--nothing extraordinary, but decent. It says on the back cover that it was remastered in "High Definition," but I think improvements could've been made in certain areas. Extras on the DVD include commentary from the director and writer, a Robert Altman featurette, deleted scenes, the original trailer and more. A pretty nice package that doesn't disappoint with exception towards picture quality in some areas.

"The Player" is a superbly executed film that doesn't jump out right away to let you know what it is really all about. On the first viewing, the movie appears to be nothing more than an off-the-wall thriller, but on a second viewing you will come to find that it is something more. It's not a movie that will be loved by everybody, but for those who love odd films with hidden structures and meanings will absolutely love it. If you have an open-mind and want to take a chance by seeing something that isn't so ordinary, "The Player" awaits for you. -Michael Crane

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"The Player" is one of those fascinating comedic thrillers with one defined dramatic plot, and various subplots dealing with the movie industry. Player is not a fast paced thriller, but rather an intelligent and laid back story surrounded by Hollywood and the business of film making. Tim Robbins plays Griffin Mill, a studio executive whose main job is to decide which scripts make it to the big screen. When he starts receiving threatening postcards, he suspects they come from a writer whose script was turned down. Hence, he tries to identify the writer in order to pay him off and stop the blackmail. Apparently he found the writer , apparently not. Murder. Whoopi Goldberg's performance as detective Avery, investigating the murder, is simply wonderful and provides humor with her spicy language. For the rest of the plot, you must see the movie. Directed by Robert Altman (Gosford Park), Player's cast include Greta Scacchi, Peter Gallagher, Fred Ward, Lyle Lovett and numerous cameo appearances by familiar faces such as Lily Tomlin, Bruce Willis, Robert Wagner, Susan Sarandon, Julia Roberts, Nick Nolte, Andie McDowell, John Cusack, to name a few. Besides the main plot, this is certainly a good perspective of how decisions are made in Hollywood, and the dynamics and politics of movie making . Player views the "film noir" and independent film making alternatives, and flirts with the concepts of dissociation of the big studios with the artistic ("Ars Gratia Artis") philosophies of the old days, those being replaced with the "money-making-happy-ending" driving forces of modern day Hollywood. DVD version.

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This is a great film about film execs in Hollywood. A good mystery with biting humor and insight into the power/control world of movie-making. Tim Robbins is excellent in the lead role and Robert Altman's directing is superior. The story is great, especially if you've been an actor, director, producer or anyone in dealing with stage or film making. This is a must have for Altman fans and for movie collectors.

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I saw THE PLAYER the first time in a packed theater in Santa Monica. The audience, which no doubt contained many people from the entertainment community, laughed knowingly throughout. I couldn't help thinking, though, that the biggest joke was on them. For if THE PLAYER depicts a corrupt environment, it's the people in that world that make it that way.

As usual, Altman gets all the details right: the receptionist being coached in the proper way to answer the phone; the asinine rationalizations of non-talents hawking fifth-rate ideas; or the constant shifts in fashion represented by my favorite joke, the running gag about the bottled waters. Also as usual, any deeper insight is lacking. Altman focuses on greed and power hunger, and daringly implies they may be the cause of Hollywood's problems. It's not much of a recommendation for a satire that it "reveals" something everyone knows going into the theater. (If the film showed the people around Robbins cognizant and accepting of his guilt, for example, or if it showed audiences reacting favorably to the mish-mash he ends up producing, it would have more punch.)

It's been said that every film about Hollywood tells basically the same story, and there's a reason for it. Stories, as works of art, have an inherent form. They are logical, and inevitably impose that logic on the events they recount. Hollywood is essentially illogical; it cannot be captured by story-telling, because no narrative can express its inherent flight from reason. Exaggerations like allowing an executive to get away with murder are momentarily diverting metaphors, funny twists which nonetheless pale before the daily insanity of a town running on bluff, incompetence, deceit and stupidity. Besides, if any Hollywood filmmaker came close to showing its real depravity, he'd never work again. Breaking Tinseltown's code of silence is its one unforgiveable sin.

THE PLAYER is certainly a reasonable addition to the films-about-Hollywood genre, and fits well on Altman's resume. It's moderately entertaining, and harmless enough as long as you recognize that its depiction of Hollywood is about as accurate as GONE WITH THE WIND's depiction of the Civil War. It flatters audiences into thinking that they're thinking, when in fact they are reacting precisely as planned. In short, pure Hollywood.

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Just My Luck (2006)

Ashley Albright (Lindsay Lohan) has lived a charmed life. When she goes outside in the rain, the sun comes out. She just misses a crowded elevator and winds up alone with a very cute guy. And when she must substitute for her boss at a meeting, she gets a promotion out of the deal.

Jake Hardin (Chris Pine), on the other hand, could use a few good luck charms. He works at the Rock 'n Bowl, a bowling alley with live musical entertainment. He's found a great new group in McFly (playing themselves), but can't get their CD to an executive no matter what he tries.

Ashley has put together a masquerade ball as a promotion for record label Masquerade. Jake tries to crash the party to get McFly's CD to the label's executive just one more time. The two meet, and its love at first site. When they kiss, however, everything changes.

It starts with Ashley breaking the heel of her shoe. Things go downhill from there, and she's soon unemployed and living with her two friends. Jake, meanwhile, gets McFly signed to a record deal and finds himself living in a great, spacious apartment with a limo at his service.

Ashley hates her new life, and tries everything she can think of to get her luck back. Her path keeps crossing Jake's and the two begin to fall in love. What will happen when Ashley learns the truth?

Yeah, I'll admit it. I'm a Lindsay Lohan fan. That coupled with some very funny previews made me want to see this movie. Unfortunately, it didn't live up to its potential.

Obviously with a movie like this, the story is fairly predictable. It falls on the humor and the actors to make the journey to the end well worth watching. The actors do a great job with their material. You can't help but root for Ashley and Jake to find some way to deal with whatever it is they are currently facing. And, of course, you're rooting for them to get together.

Unfortunately, the humor fell flat. While I don't mind slapstick, I don't enjoy humor where the person is in pain or is constantly making a fool out of themselves. The humor in this movie fell almost entirely into those categories. Instead of laughing, I spend most of the movie cringing, waiting for the joke to come.

The ending works well, however. It was very sweet and redeems much of the earlier parts of the film.

The musical group featured in the film, McFly, is a real band. They've just released a CD entitled (surprise, surprise) Just My Luck. I was impressed enough with them to consider buying it but haven't yet.

The movie's ok, and the friend I went to see it with loved it. I just couldn't stop cringing enough to fully enjoy it. Three and a half stars rounded down.

As Lindsay Lohan transitions from Disney children movies (which I adored her in The Parent Trap), this movie is best called a good first attempt. It drags a bit and is quite predictable in its story line. Those are the only reasons that I did not give it 5 stars.

I hope that this is an indication of what Lindsay will be pursuing in her career. The humor is not crude or tasteless. The supporting cast is fairly good in this. I wish the fortune teller would have been more incorporated in the story. She was interesting and funny.

I am not sure why this movie got the PG-13 that it did. I have see plenty of PG-13 movies that should have been R or worse.

A good enjoyable movie worth renting and possibly adding to your collection.

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Ashley (Lindsay Lohan) stars as a yuppie who takes life (and her luck) for granted. After meeting loveable loser Jake (Chris Pine), he siphons away her luck with a kiss turning her luck sour. Can Ashley restore her luck to its former greatness or is she destined to be a loser?

This was an enjoyable lightweight comedy with unchallenging dialog, pretty people and a few really funny scenes. I enjoyed it, but I got a bit bored during the part where Ashley's luck runs bad. I don't really like watching someone constantly humiliated and embarrassed, even fictionally, and I'm not a huge fan of slapstick so the scenes with the washer and dryer and the blow dryer were 'meh' moments for me. Overall, it was a cute film but nothing ground breaking. 3 stars.

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Oh Lohan, didn't you learn anything from "Freaky Friday"? You should never coy with fortune telling, because the plot device will just conveniently turn your life around and hope you'll learn something from the nightmare. First, you were a 50-year-old Laurie Strode, here you became unlucky, and now you went from a career rise to a career splat.

"Just My Luck" may not be as bad as her recent box-office disaster, but this is still ridiculously uncanny. The movie thought God likes to tempt fate with certain people, and so Lindsay Lohan's character is livin' the Mary Tyler Moore life while Chris 'James T. Kirk' Pine happens to receive crap on a sliver platter every step of the way. Then convenience circumstances at a party happened when these two unknowns kiss after a warning form the fortuneteller, and their luck has switched. Then Lohan's character faced the 'wackiest' of unfortunate situations, like gettin' splashed on by the road, getting her hair caught in a dryer, having her home flooded, and reduced to working in janitorial work, while Pine gets a high-paid job by a record producer and has a secretary/call-girl the within a day.

There's a difference between luck and stupidity, and the movie doesn't quite get it. The character who had bad luck seems more irresponsible than unlucky, considering most of their actions caused them to be unfortunate. Pine picked up a dollar bill from a trash can, not thinking it could be dirty, and Lohan tried to replace a tube lightbulb while holding another one while standing on a ladder, these characters simply didn't think things through and I'm suppose to believe this is bad luck; come to think of it, I'm surprised bad luck itself didn't kill them earlier on. Nevermind the whole good luck aspect which is handled absurdly and coincidentally, one has to be brain-damage to think they weren't graced with internal fortune.

Everything here is set up like a Disney Channel Original Movie. All the jokes were cartoony, the cast overexert themselves with endless chatter, and the story is farfetched. I can understand it wants to be over-the-top, but it's not really funny. The characters are so annoying, Lohan kept verbally defending herself every time she gets into a jam and Pine plays like a one-dimensional meat package. "Just My Luck" is romantic shlock, all bubbly and asinine catering to the young girls for sleepovers. To think the best moments were the ones where Lohan's character is in prison and she got her face clocked (twice). At least the movie didn't make that whole 'you make your own luck' speech, which after how divinely controlled it's set up, the message would be hard to believe.

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In fact, the only thing original in this movie is that the lead actress (Lohan) starts off with luck, then gets bad luck after kissing some stranger (Pine) at a mascarade party and then kissing him later on (shedding bad luck) to kiss again and get it.

Weird, I know. But more or less, that's the premise of this been-there-done-that-but-still-cute tale...

Lindsay does decent acting once again, but it's not her best. Mean Girls and especially Freaky Friday were her highlights.

Lindsay and Pine have great, great chemistry but Katie "gets in the way" at first. Later, things are realized and "fine" again.

Like I said a many movie clichés roll, punch after punch, but the heart of the movie is still realized.

Do the lead actor and actress end up together? YOU figure that one out!

Positives:

You more or less stay glued, regardless of some of the bad and overused clichés popping up.

Great chemistry between the two leads.

Acting is decent.

Music is OK, but a bit too predictable.

Band's music is OK too but one song when they rehearse REALLY sticks out well.

What Lindsay's character thinks of Katie at first is HILARIOUS! :)

The real Katie rocks. \m/

Nice length.

Negatives:

Cliché, cliché, cliché!

Very predictable sometimes.

There's nothing new here.

Ending was as predictable as the movie.

3.7 stars.

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Catch and Release (2007)

Okay, most of the time a film tries to be part comedy, part drama and part buddy picture, what it ends up being is a total wreck! Catch and Release beats the odds by being all the above while avoiding total wreck status. It's that rarest of things, a film that reveals you don't have to be married or be blood to grieve for somone you love and how many emotions grieving can reveal... including humor.

There is that chick-flick quality that will have guys begging off, but fortunately for me Kevin Smith acting in a film he didn't direct was enough to convince me to go. The man can actually act, and not just in his own films. Unlike other films where a nonactor tries to step up, Kevin Smith was not a blank space on the screen. He held his own and then some. There's even a certain degree of self parody of his profound-statement-delivering Silent Bob charater.

Moving on from Kevin, everyone else also did an excellent job. Jennifer Garner (Alias), Timothy Olyphant (Deadwood), Julliette Lewis, Sam Jaeger, Fiona Shaw and everyone else turned in strong performances as people trying to come to terms with the grief of losing a best friend, a fiancee, a provider and a son.

I found myself laughing at the horrible yet comic realism.

From what I understand this is Susannah Grants major motion picture directorial debut, but it didn't feel like it. Already an extremely well proven screen writer, this may be Susannah's first movie directing job, but with this many laughs and this much emotion, I know it won't be her last.

Gray (Jennifer Garner) thought that she and her fiance Grady would be getting married this weekend, but instead she's attending his funeral. Already destroyed at the loss of what could have been, she's devastated to learn that Grady had a secret life that he kept from her including a million dollar estate and a toddler love child. When the mother of said child comes looking for Grady, she must confront the past in order to have a future. Juliette Lewis gives her all as the slightly trampy quasi-Earth mother.

As Gray comes to terms with his betrayal, she turns to his roommates for solace and a place to stay since she can no longer afford the house they were renting. Through this quasi-extended family, she discovers the Grady she never knew, as well as the Gray that she is now becoming, and finds herself getting closer to his lothario friend Fritz (Timothy Olyphant), as friends Sam and Dennis also experience difficulty dealing with the loss of their friend.

Writer/director Susannah Grant, best known as the scribe behind "Erin Brokovich" and "In Her Shoes," has created a poignant story of love, loss, and forgiveness. Kevin Smith shows a serious side as well as provides comic relief as Sam, the inspirational comment writer (okay, typist) for "Constant Comment Teas." Veteran British actress Fiona Shaw, hysterical as the horny headmistress of the tony boarding school in "Three Men and a Little Lady," dons an American accent and gives a heartwarming performance of a mother who just wants her son back. And Juliette Lewis is a bit chiched in the role of flighty masseuse Maureen, who apparently doesn't own a pair of flat shoes.

Though some might find the romance between Gray and Fritz develop a little too quickly, I thought it was handled tastefully given the love-hate relationship between them and how thin the line between the two can be (though the ending was a bit rushed). Missing from the film was Grady himself a couple flashbacks with him would have added depth to the relationship between Gray and Grady and given us a chance to find out what made him such a touchstone for the five lead characters.

The disc's special features are minimal just lots of movie trailers and commentary nothing to write home about.

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I went into watching this with no idea what to expect. I haven't really seen Jennifer Garner in much of anything (wasn't an Alias fan) but I like Kevin Smith and I think Timothy Olyphant is really cute :) so I decided to give it a chance.

This is actually a very sweet, heartfelt little movie. It doesn't contain many earth-shattering revelations about the Meaning of Life but it is head and shoulders above most romantic comedies, in my opinion. It does bring up some interesting points in answer to the question, "How well do we really know the people we love?" I thought that Garner's characters' struggles with the aftermath of her fiance's death the big secret he concealed from her, dealing with her ex-future-mother-in-law, the roommate who blames himself for her fiance's death, the roommate who is in love with her, the friend who was complicit in her fiance's dishonesty who she's now attracted to, the "other woman," etc. were realistically-portrayed and entertaining to watch.

Garner was delightful in this role and I thought portrayed the emotions and mental struggles of her character very authentically. Kevin Smith was great you forget what a good actor he can be because his own movies get so bogged down in substituting volume of dialogue for quality. In this he actually brings a lot of subtle humor and heart to his role, which in his hands would probably have not been handled nearly as deftly. Timothy Olyphant is deliciously sexy and he also brings a lot of subtle light and shading to his role, and plays the romantic hero in a bit of a different way than you usually see. The movie did have some interesting points about how much we blind ourselves to the faults of the people we love. One of my favorite scenes was very near the end, when Gray is talking about a perfect day on the river she shared with her fiance. At the end of the day, driving home, he says he needs to tell her something, and she asks if it will make her happier or less happy. When he says "less happy" she tells him not to tell her. I think we all have a tendency to choose blissful ignorance over painful knowledge where are loved ones are concerned, and can make ourselves be happy with that even when we know we're choosing not to know the whole truth about them.

All in all, this is not a real "feel-good" picture although the ending is happy. It's not a tortured indie but nor is it a brainless mush of a rom-com that we've all seen a hundred million times. I liked it because it was serious and dealt with tough subjects but was uplifting overall. I hate brainless movies, but I also dislike how depressing many "serious" movies are. I don't need any more reasons to lose faith in my fellow man; if I want to see man's inhumanity to man all I have to do is turn on the evening news. I liked "Catch and Release" because it was not a dumb movie but it was not depressing either. Recommended for cynics like me, who still believe in love at the end of the day. :)

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I won't bore you with a summary of the plot, which has already been outlined. I would prefer to highlight how this movie and its aesthetics affected me.

This movie was tastefully directed and the script was witty and intelligent. The comedy was surprising, in that you didn't expect it. I mean, I knew it was a comedy, but I didn't expect the humor to have such intelligence each laugh the movie evoked caught me off guard, because I wasn't expecting it. And that's the best kind of humor there is. I laughed and laughed, especially at Sam, who could make a serious situation funny with just the teensiest effort. And Garner's "She's f'in p.o.'d" line was just awesome! And on top of everything else, the cinematography and soundtrack beautifully captured the spirit of the film. This movie is a work of art that captures all your senses very well put together with wonderful chemistry between the actors.

And I have a new favorite actor: Timothy Olyphant. I saw him in Hitman, but it took me a while to put it together that this was the same guy. He pulled off the easygoing, comedic peformance in this movie without a hitch, something I wouldn't have seen coming based on his Hitman performance, which was also way-cool! And that kiss! Whoa! Well, I guess I should say "kissES" coz ol' Timothy knows how to add the sizzle and spice more than once in this movie. I mean, I thought the kiss at the end of "The Lake House" was good, but the kissing scene in this movie put Keanu and Sandra to shame! Is it gettin' hot in here or is it just me?

At any rate, I loved the story, I loved the humor, I loved the romance, I loved everything about this movie. It wasn't a cliche, which was so refreshing. This has become a staple in my movie library.

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I don't think this movie deserves the very good or very bad reviews.

I think it lacks a polished ending, some of the characters are not very well filled out (where are Gray's parents? Girl-friends?) & editing is what has killed this movie. Several scenes that possibly wound up on the cutting room floor (the original director's cut was over 3 hours) might have been better in the movie, and vice versa.

I don't think the central romantic relationship is that unbelievable. Attraction is a strange thing. I also think people who say Gray wouldn't have gone for Fritz perhaps miss the point that ours AND Gray's first impression of him is supposed to be proven to be incorrect. Perhaps a couple of scenes to help us warm to him might have helped?

All in all I don't think this was a disatrous movie but sadly I think it could have been so much better as the central premise is an interesting one and it had a good cast.

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Cannes Man

I've been to Cannes and this film captures it to a T. If you're looking for a Johnny Depp film, this isn't it he does a ten minute cameo in it with Jim Jarmusch. But it's the funniest ten minutes I've ever seen Johnny Depp be. If you are interested in film festivals, or wanted to know what the real Cannes festival is like, this video is hilarious.

Sy is a movie producer who is in Cannes for the festival, as usual. However, he needs for someone else to pay all his bills there so takes a bet, that he can turn a young nobody seen on the beach into a credible writer that he can use to raise ...millions while in Cannes. Not a single word has been written but Sy sees that as no impediment to approaching every star in the universe to become involved in his movie, with virtually all of them saying yes, from Johnny Depp to Dennis Hopper to John Malkovich and so on. A hilarious, droll view at the film world that is light as a souffle. It won't stick with you but it is fun for a night.

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This movie is very mildly amusing for about ten minutes. Yes, it is slightly interesting to see the Cannes environment, but not enough to watch this film. It could be a cure for insomnia, though. Fans who are looking forward to seeing their favorite actors in a satire will be disappointed. You can count in seconds the amount of time any famous actor is on the screen, and it's really just very boring. All those fans of Johnny Depp: be particularly warned. He may have co-star billing, but blink and you'll miss him.

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Cannes Man was funny. I don't know why this movie was in the drama section of Blockbuster, but it made me laugh out loud. Just goes to show that nobody knows anything in lalaland, and movies are made by a bunch of nincompoops who don't know their **s from a hole in the ground.

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It is different even for Johnny. Not the best movie that he has been in, but Johnny was in it and I collect and added this.

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The Preacher's Wife (1996)

As a rule I dont tend to warm to remakes of classic films however the Penny Marshall directed Christmas story "The Preacher's Wife", is a definite exception and has become one of my favourite festive season viewing experiences. Based on the classic Samuel Goldwyn film "The Bishop's Wife", which starred legends Cary Grant, Loretta Young and David Niven, this 1996 effort has a charm and slant on the essentially same story all its own. Denzel Washington in the role of an angel sent down to earth to sort out the life of a preacher who has lost sight of what really is important, is a most worthy successor to Cary Grant in the original film and Whitney Houston in the female lead displays a warm screen presense and great musical talent that couldn't be bettered in this type of story. Amazingly I only saw this film for the first time 3 years ago but it has become a firm favourite of mine ever since. Combining a traditional and much loved Christmas tale with some truly wonderful gospel singing gives this effort a really upbeat feel which however never sacrifices for one minute the more touching aspects of the story.

"The Preacher's Wife", focuses on the parish of St. Matthews run by Rev. Henry Biggs (Courtney B. Vance), a well meaning and dedicated preacher who has been trying to be all things to all people in his needy area. Along the way through court cases for wrongly convicted minors, leaking furnaces, and offers by local big wig Joe Hamilton (Gregory Hines), to "upgrade", to a new flashy parish of the future, Henry has lost sight of his wife Julia (Whitney Houston), and their small son Jeremiah (Justin Pierre Edmund). Just when things look the blackest and Henry feels he is acheiving nothing an unexpected answer to his prayers for help comes in the form of debonair stranger Dudley (Denzel Washington), who has a hard time convincing the embattled preacher that he has been sent down to earth by "the big guy", to help him with his problems. Dudley has his work cut out for him as Christmas approaches and Henry gets more and more ground down by his duties in the parish. Dudley begins to provide the warm understanding companionship that Julia craves much to the growing alwarm of her well meaning mother Beverly (Loretta Devine). The pair go skating, and even go out at night to the jazz club where Julia used to perform and where Henry proposed to her. Warned off by Beverly, Dudley begins to see that he is falling in love with Julia and that that was not why he was sent back to Earth. Some well timed intervention in Joe Hamilton's crass plans for Henry makes the preacher begin to see where his real value is and what is important to him, first and foremost his family. All things come together for the Christmas pageant and service where Henry reaffirms his faith in God and his family and his place in the world. Dudley realises his work is done on earth and in a poignant finale blesses the family with a beautifully decorated Christmas Tree after which they will not recall his presense in their lives at all. Dudley attends the Christmas service at St. Matthews but the adults have no memory of him, however Jeremiah still so young at heart does still know him and wishes Dudley a Happy Christmas before he returns to Heaven with his task successfuly completed.

A truly inspirational and touching story filled with some beautiful music and comic pieces is the best way to describe this beautiful little movie. I love all three lead performances here and it's a joy to see Denzel Washington, normally the star of some intensely dramatic films, in such a charming and light hearted role as Dudley. He displays a fine comic talent and teams especially well with the other two leads. If ever there was a proper successor to Cary Grant in this role then Denzel Washington is it. Whitney Houston does very well in the role of Julia and she displays a nicely touching persona especially in her scenes with her screen son. She of course comes alive in the musical numbers many of which she produced herself. I've become a big fan of gospel music after her terrific rendition of such numbers as,"Step by Step", and especially the show stopping "I believe in you and me". Courtney Vance playing the earlier David Niven role of Henry is also excellent and his performance contains alot of the dramatic meat of the story as the essentially kind hearted preacher who is torn too many ways and sees himself loosing his family. His work with Denzel Washington in particular is note worthy especially in the scenes when he can't seem to understand just "where", this mysterious helper has suddenly come from. Other standouts in the cast are Jenifer Lewis as Julia's mother in a very funny performance full of great lines and wry observations about what is happening in the Biggs household, and Gregory Hines as sharp business man Joe Hamilton who in turn is also affected by Dudley's presense in his previously rather shallow life. The look and feel of "The Preacher's Wife", makes it a wonderful newer Christmas viewing experience and much of the credit goes to the church scenes with the St. Matthew's choir taking centre stage. Their singing and expert handling of all the gospel music is perfect and really gets you into the feel of the season.

As a "modern", Christmas story I personally feel "The Preacher's Wife", is a most worthy successor to the well known and greatly loved earlier classics like "White Christmas", and "Miracle on 34th Street". Taking a very different slant on the story than the earlier 'The Bishop's Wife", it manages to be wholly original in its own way and makes delightful seasonal viewing. Try and see this touching film next Christmas and I'm sure it will become a treasured part of your holiday viewing like it is in my home.

Fine and uplifting remake has everything going for it. A great leading man (Denzel Washington) and a great cast of characters that will lift your sprits when you are down. Great support is giving by Courtney B. Vance and Whitney Houston, and the soundtrack by Miss Houston is simply amazing. See it, and let a smile come a cross your face.

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The Reverend Henry Biggs is a good man who's doubtful about his ability to make a difference in his troubled community and home. Help is on the way in the form of an angel named Dudley who soon becomes the source of and solution to their problems. This movie is wholesome, great family entertainment with a good message. I absolutely loved it.

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I'm fond of the original of this film; "The Bishop's Wife". But, contrary to your own reviewer, I think this film is just as good, and an excellent update with lively gospel/jazz musical score. Ok, it may be too sweet for some people. But the cast does a great job with the material, which is clean, non-violent comedy focused on family values and which sends you out with your feet tapping to a great jazz rendition of "Joy to the World".

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A few years ago I picked this up at a record (OK-movie, CD, DVD) store when the sales were good because the business was collapsing about their ears. Hadn't seen it until this (2011) Christmas season when I reached it in the unwatched section of the movie shelf. Naturally, I learned what I presumed many already knew. It was intended to be, and it is, a welcome addition to the regular movie fare for Christmas. Can't imagine why we should try to compare it with the Cary Grant-Loretta Young version. Different generations, unique performers, quite different socio-cultural reference and quite similar warmth. Denzil Washington is not Cary Grant; Cary Grant was not Denzel Washington (in white face). There was no Whitney Houston in the older film, there is no Loretta Young in the new one. Enjoy each when you are in the mood for one or the other.

No doubt the star of the film is the music. Whitney Houston leading a church choir or Whitney Houston in a Jazz club makes no difference. She IS ONE CLASSY SINGER. The singing with and without Ms. Houston is stimulating and satisfying. Nothing in the film can beat it; but, it makes everything else in the film better than it might otherwise be. Perhaps surprisingly, despite the number of singer/actors we have had, she also does a fine job as the Preachers Wife, who is getting a bit tired of the lack of a private life with the minister (although, with a father in the same profession, one would have thought she would have expected i)t. Denzel Washington is charming as the Angel; no room here for his normal intensity, but he fills the role well. The Preacher's role is competently handled as is the mother's; they both make solid contributions. Those handling the two little boys are to be congratulated. The boys are cute without being cloying or annoying. Hard to achieve. Gregory Hines gets to play the, was it Henry Travers', role in a Father O'Malley film, requiring nasty turned saintly (more or less). There is no way to be more than OK in such a role

All in all, therefore, this is a family picture, so-called, well worth a family viewing around the Christmas holiday (or any other time, for that matter). Don't expect a film for the Hall of Fame equal to Citizen Kane; do expect a light, good-spirited, musically satisfying, little film worth watching when in the mood.

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The Devil and Miss Jones (1941)

Charles Coburn plays J.P. Merrick, the wealthy, sinister millionaire and owner of his own department store, where the overworked and underpayed workers, led by Joe O'Brien (Robert Cummings) are protesting. In order to eliminate all the ringleaders of the employee protest movement, Merrick, who's face isn't known by any of the employees, changes his name to Tom Higgins and becomes an employee in his own department store. While working in the dreaded shoe department, Higgins meets the charming Mary Jones (Jean Arthur), who takes pity on Higgins and befriends him, not knowing that he's her evil boss.

Higgins, when not gathering the names of protesters in his organization, also falls for one of his "co-workers", Elizabeth Ellis (Spring Byington). Higgins is faced with a problem however, when he discovers that Mary Jones' boyfriend is none other than Joe O'Brien. Yet over time Higgins' unlikely friendship with these people makes him forget about his sinister original plan and he becomes a new man who cares for his employees.

Now that the equally great comedy with Charles Coburn and Jean Arthur, "The More the Merrier", has been released on dvd, why can't this underated classic get a dvd release? Sure, some of the dialogue is dated and corny, but that's just part of the charm with an old-fashioned comedy like "The Devil and Miss Jones". Jean Arthur was terrific and absolutly charming as usual, but Charles Coburn really stole the show with his great performance. Charles Coburn was an incredible actor who could play very likable characters, or the worst of villians, as in "Kings Row". Robert Cummings was good in this as well, although his speech at the police station was vomit-inducing. The supporting cast, especially Spring Byington and Edmund Gwenn (who plays the grouchy section manager of the shoe department where Higgins works) is wonderful. Surely we won't have to wait too much longer before this great comedy is released on dvd!

Among the Classic Film couples, there are Garbo and Gilbert, Gable and Crawford, Tracy and Hepburn, but I have discovered that there is also Arthur and Coburn, an unlikely couple, but nevertheless one of the most engaging.

Two films: "The More the Merrier" and the one I'm reviewing now, "The Devil and Miss Jones" are the testimony of the great chemistry and rapport that existed between this two great comedians, Jean Arthur and Charles Coburn.

Last night I watched this wonderful Comedy for the first time and believe me, I hadn't seen a Comedy of this quality and class, in a long time. It's so perfect that it's difficult to really describe the effect it had on me.

The plot of the film tells the story of what happens when a millionaire (Coburn), who among many, many assets, owns a Department Store in New York, arranges to be infiltrated into the Store as a simple Shoes (more precisely "Slipper") Salesman, in order to investigate who, among its employees, participated as agitators and were responsible for the hanging of his effigy, when protesting against the Store's policies regarding workers, working conditions and Unions.

Among the employees of the Store, Coburn meets fellow Shoes Saleslady, Jean Arthur, who befriends him, not only believing he's an employee, but also a poor, almost destitute old man.

Coburn is delightful as the millionaire; I'd dare to say that it's his best role ever, along with the one he played in "The More the Merrier". Jean Arthur plays much more a "human" character than a plain-comedic one and Bob Cummings is also very good as her boyfriend and the main "agitator", getting to play together a couple of very believable love scenes.

An excellent supporting cast includes among others, Spring Byington as Arthur's sweet friend and co-worker, Edmund Gwenn as the rather nasty Head of the Shoe Department and S.Z. Sakall as Coburn's butler.

Kudos to Norman Krasna for his excellent screenplay and for the handling of social issues regarding Labour, which are timeless and still very pertinent.

This film ought to be on DVD.

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in this very funny story of how the richest man in the world decides to go undercover as a shoe salesman in a store he forgot he owned until labor agitators hang him in effigy. It's Charles Coburn's intention to infiltrate the labor movement and bring these "wrongdoers" to justice or at least unemployment. He doesn't bargain on what happens when he begins to rub shoulders with the hoi polloi, and how meeting with the peppy Miss Jones (Jean Arthur) will change his outlook on labor and ultimately life.

Jean Arthur is very appealing as this working class heroine, but it's Charles Coburn who runs away with the picture. His transformation from a Rockefeller-type cold as ice businessman into a tuna popover eating funlover is aces, especially in his dealings with the surprisingly unpleasant Edmund Gwenn as the manager of the shoe department. Ironic that Gwenn returned to the department store scene a few years later to buck authority himself as Kris Kringle in "Miracle on 34 Street". A point worth noting is that much of the dialogue concerns the misunderstanding about Coburn's true identity, and his consequently being abused as an older worker with limited skills in an emerging modern world. Although 60 years ago, this still rings true today, and gives us some food for thought.

This picture has only two things going against it: First is its terrible title. Not only does it not really make any sense given the plot of the film, but it later got co-opted as the title of a famous porn film, "Devil IN Miss Jones", so that even the librarian where I took this out gave me the once over, thinking I was taking out a smutty film. I'll bet few people ever do rent this movie because of its dubious monniker. The second thing that's not so hot is a police station scene where Robert Cummings tries (and fails) to be a Capra-esque "ordinary man" hero bucking authority by appealing to the Founding Fathers' principles. The scene is so bad it brings the movie to a complete standstill; I was afraid it would be downhill from there, but it picked up again. My advice is that should you ever rent or buy this film, as soon as Cummings enters the station, fast forward to the next scene to save yourself some grief.

Other than those two points, "The Devil and Miss Jones" is a real winner, and I still give it five stars for a funny script and Coburn's marvelous performance.

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I just caught this film one late night on TCM. I was familiar with the title but had never seen it before. What a simply wonderful comedy which stars the beautiful Jean Arthur, the gruff character actor Charles Coburn, as well as Bob Cummings and Edmund Gwenn. Coburn is J.P. Merrick, the millionaire owner of a large department store. When the employees of the store start trying to organize a union, he decides to go undercover to find out who the ringleaders are. He takes a job as a shoe salesman calling himself Tom Higgins. He is immediately confronted on his first day by the shoe department manager Mr. Hooper (Gwenn) who plays a nasty role for once and tells Higgins he had the lowest intelligence score he's ever seen.

Tom is assigned to sell women's slippers and befriends two women In the department, Mary (Arthur) and Elizabeth (played by Spring Byington). When Tom says he doesn't eat lunch, the women take pity on him because they think he's broke and give him money and some of their food. Later Tom agrees to meet Mary at night and soon finds himself in the middle of a hopeful union meeting. It turns out that Mary and her boyfriend Joe (Cummings) are the ringleaders and even use "poor" Tom as an example of a man who's down on his luck due to being tossed out by his previous employers.

At work, Tom is constantly under criticism from Hooper who thinks he's too old for the job. Tom keeps a notebook and writes in bold letters "Fire department manager!!" He wants to do a good job and so he his butler come in with the daughter of one of the servants to buy a dozen shoes. The plan goes hilariously awry when the girl screams she doesn't like the shoes and Hooper decides to take over AND get credit for the sale.

And so it goes with Merrick as the fish out of water, learning not only about these employees but himself as well. In another scene Tom and Elizabeth join Joe and Mary for a day at Coney Island beach. Tom brings along some very expensive wine but the others think he was taken with some cheap stuff and it makes for a classic clash of cultures.

The Film was directed by Sam Wood who made such classics as Goodbye Mr. Chips, A Night at the Opera, And the Pride of the Yankees. The film is very Capra-esque however with great performances from the entire cast. Hilarious, poignant and warm.

Reviewed by Tim Janson

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The star of this video is Charles Coburn and not Jean Arthur: the comic old goat steals the movie once again, as he did in "The More the Merrier," and other comedies from this era. But the supporting cast is superb: the comedic Jean Arthur, Bob Cummings from the early TV sitcom, "Love that Bob," Spring Byington, who starred in George Kaufman's "You Can't Take It With You," and Edmund Gwenn, Kris Kringle himself of "Miracle on 34th Street."

Determined to find the employees creating a union problem in his store, Charles Coburn, the wealthy owner of the department store and business tycoon, goes undercover and poses as a clerk and works humbly behind the counter, and is abused and bullied by management until befriended by Jean Arthur, Bob Cummings, and Spring Byington....This movie is a fun indictment on capitalism--when such was allowed in Hollywood, prior to the blacklisting days of Joe McCarthy--and a call to more socialistic values. When would a business tycoon take his entire staff of store employees on a cruise to Hawaii just for the fun of it? Move over, all you CEOs....If only all such miraculous conversions could occur in the workplace within a span of 92 minutes!

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Dark Horse (2011)

Yeah I said it. I enjoyed this more than The Master which I saw on the same day as this. The Master was beautiful in many ways but this movie leaves you with so much more. Justin Bartha deserves an Oscar nomination for bringing this miserable character to life with out making him annoying or any more ridiculous than he needed to be. Donna Murphy was also incredible and deserves all the supporting actress awards that will be bestowed upon others.

No one makes movies like Todd Solondz. One of the only true independent filmmakers out there. Shoe string budget, unconventional storytelling, great performances and respect for the audience. Check this out while you have the chance. I would love to see more films like this (that are only released in a handful of cities) receive the accessibility and cost effectiveness of the digital format. Doesn't replace seeing it in the theater but if you live in bum-f*** Utah this might be your only shot.

There is nothing like getting two dysfunctional people together to create a successful quirky indie. What I liked about this film more than many of the others in this genre such as "Jack Goes Boating" or "Greenberg" is that I felt comfortable laughing at the plight of the main characters.

Abe (Jordan Gelber) works for his dad and lives at home with his parents (Mia Farrow/ Christopher Walken). He still collects toys and hasn't reached his maturity potential. He lives in the shadow of his successful brother (Justin Bartha). At a wedding, Abe meets Miranda (Selma Blair) a shy, overly medicated woman once married to Mahmoud (Aasif Mandvi). Abe is supported by his secretary (Donna Murphy) who becomes his imaginary conscience.

The setting takes place somewhere in New Jersey between Eagles and Giants country. The title "Dark Horse" is a reference to Abe. His dad likes dark horses. i.e. like the old days when the Giants would lose, but cover the point spread. Abe proposes to Miranda on their second meeting, which she ponders over in her medicated state which is apt for the tone of the film:

Miranda: "I want to want you."

Abe: "That's enough for me."

I liked the toy details and shirt selection of Abe. Indie movies pay attention to background details. Although I would have to ask Todd Solondz (writer, director) what real toy collector would remove the Gimli Toybiz figurine from its pack? The "Toys R Us" store logo is blurred out, apparently there being some legal issue. The film gave me a few laughs, worth a view for indie fans. Acting was great.

If you don't like Indie films based on quirky characters with little action, then this is not for you.

Parental Guide: F-bombs. No sex or nudity.

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Dark Horse is the latest film from Todd Solondz and is a markedly different animal from his previous films. It still maintains his misanthropic spirit but it's lacking much of the provocative material that so often brings attention to his work. That's not to say Dark Horse isn't provocative; it just shows Solondz at his most gentle and forgiving.

Solondz has long had a knack for great opening scenes and this is no exception. Abe (Jordan Gelber), an overweight and balding man, sits at a wedding next to Miranda (Selma Blair). He begins hitting on her, completely unaware of her disinterest. Following her outside, he asks for her phone number and seems oblivious to her obvious reluctance to give it. From here Abe goes home and we see he epitomizes arrested development. He lives with his parents (Christopher Walken and Mia Farrow) in a room filled with action figures, he works for his father but brings nothing to the company, he blames all of his problems on the failings of others; he hates his brother Richard (Justin Bartha), a successful doctor, feeling that he received special attention that Abe didn't. In one scene he reacts childishly after trying and failing to return an action figure that has a scratch mark on it. Despite her obviously medicated state, Abe attempts to court Miranda and eventually asks her to marry him. Meanwhile, whether real or imagined, Abe is often confronted by Marie (Donna Murphy) a much older co-worker at his father's company, who warns Abe of his potentially disastrous decision making.

Much of Dark Horse seems to function in and out of reality and fantasy. Solondz works this creatively to his benefit in one sequence where Abe goes to a store that is clearly Toys "R" Us, but the logo is blurred out (probably due to companies being skeptical of allowing their trademarks in his films). Essentially the film is a coming-of-age story told from Solondz's skewed point of view where, of course, no one actually comes of age. It's his most straight-forward, "friendly" filmmaking effort and the first to really contain a glimmer of hope. Solondz writes the most despicable characters and he seems to take glee in seeing how despicable he can make them. In Dark Horse he seems to like his characters and even sympathize with them. It's a testament to his own ability as writer/director and the acting of Gelber that Abe is made into a tragic character that we actually empathize with as the film progresses. Walken also impresses, in a more subdued role than he's inhabited in some time reminding us that he is an actor capable of subtlety.

While overall much different from Solondz's typical fare, it still solidifies him as an artist at crafting awkwardness and characters who are astoundingly dysfunctional in social situations. It's his most conventional film with many of his familiar themes explored without the dour characters and subject matter. Of course it's still peppered with his penchant for irony and finding the absurdity in real life. If it fails to be as brilliant as his other works it's because it's too simplistic; lacking in the dark complexities of his previous films. It's an impressive display of his range as a filmmaker, but falls short of being a masterpiece. Regardless, Dark Horse is a film that deserves the attention of those who have admired Solondz over the years and even those who gave up trying.

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I liked this film. It reminded me of Solondz film "Storytelling." I like the characters and I like the way they all have faults, some of them more severe than others. It's too bad this film didn't get a wider thearical release. It only stayed in San Diego one week, and I couldn't make it that week. I'm looking forward to purchasing the blu-ray when it is released.

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AWESOME!!!!!!!! my favorite film of the year so so so so good i can't wait to buy it and watch it a million times!

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Election (2013)

This is by far the funniest movie Hollywood has produced in years, probably the best in my opinion since "Get Shorty."

Reese Witherspoon plays Tracy Flick, an over-ambitous student with desires to be elcted to her student council. Tracy Flick is the kind of person I think we've all met before. Driven, ambitious, very bright, but at the same time she really has no discernable personality. The fact that she is driven and involved in everything is what's getting her by. She has very few friends and is, if anything, made fun of routinely.

Matthew Broderick plays her teacher. He's a very regular man, teaching a dull course, leading a fairly boring and repetetive life. When he finds tracy's ambitions threatning he sets out on destroying her.

Election is far more hilarious than most movies because of its extremely bitter nature. Many people will find the story cold and sterile but if you get past that it is a hugely entertaining film.

All the performances are first rate and if you compare it to the other "teen" comedy of the year, "American Pie" it is evident that this is light years ahead. While "American Pie" settles on cheap belly laughs and a feel good ending, "Election" opts for exactly the opposite. In fact this is really a very adult film performed by teenagers.

"Election" is a cynical, bitter, vicious movie that is also the best comedy in years.

"Election" is one of the most intelligently-written, original and well-acted films to come out in years. The storytelling is never predictable or conventional, yet everything that happens feels honest and correct. The characters are far more fully-developed than those in any recent Hollywood film I can think of. In the beginning, you expect Broderick to be the hero and Witherspoon to be the villain, but the former does some despicable things, and the latter proves to be somewhat sympathetic. Although "Election" is a comedy (and a very funny one at that), it makes more valid and honest observations about human nature than most "serious" films.

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Election was not popular in America, and it's mainly because it viciously attacks everything the USA holds dear. This is exectly why this is such a brilliant black comedy, but if you're the type of person who prefers 'comedies' like American Pie then this is definitely not for you. It ridicules everything the sexual pysche of the wounded male ego, high school hierarchy systems, the teacher-pupil relationship whilst at the same time satirising American politics. Payne's commentary on the DVD is informative, but it would have been nice to have a feature on the making of it of or an analysis of the intentions of the script from people involved. Hell, a trailer would have been good, but buy the DVD for the film, a classic of American cinema which doesn't need to be in your face to make its point. Well worth your money.

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At the start of "Election," Jim McAllister tells viewers how well his life is going. He's a dedicated and popular social studies teacher at Carver High School in Omaha, with a loving wife and a best friend on the faculty. By the film's end, Jim has been fired from his job, become a national laughingstock, been divorced by his wife for infidelity, and moved to New York City. Why? It all starts with Tracy Flick.

Tracy, played in career-defining fashion by Reese Witherspoon, is a running for student-government president at Carver. She's an odd mix of youthful naivete; barely suppressed resentment at slights both real and imagined; and a pure Machiavellian drive to succeed. She's also having an affair with Jim's math-teacher best friend Dave, whose extracurricular activities get him fired early in the movie.

Concerned about the effects of Tracy's reckless ambition and bitter over his friend Dave's firing, Jim develops an unhealthy obsession with her (the scene where Tracy appears in Jim's head while he's being intimate with his wife is one of the most consistently funny in movie history). Determined to halt Tracy's rise, Jim decides to recruit popular ex-jock Paul Metzler to oppose her in the election. Paul, brilliantly portrayed by Chris Klein, is everything Tracy isn't: innocent, wide-eyed, naive, and slow-witted, with a penchant for vacant stares and extremely stupid comments. Paul's lesbian sister Tammy also decides to enter the race, bitter over her brother's theft of a girl's affections.

What follows is one of the most brilliantly satirical movies I've had the pleasure of seeing. Although the central event of "Election" may be a high-school election, it might as well be a presidential race. Carver High becomes a microcosm for the world in general, with the election as the backdrop for a sordid tale of lust, betrayal, power, ambition, and resentment. Jim (is there any doubt that this is Matthew Broderick's best role?) may sound idealistic at the start of the movie, but by the end he's gotten dirtier than anyone else. In fact, out of the principal characters in the movie only Paul really comes out clean.

"Election" is, without a doubt, one of the most well-crafted comedies of recent years. Much like "The Simpsons" in its prime, the movie is brilliant in its vulgarity and unpredictability. The main characters are fully realized and realistic, and the actors (Klein especially) can wring laughs out of even the tiniest facial expression. The humor is often off-color, but never in a stupid teen-movie sort of way. "Election" is a reminder of how funny a movie can be when it relies on little things like wit and creativity. I try to be pretty careful with my five-star ratings, but "Election" would get a hundred out of a hundred from me.

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Election is truly one of the most clever and probably the funniest movie to come along in the past couple of years. I've watched it several times, and each time I'm drawn back in, amused, dismayed and, most importantly, laughing out loud at the plot, the details and the whole package.

Reese Witherspoon is a revelation as Tracey Flick, the perfect student running unopposed for student council president. What could have been such a one-dimensional character is given a great deal of depth through her performance. And it is nice to see Matthew Broderick playing a grown-up, albeit a disturbingly immature one. The supporting players are just as amazingly cast, and act their roles superbly. The details, too, of the Nebraska setting, from the meal Broderick shares with his wife, to the trips to the mall, to the basement band... this is one well-crafted movie.

I highly recommend this movie. I've passed this movie amongst friends and family quite liberally and everyone has enjoyed it enthusiastically. Of course, we all love satire, and this is one of the best to come along in a looooong time.

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Katt Williams: It's Pimpin' Pimpin' (2008)

I thought that Katt was as amazingly clever as usual in this new release. I pre-ordered it and me and my girlfriends watched it on Saturday night. Unfortunately I live in a building in South Florida with alot of old people. We laughed so hard and loud during the entire Blu Ray disc, that one of my neighbors told the security guard to come tell us to be quiet because he was trying to sleep. Even after the security guard left we were still falling over laughing with tears down our faces. If you love Katt, or if you love humor that pokes fun at (while at the same time celebrating) race, sex, and politics, then this Blu Ray is a must have for any collection. In this DVD, Katt discusses the Olympic winner who was disqualified for running on prosthetic legs (Oscar Pistorius), the election, Obama, Mccain, Hillary Clinton, and a news story about some guys being attacked by a tiger in a California zoo in April 2008 amongst other things. I thought it was really interesting the way Katt approached each issue and spoke of the irony in each situation and made it funny even though the stories he discussed were tragic.

I was in the 5th row when this was filmed and of course I'm still looking very closely for EXTRA footage. Anyhow, the more I view it from reading from reviewer's perspective, the more I appreciate it in retrospect. I had seen various portions of it prior to the DVD on YouTube thanks to uploaders from across the 100 city tour. So by the time I purchased my ticket day of the show, I figured I would know the whole show in full. What surprised me seeing the entire routine in full start to finish was not as funny THAT day. But now seeing the promo releases, reading various commentary from all levels of perception, it's funnier than it could ever be.

The material is very relevant to what we are experiencing as people. Reading many, many Blogs, Katt is quoted almost on every line, no catch phrase from every DVD he's released. Getting in tune with your "star player" is about self esteem which a lot of folks lack badly. Making sure your team is in tune make sure those around you have your back as you should have theirs. Check your own house before stepping into someone else's. He even touches on how the Paralympics runner was mistreated. Katt tied all his thoughts together in this just like The Pimp Chronicles which will forever remain #1 in my collection. All topics were seemeless and flowed very well all in accord with his animatics. He's always been a very animated and hyper individual. This adds to the humor he's bringing forth because you can just laugh at his facial expressions and/or even leap and curl around a stool (and holding on without tilting backwards/forwards) imitating a hungry lion on a wildebeast.

GET THE DVD is my final word.

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Man Katt Williams was funny as always and made you think at the same time. But there is alway people out there who's going to hate. So all I'm going to do is laugh at the first reviewers post. I'm glad i didn't fall for it. Katt will explain it to you in this stand-up. The first reviewer just didn't get it. But i bet now you do! lol

He had me and my wife lol all night. And she is Vietnamese. His jokes where multi-tribal (explained everything so more then one person can relate to his jokes ) We are a big fan of Richard,Eddie,Red Fox,Robin Williams,Chappelle,George Carlin. So I'm glad I added katt to my collection. So just take some time out and watch it. You will enjoy. This is my own review. But if you already know his work you will be smiling at the end of it.

He was on point about being the star player. I dont know him personal but i know the next time he in concert i wont miss it.

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Katt's first few standup specials were classics, but this one was just not as good. I can't even remember any genius one-liners from this dvd like I do from the last few.

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This was a very good comedy DVD. As far as other people on here talking about him being too preachy or all over the place. No offense but you must be a little slow on the uptake, cuz he wasnt all over the place with his jokes, juat pay attention. Katt Williams always drops knowledge in his shows, once again pay attention. Another awesome performance from Katt Williams and its entirely new material from him, unlike Pimp Chronicles and American Hustle which were good performances but basically a re-hash of the material with slight differences that can be found in the Katt Williams Live DVD. I do own all of his stand up DVDs so far as well. Anyways this DVD is definately 5 stars in the perfomance and production. A definate solid buy and well worth the money.

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