Anger Management (2003)

Lighten up, fellow reviewers! ANGER MANAGEMENT is lighthearted comedy--not neurosurgery. I had zero expectations going into this movie, but as soon as the hilarious plane scene unfolded I found myself watching with an ear-to-ear grin on my mug.

I've seen Adam Sandler in numerous movies (and hated most of them), but as humble, wishy-washy Dave Buznik, Sandler is at his low-key best. Buznik is the last person to have an anger management problem, but following a fateful series of miscues (and hysterically funny miscues at that) he is ordered by a judge to attend an anger management course. And this is not just any old course: This is a course led by the unorthodox and dysfunctional Dr. Buddy Rydell (Jack Nicholson's inherent creepiness is perfect for this role). Nicholson and Sandler play off one another in grand fashion; the goofy therapist pushing the mild-mannered Buznik to the edge--and beyond--is mucho fun to watch!

An added delight to this campy comedy is the plethora of camoes, including John C. Reilly, Woody Harrelson (also hysterically funny), Rudy Giuliani, and New York Yankee greats (and ex-greats) Derek Jeter and Roger Clemens. ANGER MANAGEMENT is pure fun, complete with milquetoast ending and wacky Nicholson facial expressions. Enjoy!

--D. Mikels, Author, THE RECKONING

With that frazzled hair, that just-swallowed-the-canary grin, and that sly, mischievous, devil-may-care gleam in his eye, Jack Nicholson does the controlled-mania shtick better than anyone working in movies today. But even his presence isn't enough to prevent "Anger Management" from emerging as a decidedly unfunny comedy, one that ends up wasting the talents of Adam Sandler, Marisa Tomei, John Turturro, Woody Harrelson and Luis Guzman as well.

The David Dorfman screenplay is yet another of those "high concept" package deals replete with contrived plots and big-name movie stars in the leads that look irresistible to all those corporate green-lighters at the studio, but which fall to pieces the moment they come to fruition on the big screen. Sandler plays a mild-mannered, put-upon schnook who is unfairly and inexplicably convicted of assaulting a stewardess on an airplane. Much to Sandler's chagrin, the court consigns him to the care of Nicholson, a well-known anger management specialist who is more certifiably psychotic than the patients he is ostensibly helping. The strained, manufactured plot is little more than an excuse to give Nicholson a chance to chew the scenery and Sandler to act bemused, befuddled and benumbed. Unfortunately, that's pretty much how the audience feels after 106 minutes of nonstop crudity, predictability and over-the-top ranting. Director Peter Segal tries desperately to make the whole enterprise come across as madcap, witty and anarchic, but with virtually every single joke and set-up fizzling and sputtering out, the film ends up feeling merely chaotic and desperate.

The filmmakers have peppered their movie with any number of cameo appearances by some famous real life New Yorkers, but their performances are so thoroughly inept and wretched that "Anger Management" begins to feel more like amateur night at the Roxy than a multimillion-dollar Hollywood production. This is most acutely felt in the painfully awkward and embarrassingly mawkish climactic moments played out, stereotypically, before a packed house at Yankee Stadium (didn't we see this scene a few years back in "Never Been Kissed"?). Moreover, the "surprise" ending requires that we suspend disbelief more than is advisable even for a film of this nature, which could never expect us to believe for a fleeting moment anything that is going on here.

In what is a bizarre fluke of fate, I suppose, "Anger Management" turns out to be the second film in recent months to feature characters massacring and mangling the Bernstein and Sondheim song "I Feel Pretty" from "West Side Story." What I said about this phenomenon in my review of "Analyze That" holds true here as well: that filmmakers with a dubious movie on their hands should avoid reminding us of a much better film while we are being asked to suffer through theirs. It only makes the experience that much more painful.

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Possible Spoilers Ahead:

I have to admit that I am not a big Adam Sandler fan. However, I saw the trailers and I was intrigued by the thought of Sandler playing a regular guy to an over-the-top Jack Nicholson. About halfway through the movie, I had trouble following the storyline. I think this was due to Sandler playing his mild mannered Dave Buznik character too calm in the beginning. While I understand the concept of a guy who internalizes his anger (which is why he was a candidate for Anger Management classes), even guys who internalize their anger show some frustration when there are problems. I thought Buznik's overly calm reactions seemed unrealistic during the entire flight attendant hostility `over the headset' episode. I suppose Sandler was trying to go for no reactions at first and building up, over the course of the movie, to more obvious displays of anger (like the fight with his grade school nemesis turned Buddhist monk), but he started out so overly calm at the beginning, it was hard for me to understand whether he was acting or not. While the West Side Story 'I Feel Pretty' bit had some amusing possibilities, the Buznik character started well (frazzled at being forced to stop on the bridge and sing for his bizarre therapist), but the singing soon became too much like Sandler doing his singing bits for SNL, and not Buznik trying to placate his therapist so he could get to work. This may explain why some of the other reviewers gave this movie a thumbs down. I did find the second half more entertaining, mainly because I thought the Buznik character seemed to be reacting in a more realistic fashion to hostility directed at him. I didn't mind the final scene at Yankee Stadium, but I didn't think the cameos from the baseball players were required. While it was nice to see Rudy Giullani, that part could have also gone to someone playing just a regular guy in the stands rooting for the guy to propose to the girl at these sporting events (I didn't think all of the cameos were required or added anymore laughs to the film).

Overall, this movie has some entertainment value (good as a rental), better for the die-hard Adam Sandler fans.

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Jack Nicholson and Adam Sandler star as the creepy anger-management therapist and the mild-mannered participant in his class by court order, respectively.

An interesting premise and supremely talented leads lead one to think that this might be a great, biting comedy. Instead, it simply degenerates into a standard, predictable romantic comedy with bland jokes, including the inhumanly severe wedgies.

The last third of the film is so unbelievably overwraught and unconvincing that it's woeful. If you can't tell what's coming, boy I think you ought to see more than one movie a year. The final act is a totally by the numbers, autopilot affair. Crowd-pleasing? Sure. It's amazing how audiences will flock to a movie that pushes the same buttons in the same order. I'm sorry, when a movie follows this formula so rigidly, I feel offended

A frustrating mess of wasted talent and wasted potential that could have been saved with a decent number of legitimate laughs if not with a screenplay that had exhibited the wit and originality of the Hollywood pitch.

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The story is just ok until the plot twist is revealed which is the most contrived and unbelievable. It is almost as if the final plot surprise was written after the movie was screened.

The con-game surprise ending really wipes out an already poor excuse for comedy.

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Hava Nagila: The Movie (2013)

This movie previewed at KlezKamp, held annually during Christmas week (when else?)in the Catskills (where else?) One section was filmed a KlezKamp 2011. I laughed til I cried.The work brings up so many memories of Bar Mitzvahs and weddings, and alot of the stars of the '50s and '60's who recorded Hava Nagila, successfully and not so successfully. Why do many Jews, especially those who are musicians, hate and resent this song? Find out!

Laugh out loud funny, uplifting, and informative. I viewed the film at the CCA in Santa Fe, NM. The entire audience was laughing. Smiles and positive comments from all.

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I Love You Phillip Morris (2010)

"I Love You Philip Morris" tells the real life story of Steven Jay Russell, who in 1998 received an unprecedented 144-year prison sentence for fraud, conning, impersonating, and multiple escapes from Houston's Harris County Jail. The film shows us sequences that seem utterly impossible, but in fact actually happened, which only goes to show that truth really is stranger than fiction. No, I will not describe them to you. Enjoying the film depends on the audience's reaction to Russell's actions. It's a little like a magician revealing his secrets; the trick itself is a lot of fun, but seeing what went into making the trick work can be quite fascinating, especially when you realize just how much effort goes into making something look simple. The apparent ease with which he executes his schemes is equally mind boggling.

Jim Carrey's portrayal of Russell is a delightful bag of contradictions. He's funny but touching, exaggerated but believable, contemptible but justified, caring but manipulative. There are times when it seems like he's thinking of no one other than himself, and there are other times when it's clear that he does what he does out of love. It's a daring, complex performance, and it's for reasons other than the fact that his character is gay; it establishes that Carrey is capable of something deeper than outlandish personalities and extreme physical comedy. His take on Russell is engaging, although it's not necessarily understandable. This isn't a criticism. Sometimes, it's preferable for audiences to figure out characters for themselves, for them to put their own spin on why certain people are they are way they are.

We're given a small glimpse of his childhood, in which he learns that he was adopted. We then flash forward to his early adult years; he's married to a woman who's a bit too religious and perhaps a little ignorant but sweet nonetheless, he has a delightful daughter, and he's the manager of a Texas food service company. But after surviving a car accident, he decides to live his life as an openly gay man, and he leaves his family behind for Miami. It's there he realizes that living a gay lifestyle is more expensive than his salary as a sales manager will allow. So he does what any man vowing to live authentically would do he becomes a conman. After relatively simple schemes like feigning slips and falls in public places, he plunges headfirst into various types of fraud, including credit card, passport, and insurance. He even sells bad tomatoes.

Unfortunately, his crimes catch up with him, and he's arrested and sent to jail in Texas. He learns the ropes quickly; everything essentially boils down to a choice between paying someone off, learning how to fight, or giving someone oral sex. He knows who to talk to and where to guide someone should they need something. He spends all his free time in the library, where he reads nothing but law books. Into his life enters Philip Morris (Ewan McGregor), a soft spoken gay man who was tried and convicted for theft of service. He wants to see if there's a legal way to help an AIDS patient lying in the infirmary. Russell lies and tells Morris that he's a lawyer. The two immediately hit it off. Over the next few weeks, they form their own little slice of heaven in a jail cell, oblivious to the yard beatings and the cell searches.

At this point, I'm going to stop describing the plot, for I want you to be surprised by the lengths Russell will go to be with Morris. I will say that what the film, in its own offbeat way, is surprisingly sweet. Glenn Ficarra and John Requa's screenplay, based on Steve McVicker's book "I Love You Philip Morris: A True Story of Life, Love, and Prison Breaks," reveals a delicate and finely crafted balancing act between humor and drama; it's funny, though it never resorts to desperate slapstick or gross-out vulgarities, and it's heartfelt, yet it steers clear of broad, contrived sentimentalism. It's bold and appealing a romantic comedy that refuses to follow the rules of a romantic comedy.

Apart from Carrey and McGregor, I was pleasantly surprised by Leslie Mann, who appears briefly but is no less important as Russell's ex-wife, Debbie. Even after learning that he's gay, even after they get divorced, even after he gets sent to jail, the two remain on fairly good terms. This is amazing coming from a woman perpetually hung up on what the Lord does and does not intend to have happen. She believes that Russell is a man who doesn't know who he is and is always searching for something. I guess that makes sense. Why else would he be so reckless in his attempts at pretending to be what he isn't? Part of what makes "I Love You Philip Morris" such a good movie is that it presents Steven Jay Russell without forcing us towards any definite conclusions about him. True, he may be serving an unusually long jail sentence (in solitary confinement, no less), but you have to admit, he is a romantic.

I tend to underestimate Jim Carrey and then I see him in one of his better movies and realize what a serious mistake it was to do so. Typically I've been thinking of him as "just a comic" and not an actor. He is really a superb actor who is also a very funny comic.

I normally adore Ewan McGregor and he is just fine here. However, Carrey is just fantastic. I did not realize this was based on a real life con man until the end of the film. I thought it was fictional. The plot is Carrey as con man supreme who falls in love with McGregor when they are in prison together. The only problem is that Carrey can't stop himself from continuing his cons. The cons are terrically entertaining.

This is a dramedy, a comedy mixed with drama. It really works as both and I would not want one to dominate the other. As it is, a perfect blend is achieved.

These two do an absolutely superb job of playing gay men. I've seen a lot of films about gay men but never one like this. By having two major film actors play gay men in love, there are nuances and depths which are brought forth in this film which I don't think have ever been seen before.

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I simply couldn't wait any longer for this film to open in America, so I bought the DVD from AmazonUK (yes, I have a region free DVD player).

OMG this is one of the best films I've seen this year. Jim Carrey gives a performance worthy of year end award consideration in this funny, absurd and poignant romantic comedy about a gay con-artist. This is the Carrey of The Truman Show, Man on the Moon and Eternal Sunshine, and he shines in an often challenging role. Ewan MacGregor is equally affecting in the role of Carrey's love interest. There are some broad and outrageous moments; this is a comedy after all. However, there are an equal number of lovely, tender moments of romance and passion.

This film has been in some legal battles and so the American distribution has been held up. I hope these problems get resolved and this finds its way to a theatre near you. Don't miss it.

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Jim Carrey was the singular reason I watched this film. The problem with this movie is that its not really a comedy, its not really a con-artist movie, its not really about gay relationships. It does all of these 3 things in somewhat equal measure and then loses out overall. I liked bits and pieces of it but too many times lost interest and was left with the feeling that if the director had focused on making a good con-artist movie, Jim Carrey could have turned it into something spectacular.

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Some have suggested that Jim Carrey is poorly cast in the role of Steven Russell, the con artist whose story is told in I LOVE YOU, PHILLIP MORRIS. It's been said that his performances are too glossy, too on-the-surface for us to believe him as lovestruck and will to do everything and anything for that love.

I believe he is IDEALLY cast because of that. It's true that Carrey is not a classically trained actor...he is just very good at faking emotion (lots of actors do that, of course). But think about one of his most acclaimed performances, as Andy Kaufmann in MAN ON THE MOON. Kaufmann was a cipher, a man who deliberately avoided showing his real self by faking one "public persona" after another until he had no real persona at all. Carrey was pitch perfect. In PHILLIP MORRIS, he plays a gay man who initially lives a lie of being straight. He also joins the police force, not because he wants to fight crime, but as an avenue to getting access to paperwork that will show him who is real mother is. (And when he finally meets her, she slams the door on him. He was the middle child, and he wants to know why she kept her first child and her third, but not him.)

Eventually, he amicably ends his marriage and perhaps over-compensates by living a lavish Key West lifestyle...flamboyantly gay. He funds this lifestyle elaborate con games. The way Carrey plays Russell, we're never sure if Russell is actually a little self-deluded and half believes the cons...or is he just so good at them because there's no real Steven Russell inside the body. This disconnect from reality allows Carrey to jump everywhere emotionally with great facileness but we also never know when or if what we're seeing is really what Steven Russell is feeling. I liked this. Does this man have any self-insight, or is he faking everything...even love?

For when he is sent to jail, he falls BIG TIME for a fellow inmate, Phillip Morris (Ewan MacGregor). The feeling is mutual...or is it. Certainly, Morris loves Russell. Does Russell really love Morris, or is he just fulfilled in some way by being loved, and thus will do anything to keep winning the approval. And does it matter? They both seem happy with each other.

Eventually, both are on the outside, and the question becomes, will Carrey go straight, or will his desire to keep Morris living in the lap of luxury drive him to further cons? The answer is not hard to guess, and where the film goes from there is too much fun for me to ruin now.

In reality, although based on a true story, the entire film lives at an exaggerated, slightly fake level. It's just so hard to believe Steven Russell did all the things the movie says he did. (Although apparently he did!). But it strikes such a rich tone that frankly the film is a blast from beginning to end. Russell has seemingly endless depths of trickery that he can go to...and Carrey plays the role with gusto. "Gusto" is a word I seldom trot out...but it is SO appropriate here. He's having a ball playing a guy having a ball. And MacGregor is a delight as Morris. He's filmed in such a way that he practically glows. He's slightly fey, slightly effeminate...but it never struck me as a caricature. We DO believe he loves Russell.

There are plenty of plot hi-jinks throughout the film...including one of the funniest and cleverest prison breaks since SHAWSHANK. It's certainly quite entertaining just at that level. But watching these two guys absolutely grab the screen is the enduring pleasure. And yes, there is plenty of relatively graphic smooching and sex in the film. I say "relatively" because if what we saw was between a man and a woman, we'd scarcely bat an eye. But because it's two men, some of the physicality is a bit surprising to see in a mainstream movie. Carrey & MacGregor play it with nary a wink or a hesitation...and thus their relationship has real spark. It's sexy and fun and romantic.

The film is too lightweight and frothy to really be great...but it is a wonderfully good time nonetheless, and should be enjoyed by any adult audience not afraid to see Carrey and MacGregor do some serious smooching.

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The Jane Austen Book Club (2007)

You don't have to be a fan of Jane Austen's novels to enjoy Robin Swicord's "The Jane Austen Book Club", but after spending 106 delightful minutes with some of the most likable people you'll ever meet, you may want to grab "Pride and Prejudice", and start a club of your own!

This IS another film where the women are all beautiful, and the men, hot, but, to Swicord's credit (working from Karen Joy Fowler's terrific novel), she establishes each character with a humanity that transcends appearance. Working mom, Syl (Amy Brenneman), has it all, with a great job as a librarian, a radiant, if klutzy, lesbian daughter (Maggie Grace), and a devoted husband (Jimmy Smits)...until he announces he was cheating on her, and asks for a divorce. Oft-married, ever-optimistic Bernadette (Kathy Baker) decides to create an Austen club to provide emotional support for both Syl and their best friend, ever-single dog trainer/matchmaker Jocelyn (Maria Bello), who is grieving over the loss of a beloved dog. Bernadette meets young, uptight French teacher/Austen devotee Prudie (Emily Blunt), who has her own baggage, with an inattentive husband (Marc Blucas), an ex-hippie mom (Lynn Redgrave), and a sexy student (Kevin Zegers), whose attentions are sparking her barely-repressed lust. The older woman quickly railroads Prudie into her plan, finalizing a book club that will be "all-women, all-Austen", focusing on a different Austen novel, each month. Ah, but then Jocelyn meets handsome young computer geek, Grigg (Hugh Dancy), and decides to pair Syl with him, using the club...so a male member joins in the mix, and the fun really begins...

With each major character a 21st century variation of an Austen one, the story unfolds around the monthly meeting/book discussions, allowing the entire cast opportunities to shine. Will Syl recover from her failed marriage? Will Prudie give in, and have her forbidden tryst? Will Jocelyn ever figure out Grigg loves HER? Swicord succeeds in making every subplot both involving, and entertaining!

Great bonus features make "The Jane Austen Book Club" even better. The Austen prototypes of each character are explained, there is a terrific biography of the writer (far better than the one offered in "Becoming Jane"), and an affectionate behind-the-scenes look at the production all truly expand the enjoyment of the film.

Is this a 'chick flick'? Certainly! But with it's well-written male roles, I prefer to think of this as an ideal 'date' movie, and an experience guys can enjoy, too!

"All Austen, all the time" never sounded better!

Five women and one man decide to start a book club, reading the works of Jane Austen. Bernadette (Baker), the organizer of the club, is a woman looking to add one more to her many marriages. Jocelyn (Bello) is single and happy with her dogs. Sylvia (Brenneman) is in a failing marriage to Daniel (Smits). Allegra (Grace) is their lesbian daughter. Prudie (Blunt) is unhappily married, and attracted to one of her students. Lastly, there is Grigg (Dancy), a science fiction fan who is in the club because he is interested in Jocelyn. Their lives all contain elements that echo Jane Austen's stories, so their choice of reading is appropriate.

"The Jane Austen Book Club" is a female bonding movie that will also appeal to fans of Jane Austen. The acting is capable, but nothing outstanding. There is a little of everything relationship-wise here, and all the stories are handled pretty well. Jocelyn and Grigg's story is probably the most appealing though. To the story's credit, knowledge of Jane Austen isn't necessary, but it helps. In all fairness, the title of the film is going to draw in the appropriate audience, and they will probably enjoy it.

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Warning: This is a major "Chick Flick", no testosterone required.

Chick flick or not, the '07 release `The Jane Austen Book Club' is a delightful film exploring the possible application of the six books comprising the "Jane Austen Bible" into the everyday lives and loves of five contemporary women. What was supposed to serve as a carefree diversion from the constant angst of male female relationships becomes the epicenter of their emotional venting and the Gospel of Jane the rule by which all relationships are judged.

The cast displays an infectious chemistry, the storyline solid and consistent from beginning to end and the dialogue is believable, containing a number of quotable lines that will stay with you. `The Jane Austen Book Club' is a terrific film for the females audience. As far as the guys are concerned, come on and give it a try, you know you have to give in once in a while. This one is not as painful as most within this genre.

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This film opens with a montage of modern day, mundane technological snags, which sets the stage for busy and varied lives among working people. I thought this was a brilliant way to begin, to show just what kind of people form a book club and how random it all really is. The cohesiveness of these seemingly mismatched individuals, a free-spirited, serial bride, a recently discarded wife and her lesbian daughter, a socially awkward, pretentious French teacher, a control-freak dog breeder and a bicycling techno-geek (albeit a very CUTE techno-geek) centers around the six novels of Jane Austen. This story really isn't about the work of Jane Austen, but rather, it's about the people of the club coming from many different directions to form a believable bond. Sure it has some Jane Austen-esque subplots, but so many modern stories do and I, for one, never grow tired of them.

Very enjoyable, well-cast and well-acted film, and I recommend it to anyone who likes a good story of group dynamics--regardless of whether or not you liked or disliked the book.

Michele Cozzens is the author of It's Not Your Mother's Bridge Club

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"The Jane Austen Book Club" (TJABC) was a 2004 novel by author Karen Joy Fowler. I acquired the novel last spring and relished the thought of reading a contemporary version of Austen's romances, with each character and each chapter tying into one of Austen's novels. A clever premise, some interesting characters....but I found the overall effort to be a tad on the lackluster side and kept picking the book up, and putting it down before eventually managing to end it all.

Robin Swicord tackled the job of getting this book to film; and it opened to very little fanfare last summer. As the members of the book club, the cast is a director's dream. It's always a joy to see Amy Brenneman (Of the TV Show, "Judging Amy", on the screen, and we've had too little of her in the world of film. Brenneman is devastated and devastating as an unwilling divorcee, Sylvia, who was married to Daniel (Jimmy Smits in an unfamiliar role) who has fallen in love with the other woman. Maggie Grace (Shannon from the TV Show, "Lost") is suitably cast as Allegra, Sylvia and Daniel's grown daughter. Much of Fowler's book centered on the oddities of Allegra...thankfully, the movie only touches on them.

Kathy Baker plays flamboyant, much-divorced Bernadette and does so with a satirical air. Maria Bello is Jocelyn, a dog breeder who is afraid of commitment. Bello is no surprise; she's done a credible job with every one of her big screen roles -here we are caught up in her draw towards Grigg, the only male member of the club, although initially she attempts clumsily to "matchmake him" to Sylvia.

The outstanding turns belong to Hugh Dancy, as Grigg. He's a science fiction fan who accidentally meets Joceyln and accepts her invitation to join a book club reading a genre he has no idea about. He's subtly charming and has a way of 21st century hero about him; he and Bello are drawn like moths to flame. Also a stand out is Emily Blunt, so good in whatever she brings to the screen, as Prudie. Prudie's character is audacious -an obsessive French teacher married to the wrong man, she's eager to find romance in any way she can.

Tying in Austen's novels and characters to the ensemble is easy, and a little tedious, but by film's end, you're glad you made the attempt. TJABC is kind of a "little film that could"...not excellent by any stretch of the imagination, but still a worthy contemporary treatise on Austen's themes.

Set in Sacramento, the surroundings are lovely and bracing, and the DVD has a full complement of extras like deleted scenes, the casting dilemma, and a lively conversation about the filming between Swicord, the producers, Maggie Grace and Hugh Dancy.

For once, a film that improves upon the material it was derived from. Worth a viewing!

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Withnail & I (1988)

Somewhere in the tenebrous recesses of our souls is the saving ability to laugh in recognition at our most forlorn circumstances. The funniest films mine this trove of despairing exigencies in an urgent, played-for-real mode. And none do it better than WITHNAIL & I, now available in a superb uncut version on DVD.

Bruce Robinson, the sometime actor and screenwriter ("The Killing Fields"), made his 1986 directorial debut with his semi-autobiographical screenplay that is widely considered the greatest neglected comedy of all time. The slender plot is simple. Flatmates Richard E. Grant (Withnail) and Paul McGann (& I) are two stoned, hungry, broke, and out-of-work actors wallowing in self-made squalor. When they get an opportunity to spend a weekend in the country cottage of Withnail's three hundred pound Uncle Montague, they go, hoping to "rejuvenate." What ensues is an extraordinarily deranged weekend of drunken delusion and distraught discovery that you will never forget. To reveal any more story details would be a gross disservice to those who have not yet found this wonderfully twisted, honest and perfect film.

Richard Griffiths is unsettling as the campy, dissolute predator cousin Montague and Ralph Brown is spot-on as Danny, the slow-talking, menacing but philosophical dope dealer. Hard to believe this was Richard E. Grant's first film. Even harder to believe is that he is a non-drinker who doesn't smoke.

Perfectly cast, nearly every spoken line is unfiltered emotional truth and most are quotable -especially the caustic diatribes of drunken, acerbic Grant. And the scenes themselves are brilliant set-pieces that unfold like diamonds in the rough being cut to gem-stone perfection.

After experiencing this unblinking look back at the end of the 60s in a London suburb where a tenuous friendship, high expectations and unfulfilled dreams collide during a disastrous weekend getaway, you too will laugh when you next hear the opening riffs of Jimmy Hendrix's "Voodoo Child." And you will understand when someone blurts out in a restaurant, "We want the finest wines available to humanity. We want them here and we want them NOW!. And cake."

This new Criterion widescreen version is clean and sharp and there's a too-short bonus interview with Robinson, Brown, Grant and McGann.

You must trust me on this one, so right now, get on line and order this extraordinary movie. It's one to own and watch at least once a month. It will put everything in the proper perspective and cure what ails you. Highest recommendation.

Criterion has done a wonderful job with this DVD release of WITHNAIL & I. The picture looks sharp, the sound is clear, and the extras are a lot of fun. The biggest difference for me was that the only video version of this film I owned was the full-screen version that contains numerous edits. Watching this film uncut for the first time in years really pointed out how much I had been missing with the video version. Getting this DVD is definitely worth the money.

The film itself is a joy to experience. While the plot cannot be accused of being overcomplicated, this simplicity is more than made up for in the wonderful characters and brilliant dialogue (virtually none of which can be quoted in an all-ages forum such as this). Loosely narrated by Paul McGann's "I" character, this film depicts a brief period in the life of two struggling actors as they attempt to find booze, drugs and jobs in the dying days of the 1960s. The movie covers a wide spectrum from some scenes featuring the funniest lines that you'll ever hear to small touching moments that are surprisingly moving. This is highly recommended to anyone who enjoys good moviemaking.

Every character in the picture is superbly acted and written for. It's a testament to Bruce Robinson's directing skills that the characters compliment each other so well instead of clashing and overbearing the others as could so easily have happened. The secondary characters work as well as the leads and each one adds their unique flavour to the mixture. Robinson doesn't make the mistake of giving the smaller parts too much on-screen time and having them overstay their welcome. Each character says and does no more than they need to and leaves everyone wanting more.

Richard E. Grant and Paul McGann are perfectly cast in their roles. Each bile-covered insult roles off of Grant's tongue as if he'd been swearing at McGann all his life. It's amazing that Grant is a teetotaler in real life and was relying on pure skill for most of his inspiration. Excellent acting.

The documentary that is included on the DVD is 30 minutes long and quite excellent. There are interviews with Richard E. Grant (Withnail), Paul McGann (...& I), Bruce Robinson (writer/director), Ralph Brown (Danny) and a host of other people related to the production. It's a funny and enthralling look at the people and ideas behind the film. Just fast-forward through the trainspotters.

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This is not, as others have mentioned merely a vapid view of the 1960s or a drunken homoerotic frolic in an English countryside. It represents all those men and women who have battled long and hard to achieve some sort of authenticity. Withnal wants to act in something worth while, 'I' wants to do the same but has much more class and is not locked into a decaying and fluid so called post modern world, represented by collapsing buildings they both visit and live in, decayed old pubs inhabited by violent drunken louts who want to hurt and maim in their pain of loss. Then there is their old Jaguar one eye one window wiper and two very drunk survivors. This is a meditation on the qualities of past values and modern chaos. The end leaves one sad and uncomfortable as Withnal speaks from Shakespeare 'what a piece of work is man', the irony is almost too hard to bear as Withnal speaks to a wolf behind the zoo bars and as rain upon rain washes away the old world. This a film everyone should watch and is for anyone who wonders about the old, the nostalgia for the past and the new modern and careless world of today. The wolf pacing in front of the zoo bars mirrors the human pacing outside the fence, both are locked into their worlds. Withnal is beautiful in his aloneness and 'I' works to represent those that can make transitions from old values to new worlds, but does he lose something in the process? The musis is also fantastic and I wish I could buy and album of the music, the initial saxaphone rendition of a whiter shade of pale is beyond beautiful. Watch it at least 10 times.

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Withnail & I is one of the greatest films ever made funny, poignant and superbly written, acted and directed.

So, it is such an appalling shame that this NTSC VHS version is so poor. It is hideously cut in places leaving out parts of scenes and some of the funniest dialogue. This leaves you confused when the narrative shifts suddenly when you were expecting the uncut version. For me, this rendered this version unwatchable.

Buy a PAL compatible VHS player and buy the uncut European version from amazon.co.uk, wait for the DVD or wait for the full version to be shown on the Independent Film Channel and record it, but stay away from this turkey!

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Another cult movie has just entered the Criterion collection : british writer-director Bruce Robinson's 1986 WITHNAIL AND I starring Richard E. Grant and Paul McGann, both excellent. Richard Griffith as the cousin Montague and Ralph Brown as " The Hippie Philosopher " are hilarious. This film is a valuable addition to your library if you like english comedies, the sixties or simply a smart movie.

WITHNAIL AND I is greatly autobiographical. Bruce Robinson's 25 minutes interview featuring home movies and photographies shot in London in the mid-sixties is very instructive ; one understands soon that Withnail and ("I") Peter's life pictured in the movie has been the normal life of a large number of the english teenagers of the sixties. The character of "Withnail" played by an hallucinated Richard E. Grant, who in the real life doesn't drink alcoholic beverages, will certainly stay in the annals of Movie History.

If WITHNAIL AND I moves us so much, it's because this nostalgic movie is about lost hopes, about the green pastures of our youth when the world was ready to be conquered and waiting for us. Withnail is a pathetic character who could have been a genius in any artistic domain but who didn't create anything because, after all, it wasn't so important.

Apart of the Bruce Robinson interview ( look carefully at the level of the red wine in his glass... ), one will also find in this Criterion presentation a limited-edition of a poster, a theatrical trailer, liner notes by Robinson, various pre-production photos and english subtitles.

A DVD zone nostalgy.

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Good Luck Chuck (Unrated) (2007)

Having seen Dane Cook as a stand-up comedian and been entertained by his humor and delivery, GOOD LUCK CHUCK seemed like an innocuous brainless evening entertainment. Unfortunately the story and script and direction are so sub par that even the most devoted of potty mouth movie fans will likely find this dud a bore. Hopefully Cook will be given better material for his next outing.

The story is meager but deals with a childhood hex placed on Cook's character, dentist Charlie Logan, which prevents him from finding lasting love: every woman with whom he sleeps (and there are countless encounters in the buff on endless multi-screen images) will marry the man she meets after her liaison with 'good luck' Charlie Logan. His obnoxious breast augmenter best friend Stu (Dan Fogler) sees Chuck's hex as a godsend for open sex, but when Chuck meets Klutz penguin trainer (Jessica Alba) and falls in love, there are problems the solutions of which are so disgusting and unfunny that hardly need repeating.

This is a film, apparently with an audience (!), that is gross and so over the top that it completely wastes the talents of Cook and Alba. The film is being advertised as the 'chance to extensively see Dane Cook in the buff', but even that is an overstatement. Maybe if the viewer is on strong drugs....No, probably not even then. Pass on this one. Grady Harp, January 08

Crude? Yep! So what! The movie was hysterical. My boyfriend AND my 62 yr old mother were laughing, and so was everyone in the theater. Its fun! The 1st thing my mom said when the credits started to roll was, "I'm buying that THAT was funny, and not the stupid funny either really funny!"

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"Good Luck Chuck" is not a romantic comedy, but rather a raunchy comedy that is sort of about romance. If there was some notion of romance at the heart of this movie, it would have a chance of working, but of the different organs and body parts that are prominent in this 2007 film, the heart would not be one of them. When we get to the big moment at the end of "Good Luck Chuck," compare it to the same scene in "The Wedding Singer," and you can see how short this one falls of the mark. In other words, this is really not a date film, because first-time director Mark Helfrich's final product is slanted way towards the male of the species. You might check this film out for Jessica Alba, but the focus is on Dane Cook and that along should tell you this movie is going to favor comedy over women, and comedy that favors men over women.

That is not to say that the premise is not promising. The titular Chuck is Charlie Logan (Cook), and, no, the film is not bothered by the fact that nobody calls him Chuck. Because of what happened during an adolescent game of Spin the Bottle, Charlie is cursed: any woman he loves will leave him and immediately find and marry the man of her dreams. As Charlie comes to realize his peculiar situation there is good news--women are throwing themselves at him in order to leap out of his bed and find the guy for them--and bad news--he meets Cam Wexler (Alba), who is cute, a klutz, and works with penguins, allowing the film to show how far the penguin fever of "March of the Penguins", "Happy Feet," et al., has fallen. More importantly, she looks like Jessica Alba, so we instantly understand why Cam is a keeper from Charlie's perspective, even if his best friend Stu (Dan Fogler), a plastic surgeon whose practice is limited to boob jobs, probably thinks too little of her. This creates the ultimate paradox for Charlie, because to love this woman is to lose her, which is a pretty interesting Catch-22.

I am sure that if I added up the minutes that Charlie really does spend more time with Cam than he does with Stu, but it sure does not feel that way. But the real problem in this film comes in the sequences that it is proudest of: the sex montage. There is a whole special feature devoted to it as the "Sex Matrix." My immediate reaction to all of this was to wonder if I had ever seen a motion picture with more naked women in it than this one, and while I am sure I have this is a concerted effort in "Good Luck Chuck" to prove otherwise. But when you are watching a guy have sex with dozens of women, it is hard to lend credence to the idea that he is really in love with the woman he is not having sex with. To offer a rejoinder to Stu, while it is true that sex without love is still sex, it is still without love, and love is supposed to be at the heart of a romantic comedy, which is why this film is not one.

My favorite romantic comedy of recent vintage is probably "50 First Dates," and I gave that one only four stars because the raunchy stuff with Rob Schneider took away from the wonderful stuff happening with Adam Sandler and Drew Barrymore. But "Good Luck Chuck" is following more in the steps of contemporary comedies like "Knocked Up" and "Superbad," where the goal is to produce a unrated DVD edition. So "50 First Dates" is now looking more like a classic romantic comedy to me. If "50 First Dates" had been made the way they made "Good Luck Chuck," then the opening montage of past lovers in the former would have been in the middle, in which case they are no longer past lovers and the decks are not cleared for a real romance. By the time Charlie and Cam get to anything remotely like the romantic part, it is too little too late. When you get to the last in a long line of women, it is hard not to focus on the long line rather than the last woman. The screenplay by Josh Stolberg ("Kids in America") does come up with a decent enough way of resolving the dilemma, but given everything that has come before it, the ending fails to redeem this movie.

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Mr. Bernabo and Ms. Richards wrote all the true words in their reviews to warn me away, but the opportunity to see more "on-screen Jessica Alba" was so overpowering, I went on and watched it anyway. Was I ever sorry!

Dane Cook and Dan Fogler are two of the worst actors I've ever seen. As best as I can remember (I'm trying hard to forget this movie) all of the humor was based on two guy sidekicks saying the most inappropriate words at all the most inappropriate times imaginable. I cannot think of a role either actor would be suited for. It's not even worth a review -think of this as a warning to your entertainment welfare.

The writing for this movie was just awful. And lord knows I adore Jessica Alba, but even that darling couldn't make this movie worth watching.

An overall abysmal effort.

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I thought the movie was funny. Paced a bit fast, and the jokes could have been written a bit better, but I thought the movie was actually fun to watch. I was expecting Jessica Alba to be horrible in her perfomance (ie Honey), but I liked her acting in this movie, she fits the romantic-comedy genre better than anything she's done thus far. And Dane Cook was also funny, albeit sometimes over did some of his reactions. All in all, it's a fun movie, nothing you'll go telling your friends to go out to buy, but still worth a watch!

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The Last Word (2008)

Another excellent production from ThinkFilms, where the past is dragged along as the future becomes epigrammatic and silent.

Evan (Wes Bentley) chances to earn a modest living writing suicide notes for clients who no longer have the desire or the strength to live. His poetry is in dissonance with his imperturbable and aloof demeanor, which deadens the aura of every frame he is involved in, even the more erotic and moving. However the plot hits a high note when Charlotte catches a glimpse of him at her brother's funeral, whose suicide note was authored by Evan. She does not become acquainted with the nature of Evan's poetic engagements and amid strife and guilt becomes endeared and ultimately enamored with the numb introspective intellectually brooding Evan. Charlotte here played by Winona Ryder with effortless wit and sophistication, teeming with energy and spontaneity chases after Evan, for what initially seems to be a means of making amends and an effective way to grieve, only to eventuate into a full-blown passionate love affair which Evan fails to repel intent on keeping his stoic persona, for his resolve is overwhelmed by the appeal of his ex-client's beauty and joy de vivre, her flair and her impulsive absorption into a life she is emotionally engaged in, and one which, to the contrary, Evan distrusts and lives only at a distance, removed from the exuberance it excites in Charlotte.

Matters are further complicated as Evan befriends a client (Ray Romano), whose honest pitiful and cynic character offers many of the laughs in this production amid the torture of a numbness that echoes in the hollow inner lives of the prospective suicides.

We increasingly become aware of the pain Evan has been repressing and silencing and the cathartic effects he gleans from his sinister job. Amid quotes of terrifying darkness, and an emotional vacuum we find the impetuous Charlotte and the humor-twisted friend-client wrest Evan from the lull of his life which implodes when threatened by a thief with words reminiscent of his abusive father's violence. The cold and detached protagonist is played to perfection by Bentley whose acting style lends him agreeably to such roles.

The writing is extraordinary, on par with Being John Malkovich and The Eternal Sunshine, but the directing is rather impervious to the brooding feel of the movie, and tends to contrast with the dark comedy which opportunely offers relief and gut wrenching laughter. Sinister but philosophically deep, eloquent and scintillating whenever Ryder is on the set, we become stirred and jolted as we recognize how emotionally retarded human beings are and how much pain must be suppressed to live as socially integrated human creatures. The end sizzles with raw energy and emits an overcharged tone of loss and redemption deadened just enough to dispel despair, blunted by the sterility of a love affair that spurs Evan to new horizons however hopeless and alienated from desire they may be. The quiet remains and pierces deepest when Charlotte turns her back on an affair that is impossible, unhealthy and warped. The acting and the script make this an exceptional viewing, if only the directing was as able we'd have a masterpiece.

This production, is described indelibly in one of Evan's note, where we linger on drifting away from memory's shore...

"The Last Word" tells the improbable story of a standoffish suicide-note writer (Wes Bentley) falling in love with the sister (Winona Ryder) of one of his clients. The more she learns about him, the more she likes him--until she discovers what he does for a living. The best performance in the movie comes from Ray Romano (and I've never been a huge fan of "Everybody Loves Raymond") as a prospective client who works doing background music for schools.

If you can get past the improbability of the basic premise, there is much to enjoy in this movie. Bentley makes his character believable (as much as any one person could), and Ryder gives a lively performance. A good rental with a Sundance pedigree.

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Romantic comedy??? Perhaps a romantic dark comedy without too much romance or comedy...although I did find myself laughing a few times. Wes Bently stars as Evan Merak, an aloof person with his own issues. He professionally composes suicide notes like a Russian novelist. He attends the funerals of those who actually go through with the deed, mostly to hear and critique his own composure read out loud.

While attending a funeral he meets the moody Charlotte (Winona Ryder) the sister of a victim. They end up dating. Evan tries to keep his specific relationship with her brother a secret and lies to Charlotte. Charlotte is comparatively unsophisticated, and like Winona she thinks a good date is one that doesn't try to "steal my credit card." (One of my several LOL moments.) In one early scene at a diner she has on no make-up or jewelry then in the next scene she is driving Evan home from said diner and has on her painted face as well as wearing pearls...something she wears later on in the film...Geoffrey Haley,another Ed Wood academy graduate. Here's your card.

While Evan is trying to keep things a secret, he is aiding other clients which raises Charlotte's curiosity level. You wait for the climax scene when he confesses everything to her. Decent film for quirky indie lovers.

F-bomb (thank you Winona), no on screen sex or nudity

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Winona Ryder is great in this film, as is Wes Bentley. What really caught me was the way downtown LA is the backdrop for the story along with a couple of other interesting LA neighborhoods. Downtown has always struck me as a vast wasteland and an easy place to get lonely or killed, which ever happens first. Winona nails the role of an LA Woman perfectly. She comes on really strong then fades away just when you think you can capture her... No one plays a dry personality as well as Wes Bentley and he's as dry as the desert in this movie.

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Lovely Winona Ryder excellent as ever! I recommend this DVD to everyone! Great movie, great cast, script and the direction!

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