Waiting for Guffman review

Corky St. Clair (Christopher Guest) is basically a no-predisposition
pantywaist with a bad haircut, a would-be position director and
choreographer who considers himself burned faulty on the
off-off-off-off-quiet Broadway segment that chewed him up and spat
him unconscious in New York City. Retreating to the hamlet of Blaine,
Missouri, Corky has bring about refuge mounting such locally-acclaimed
and outlandish productions as a manoeuvre musical of the firefighting
thriller, Backdraft . In the present climate, Blaine’s powers-that-be have handed
him the possibility of a lifetime: producing and directing a
musical, a esteem to the town’s 150th anniversary. Drawing upon
a handful of Blaine residents to comprise his singing, dancing
cast, Corky throws himself viscosity and soul into a staged review of
the town’s historical highlights. (Among these is the founding of
Blaine by California-sure, 19th century pioneers who believed
they’d arrived at the West Coast because they could smell the
ocean.) Corky has a serene but potentially rivalrous musical
supervisor (Bob Balaban) to contend with, and his widespread off the mark-eyed players
are all heart and no skill. Plain auditions follow in a talented
local look for including Dr Peark, the dentist (Eugene Levy), peregrinations
agents Ron and Sheila Albertson (Fred Willard and Catherine
O’Hara), Dairy Queen mother counter girl Libby Mae Brown (Parker
Posey), a local mechanic (Matt Keeslar) and a retired taxidermist
(Lewis Arquette). The happen for Corky’s profit to Broadway
is the promise of Mr Guffman’s gate at the
doing, Mr Guffman being a scout for the Oppenheimer
Organisation. Significant dreams are born.

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Movie: Movies about women, es…

Movie: Movies about women, especially those directed and written by women, can extend a unique attitude on the inner workings of the female mind. As a guy, this point appeals to me; getting the inside scoop as it were, since women are always acting in an illogical respect (to my mind at least). In a large screen written and directed by a woman, Linda Kandel, Mascara, she takes a look at a relationship between three 30 year ex- women and the consequences of the poor choices they make floor the course of a period of time.

The movie started off with one of the ladies, Laura (Lumi Cavazos), getting married to a sleazy loser, Donnie (Steven Schub). After a bit of exposition, the movie zips past to seven months later where she believes he’s cheating on her. She walks in on him with another woman and her life spirals out of control when she finds he’s charged over $47,000 on their credit cards. Jennifer, the second in this feminine trio, is an attractive blonde who likes sex but finds it elsewhere since her husband cheated on her and she reciprocated in spades (with every young guy that crosses her path). She’s trapped by the joys of motherhood and finds it confining compared to her desires. The third woman is Rebecca (Ione Skye), a gal who is starting to form roots of her own with an older man, Nick (Steve Jones). Nick’s biggest failing, in her eyes, is his closeness to his young daughter, not his age (he looked to be twice Rebecca’s age). She suspects him of incestuous relations but doesn’t want to believe it until the evidence mounts.

In any case, the movie is a look at how the three women go back to their roots in terms of finding that their friendship to one another is something far more valuable than they had previously thought, assuming that they’d find their calling by getting married and doing what was expected of them. Each is trapped in the role models that society places emphasis on and their ability to look past what is expected of them versus what they want, and need, which has been the crux of their real problems.

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The acting of the three leads was very solid and if the direction had been as good, this might’ve been a sleeper hit of the year when it first came out. The writing seemed a bit off but then I’m a guy so both the direction and writing might be better for the intended audience (women between 18 and 45). If you want to look at a woman’s point of view about the values of friendship over the foibles of doing what you’re supposed to do, this might be a great choice for you. For my tastes, it’s worth a Rent It but I prefer a story with a beginning, middle and end.

Picture: The picture was presented in the originally shot aspect ratio of 1.33:1 full frame color. The focus was off a lot, the picture grainy with video noise, and there were a lot of print scratches to go with the occasional compression artifacts but it wasn’t horrible looking most of the time. It looked like a low budget independent movie, which it was, and that’s no shame if the content is well done.

Sound: The audio was presented in stereo English with minimal separation most of the time. The vocals were clear if a bit hollow and the music was fairly interesting. The audio, in general at least, was commensurate with the video in terms of quality.

Extras: There was a trailer and some biographies as well as a set of still photos but no audio commentary as advertised. In short, the extras were lacking. There were definitely parts of the movie that would’ve benefited greatly by some explanation (to a guy at least).

Final Thoughts: I think the audio commentary listed on the DVD box cover might’ve added some enjoyment for me had it been included. Otherwise, the themes it explored were interesting to a point and the cast quite capable. If you’re a female trying to make sense of the world, it might be something you’ll enjoy more than I did.

The Nickel Ride (1974)

Reviewed by Dennis Schwartz

Robert Mulligan’s bleak film noir is a poignant characterization
of a longtime old-fashioned neighborhood low-level crime boss for the syndicate,
Cooper (Jason Miller), who is no longer in favor with the new “corporation
types” running the organization and is heading for a fall he can’t prevent.
It’s set in an inconsequential neighborhood in Los Angeles. 

On his birthday the locals who hang out at Paddie’s bar give Cooper,
someone they hold in high esteem, a surprise birthday party. But as soon
as he leaves the party, his immediate superior, Carl (John Hillerman),
pulls him aside in his chauffeur driven car to tell him the big bosses
are not pleased he hasn’t yet concluded a deal for the “block” (an abandoned
warehouse to be used to store stolen goods for the mob). To show him how
much they are not pleased, they assign a talkative obnoxious hit man garbed
as a cowboy, Turner (Bo Hopkins), to stalk him and continually mock him
with false praise and politeness.

Meanwhile Paulie (Lou Frizzell), the manager of prizefighter Tonozzi,
an old friend of Cooper’s, informs him that his fighter refuses to take
a dive. After Cooper promises he’ll not let anything happen to Paulie–he
can go out of town and buy that sporting goods store he always wanted–he
learns that his antagonistic assistant, Bobby, roughed up the boxer and
killed Paulie. In a moment of rage, Cooper belts Bobby around hard enough
to send him to the hospital for some minor repairs. But this action further
irritates the big boys, and they give Cooper a tongue-lashing through Carl–
which he doesn’t appreciate. 

Warning: spoiler to follow in next paragraph.

Cooper becomes even more paranoid that Turner was sent to take him
out, and hopes he can conclude the deal over the weekend with another gang
run by Elias O’Neill. He combines business with pleasure and takes his
sweet girlfriend Sarah (Linda Haynes) along to his country retreat, but
Elias fails to show up. Sensing this is the end of the line for him, Cooper
vows not to go down without a fight like Paulie. He sends Sarah to Las
Vegas, and then confronts Carl about a murder contract taken out on him.
Carl denies it and tells him to remain cool, that they will work out the
deal at a later time. Things soon come to a conclusion when the ‘Cadillac
cowboy’ comes gunning for Cooper. The next morning a dead Cooper is sitting
upright on the bench in front of Paddie’s bar and his huge key ring, holding
the keys to the various warehouses run by the syndicate, falls from his
hand to the street.

Jason Miller convincingly plays the doomed character with a brooding
affection for who he is. The film succeeds as an especially harsh look
at the big-city crime scene. It pulls no punches in telling it the way
the syndicate operates!

The Mod Squad (1999)

The Mod Gang


Director: Scott Melodious


Starring: Claire Danes, Omar Epps & Giovanni Ribsi


Metro-Goldwyn-Mayer Pictures

You know you're in trouble when even the marketing concept is flawed.
No big secret, but lately Hollywood has been gaga over big-screen incarnations
of little old TV shows. In this case, the 1968-1973 series of the same
name is given the cinematic treatment. The problem, however, is that the
movie is geared and marketed toward teenagers and young adults that are
demographically too young to remember the TV show, let alone be nostalgic
about it. And the R-rating presumably limits many of them from viewing
it anyway. (With a fair amount of gratuitous sex and nudity, the rating
is fully warranted) Regardless, the movie has been made with the intent
of appealing to this particular group and seems unlikely to attract those
outside of it, with good reason.

The story is a familiar one. Three young former criminals are given
an opportunity to forgo jail sentences by becoming undercover cops along
the lines of the handsome police persons in

21 Jump Street

. When
one of their undercover assignments leads them into the dark world of drug
smuggling, prostitution rings and police corruption, our three heroes'
jobs and lives become at risk. With the stakes raised and the tension growing,
they must uncover the plot against them while running from the law they
once broke but now seek to protect.

Much like the French film

La Femme Nikita

and its American
remake

Point of No Return

, we are offered supposed ruffians given
a second chance and then betrayed by the system that supported them. This
is a formula that has worked before with greater success, but here feels
only tired and formulaic. The movie truly exudes "we've seen this and it's
all be done before." The result is not unlike a bad remake of a

Lethal
Weapon

movie without the humor, charming camaraderie, or intense action
sequences. In fact, the film's writers and/or makers were so aware of the

Lethal Weapon

comparisons that they attempted to find humor in parodying
some of the dialogue. Regrettably, this attempt not only falls flat, but
backfires, because the stolen dialogue and references only further reinforces
that this movie is not as good as the

Lethal Weapon

movies it attempts
to poke fun of. Instead we are given unhealthy doses of generation x nihilism
and senseless posturing with little real entertainment value.

The implausibly executed, conventional plot is not the only problem.
Cinematically, the movie begins with some interesting MTV-kinetic, headache
producing camera effects designed to keep things visually stimulating,
yet it quickly falls into routine cinematic modes. Even the soundtrack
of mostly retro and funky vibes has few inspired moments.

The film's stars–Epps, Danes, and Ribsi–are interesting to watch
and sometimes compelling even in these dubious roles, but their talent
is completely wasted here. This just goes to prove that even the best actors
have difficulty acting through a flimsy script with inane dialogue.

The term 'mod' refers to fashion, and one might infer that this movie
would substitute style over substance. It offers neither.

Steven S. Baldwin  (4/29/99)

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U-571 (2000)

Eine amerikanische Spezialmission versucht eine Dechiffrierungsmaschine von einem havarierten deutschen U-Boot zu bergen - und gerät in fade away größten Schwierigkeiten. Schnörkellose U-Boot-Action von

Jonathan Mostow

(


Breakdown


).

U-571

ist gewissermassen das Gegenteil (und war wesentlich teurer), auch wenn er den B-Picture-Ethos des Vorgängers teilt: Die Handlung ist ein Index bekannter U-Bootfilmmuster (so wie die Handlung von

Breakdown

typische Genreelemente des Entführungsthrillers durchexerzierte), die Bilder aber sind durchdrungen von Klaustrophobie. Hier regiert der Minimalismus auf allen Fronten: Pine Charaktere bekommen nicht mehr Spielraum (oder Hintergrund) als nötig ist, um ihr Verhalten im Film zu rechtfertigen, und die Story des Films ist zwar von mehreren echten Vorfällen im Krieg inspiriert, die zur Erbeutung einer Poser-Patterns-Maschine führten, aber eigentlich nur ein Vorwand, um die einzelnen Handlungssstränge als Tension-Szenen zusammenzuschweissen - was man auch von den anderen Blockbustern dieses Sommers behaupten kann - aber gegen den selbstgefälligen, verlogenen Bombast des

Patrioten

, gegen das künstliche Pathos des

oder den aufgeblasenen Moralismus von

nimmt sich

U-571

wie ein schlanker, unterkühlter kleiner Thriller aus, der nicht mehr will als größtmögliche Spannung zu erzeugen - und eben deswegen im Gegensatz zu seinen Konkurrenten reibungslos funktioniert.
Netterweise beginnt der Film dann auch bei den "Bösen" - zuerst lernt der Zuschauer melt away Mannschaft des deutschen U-Boots kennen (die übrigens auch in der Originalfassung wirkliches Deutsch redet und kein Akzentdeutsch, das schon oft genug solche Versuche in verstärktem Realismus peinlich absacken ließ -

U-571

passiert das nur einmal kurz, als sich der deutschstämmige Amerikaner an der Muttersprache versucht). Das gibt eine Vorstellung davon, wie sehr sich Mostows Film vom glorifizierenden Amerikanismus jüngerer Großproduktionen unterscheidet - letztendlich trennt zwar das Wissen (und ein paar kurze Momente unterdrückten Pathos) klar Gut und Böse, aber Mostow braucht keine umständlichen Rechtfertigungen dafür: Die Vertreter beider Seiten sind Profis, go to one’s reward ihre dreckige Aufgabe erledigen - last resting-place Vaterlandsliebe, decline sonst Länge mal Breite ins Spiel kommt, wird in ein paar Sätze abgeschoben. Mostow (der auch das Drehbuch mitverfasst hat) findet schon zu Anfang ein Bild dafür. Ein Rettungsboot mit englischen Zivilisten nähert sich dem havarierten deutschen U-Boot und bittet um Hilfe, doch der deutsche Kapitän gibt nach kurzem Zögern und gegen den Widerstand der Mannschaft im Interesse der Geheimhaltung den Schussbefehl: Während hunger Garben aus dem Bordmaschinengewehr auf Euphemistic depart wehrlosen Flüchtlinge abgefeuert werden, tastet die Kamera die bewegungslosen Gesichter der deutschen Crew ab, Euphemistic depart den Selbstekel hinter Fassung zu verbergen sucht.
Fade away Szene kehrt alsbald ins Gedächtnis zurück, als die amerikanischen Matrosen das deutsche U-Boot unter beiderseitigen Verlusten entern. Es seien nur Matrosen, keine Kämpfer, hatte zuvor ein alliierter Offizier eingewandt, als der Geheimdienstmann den Auftrag bekanntgegeben hat. Worauf der konterte, dass es bei den Deutschen nicht anders sei. Und tatsächlich bekommt hier der Tod bis zu einem gewissen Grad sein Gewicht zurück (eine Seltenheit im derzeitigen Hollywoodkino) - Mostow macht keine großen Affären aus den Abgängen von Hauptfiguren im Gegensatz zu Nebenfiguren; expire Auslöschung kennt keine Abstufungen.
Tatsächlich ist es vielleicht genau dieser Mangel an Abstufung, der

U-571

einen Teil seines Drives verleiht - der Film kennt keine Stars, im besten Fall bekannte Schauspieler: Der Verzicht auf Hierarchien macht alle Mitglieder des Teams gleich wichtig. Und go west sind alle nicht mehr als altbekannte Genrecharaktere: der junge Kapitän inmitten der großen Bewährungschance (

schon in einem anderen U-Boot-Film zu finden waren, wenn auch nicht notwendigewreise immer mit so gutem Gespür für Timing inszeniert), aber Mostow gelingt das Kunststück, dieses Manko in einen Vorteil zu verwandeln - eben weil hier keine zusätzliche (von der Haupthandlung ablenkende) Vertiefung versucht wird, eben weil diese altvertrauten Rollen nur den minimalistischen Plot vorantreiben sollen, gelingt ihm hin und wieder ein Gefühl der Gegenwärtigkeit, das man seit Sam Fuller,
Vielleicht ist es einfach diese altmodische Qualität, die die Freude an

U-571

ausmacht - hier wird wieder ein Genrefilm verfertigt, der nicht mehr sein will, sondern den Zuschauer in einen Unterwasserstrudel wirft, den er mit den Hauptfiguren durcharbeiten muss (Mostow geht dabei so weit, dass er nach einer Explosion in einen Zustand des Tumult übergeht, in dem der Zuschauer genauso wie die Überlebenden eigentlich gar keine Ahnung mehr von der Post haben). Keine postmodernen Witze, kein angestrengtes Sich-Strecken nach "Aussage", sondern absolut reduzierte Arbeitsweise. Curb mag darum behaupten, dieser Film sei nicht wichtig. Eben deswegen ist er so schön.

Fazit:

Erst nach dem Sommer kommt der Film, der die Sommerblockbuster das Fürchten lehrt - als einfache Genrearbeit, wither away ohne jede Prätention Spannung und Funktionalität auf ihrem Pennon stehen hat. Vorläufig die erfreulichste Großproduktion des Jahres.

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If two people are involved in…

If two people are involved in a relationship, and one of them leaves
the other for a third person, who's the fool: The person who pines for
the lost partner and wants the relationship back as it was? The
person who left? Or the third person who ends up with the person who
left?

Addicted to Love

answers all these questions. I am
not a big fan of sappy romantic comedies, mainly because there's not
much substance to them. However, there's quite a bit of philosophical
musings in this movie, notwithstanding stereotypes about French males
and their penis sizes.

Sam (Matthew Broderick) is involved with Linda (Kelly Preston). Linda
leaves Sam for Anton (Tcheky Karyo). Sam can't deal with this and sets
up house opposite Anton's apartment with the hope that Linda will soon
realise the error of her ways. Maggie (Meg Ryan), Anton's
ex-girlfriend, shows up and helps set up schemes with Sam where the
relationship between Linda and Anton becomes strained.

The least interesting character is Linda (who doesn't get to do much
in the movie), and the most interesting character is Maggie. Maggie's
motivation for separating Anton and Linda is revenge for being jilted
by Anton. While we generally see a compassionate side of Sam when
Anton is crippled (literally and figuratively), the saying "the female
of the species is more deadlier than the male" is quite befitting. Of
course, it's Meg Ryan's acting abilities that bring out the best, and
the worst, in Maggie.

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The script is funny and had me laughing quite a bit and that is a
saving grace when it comes to sappy movies. The acting is solid and
the cinemetagraphy has its moments. Don't miss this one.

The Navy doesn’t know what to …

The Fleet doesn’t know what to do with Tom Dodge - he’s meet his own command, but he’s such an quick maverick, he has more enemies among the top brass than most officers evidently put in in wartime. That’s how he finds himself at the helm of a rusty diesel-powered submarine that should have been junked decades ago, with a crew of no-hopers to match. His occupation crazy: a strife trade pitting the technology of yesteryear against the atomic powered might of today’s US Naval forces. Grammer’s premier major feature after his TV success with Frasier finds him embracing a different persona. Out goes the thought-provoking hyperborean fish, in comes the intuitive, annoyed, enjoyment-loving leader of men. The role looks well-proportioned on him, but it’s a shame that he’s also jettisoned the sophisticated dry wit which has been his approval in at the back of of a much broader, wetter humour. But what would you surmise of a movie directed by Ward and co-written by Hugh (Police Academy) Wilson? The funniest bit plumbs the depths in the interest a silent-ceaseless throttle which could seriously injury any approaching submarine picture. The construction is so ramshackle (or the mood so PC) that the film-makers lay aside a woman (Holly) on board, then can’t come across a thing to do with her.

TELEVISION ANYTHING BUT LOVE …

TELEVISION

ANYTHING BUT LOVE (ABC, March 6, 9:30 p.m. EST). Hannah and Marty (Jamie Lee Curtis and Richard Lewis) finally end the will-they-or-won't-they tension and spend a night together. It's a welcome new turn for TV's smartest relationship comedy.

YEARBOOK (Fox, debuting March 7, 8:30 p.m. EST). Cameras follow the lives of real students at Glenbard West High School, eavesdropping on everything from math classes to private boy-girl moments. One video-verite show too many from the Fox network.

THE FRED ASTAIRE SONGBOOK (PBS, March 8, 9 p.m. on most stations). His singing was as heavenly as his dancing, as this wonderful tribute shows.

ART

BLACK ART: ANCESTRAL LEGACY, Virginia Museum of Fine Arts, Richmond. An exhibition of 156 sculptures, paintings and other works by 49 20th century African-American and Caribbean artists who examine, explore and celebrate their heritage through the interpretation of ancient secular and spiritual motifs. Through March 24.

EASTMAN JOHNSON: THE CRANBERRY HARVEST, National Academy of Design, New York City. This small show focuses on the studies and early paintings that culminated in Johnson's famed, and newly restored, work depicting Nantucket berry pickers. Through March 24.

MUSIC

. KITCHENS OF DISTINCTION: STRANGE FREE WORLD A&M). A band of genially berserk Brits, turning out tunes with wit and — hard to believe in this dance-mad age — melody. With echoes of mid-period Beatles and backlash art-rock, this is pop with heart and promise.

MARCUS ROBERTS: ALONE WITH THREE GIANTS (Novus/RCA). How old do you have to be to take on a giant? David was a mere slip when he brought down Goliath, but jazz pianist Marcus Roberts, 27, isn't interested in confrontation. He's paying tribute to Ellington, Monk and Morton, re-interpreting them in a way that's full of warmth, empathy and musical surprise.

EVGENY KISSIN: CARNEGIE HALL DEBUT CONCERT (RCA Red Seal). From his daringly slow opening statement of Schumann's Symphonic Etudes, and throughout this recital of challenging works by Liszt, Chopin and Prokofiev, the Soviet prodigy, now 19, shows a potential for future greatness, with a command of tone, dynamics and phrasing that is always at the service of musical ends.

MOVIES

L.A. STORY. Steve Martin's Annie Hall: that's one way to describe this blithe, witty take on the most American of cities. Martin, who wrote the film, stars as a TV weatherman with a head for romance and a hard time finding it. Victoria Tennant, Marilu Henner and Sarah Jessica Parker offer the feminine options, and Brit TV maven Mick Jackson supplies the directorial dazzle. But this is a very personal Martin project — the sweet-souled, nonstop-funny testament of a native Angeleno. Sly and soulful, it's the comedy that dares to be dippy.

1900. In 1976 Bernardo Bertolucci assembled an all-star cast (Robert De Niro, Gerard Depardieu, Burt Lancaster, Stefania Sandrelli) for a history of 20th century Italy that played like a Marxist Gone With the Wind. Now the full version — all 5 hr. 11 min. — is premiering in the U.S. Don't miss the grandest folly of a great director.

ETCETERA

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"

We face a catastrophe of such unthinkable magnitude.

"

MICHELLE BACHELET, President of Chile, rallying relief efforts on Sunday a
broad daylight after an 8.8 magnitude earthquake hit the country, homicide hundreds and
displacing as multitudinous as 2 million people

In spite of utter in rail of Articles side or Part Fronts pages. Duplicate and variety hero as necesssary to distinguish.

Solo review

Jack Barrett (Friels) feels that he has been in the province of underworld recompense just about.. forever. So, he’s thinking about going aside to retire. But, The Gentlemen, the alliance which hire him for long, doesn’t let him go in peace.

The Woman Next Door review

Bernard Coudray (Gerard Depardieu) and his spouse Arlette (Michèle Baumgartner) live happily in a cottage in the country with their small son Thomas (Olivier Becquaert). But his verve is thrown into turmoil when Bernard’s prehistoric lover Mathilde Bauchard (Fanny Ardant) unwittingly rents the neighbouring house with her husband Philippe Bauchard (Henri Garcin). Bernard and Mathilde are both haunted by the past and start to unite again secretly but comprehend the situation is impossible. Not Madame Jouve (Véronique Silver), who manages the local tennis courts and who was crippled in an attempted suicide 20 years earlier, seems to understand.

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