Films I Recommend - Showing for the 1st Time in St. Louis in 1996 or late 1995

Below is my spin on films and how I rated 'em when I saw 'em. They are grouped by rating in the order that I saw them in. The year is the release date. **** and ***+ generally mean I'd be willing to see it again. A lower rating and I'd have to be coerced into seeing it again. I didn't include pictures that are several years old or that I've seen before.

****

02/25 "Dead Man Walking" (1995)

04/14? "Antonia's Line" (1995)

08/26 "Clueless" (1995)

11/29 "The English Patient" (1996)

***+

01/13 "Twelve Monkeys" (1995)

01/14 "Leaving Las Vegas" (1995)

02/19 "The City of Lost Children" (1995)

03/09 "Fargo" (1996)

04/14? "Richard III" (1996)

05/24 "Babe" (1995)

06/23 "Cold Comfort Farm" (1996)

07/20 "Lone Star" (1996)

07/27 "Courage Under Fire" (1996)

08/17 "Trainspotting" (1995)

08/30 "Emma" (1996)

09/28 "2 Days in The Valley" (1996)

10/20 "Big Night" (1996)

11/24 "Ed's Next Move" (1995)

12/26 "Shine" (1996)

***

03/03 "Kicking and Screaming" (1995)

03/15 "Mr. Holland's Opus" (1995)

03/23 "The Starmaker (1994)

05/04 "Flirting with Disaster" (1996)

05/19 "The Last Supper" (1995)

05/24 "The Truth About Cats and Dogs" (1996)

06/01 "Mission Impossible" (1996)

06/18 "Crimson Tide" (1995)

07/05 "The Rock" (1996)

07/07 "Independence Day" (1996)

08/03 "Walking and Talking" (1996)

08/23 "Wallace and Gromit-The Ardman Collection #2" (1996)

08/28 "Manny and Lo" (1996)

09/01 "Nixon" (1995)

09/19 "Girls Town" (1996)

10/27 "Michael Collins" (1996)

11/01 "L'America" (1994)

11/03 "The First 100 Years: A Celebration of American Movies" (1995)

11/08 "Ransom" (1996)

11/10 "Dogs: The Rise and Fall of an All Girl Bookie Joint" (1996)

11/10 "Persons Unknown" (1995)

11/17 "Jane Eyre" (1995)

12/12 "Twelfth Night (or what you will)" (1996)

12/19 "Looking For Richard" (1996)

Worst film I saw this year: Robert Altman's 08/17 "Kansas City" (1996)

Randy's 8 Best/Favorite Movies released in 1996 in Retrospect (not in any real order)

"Antonia's Line" (1995)

"Clueless" (1995)

"The English Patient" (1996)

"Twelve Monkeys" (1995)

"Leaving Las Vegas" (1995)

"The City of Lost Children" (1995)

"Fargo" (1996)

"Trainspotting" (1995)

01/06 "Aladdin" (1992)***+

Very enjoyable and funny throughout. Robin Williams as the genie is the best use of his talents in a film I can think of. I enjoyed it nearly as much as the first time I saw it three years ago. However, it loses a lot of the superior animation on video (i.e., cave with the lion's mouth). ($0.00, video, Todd and Rachel Jenkins)

01/13 "Twelve Monkeys" (1995)

***+ This is a dark and brooding, apocalyptic look at the future and present caused by the release of a virus that wipes out 5 billion people in 1996. Bruce Willis turns in a strong performance as the "volunteer" from the future who comes back to the present to collect information. Brad Pitt has a field day as the psychotic inmate who first introduces Willis to the past. Terry Gilliam directs and his imprint on the set design is apparent throughout, especially the future and the insane asylums. It's a good picture but the story lacks a freshness to make it truly great, such as "Brazil," but I may be being too harsh. ($9.00, Esquire, Rhonda & Reggie)

01/14 "Leaving Las Vegas" (1995)

***+ A superb but difficult film to enjoy given the plot line about an alcoholic who moves to Vegas, determined to drink himself to death, despite befriending a prostitute. Nicholas Cage and Elisabeth Shue turn in excellent performances as the two leads who struggle with the "hole" that their lives have become. Cage is at his best while in the DTs. It is truly depressing to watch his character continue to reject second chances or shots at redemption. The film's subject and presentation has a limited appeal but it is exceptionally well-done. Sting and Don Henley perform most of the soundtrack cuts very effectively. Mike Figgles (?) was the writer, director and music director and should create good things in the future. ($3.75, Crestwood, Kent)

01/20 "Shanghai Triad" (1995)

**+ Famed Chinese film maker Zhang Yimou has made a well-produced but somewhat boring Shanghai gangster film set in the late 30s. There's lots of symbolism (all Asian, so it's lost on this Western guy), good acting and fine cinematography, but I just didn't care about any of the characters or the story. The film also has several hand-held camera shots that bounce around, which always makes me nauseous. Forgettable. ($4.25, Kirkwood, Kent)

01/26 "Casablanca" (1942)

**** It's embarrassing to admit that I've forgotten how good this picture is. It is nearly flawless. It grabbed my attention and held it, even after having seen it numerous times. The acting, writing and mood are terrific. ($0.00, TV)

02/06 "Fort Apache" (1948?)

*** John Wayne as a Cavalry officer in Monument Valley in a film directed by John Ford--what else needs to be said? Well, it's not the best of the trilogy, but it's still great. The love story between Shirley Temple and the completely forgettable John Agar never works and is the weakest part of the film. The comic relief provided by the drinking and fighting Irishman: Ward Bond, Victor Mature, et al., is wonderful. No one portrays the Irish spirit more lovingly than Ford does in his pictures. It makes me glad to be part of the culture. ($0.00, TV)

02/19 "The City of Lost Children" (1995)

***+ Visually stunning French fantasy film is a joy to watch from a creative art decoration sense, but the story is only pretty good. The imagery is exactly the type one associates with Terry Gilliam ("Time Bandits," "Brazil" & "12 Monkeys"): overbearingly dark and dirty with a cold and freakish representation of technology. In fact, Gilliam called the film brilliant. In many ways it seems like a children's story but it is far too mature and grim for pre-teens (yes, I'm aware of the fable allusion). The story takes place on the docks of a large European city, roughly in between the 2 World Wars, though since this is a fantasy, that is somewhat meaningless. The plot centers on a young Artful Dodger-like girl and a simple strongman, referred to as "One," who are trying to locate a kidnapped child. The child is kidnapped by a group of bizarre scientific creations (a dwarf, a brain, 6 clones and man who can't dream). The group is kidnapping the children to "steal" their dreams. The 6 clones are especially well-done and played by only one actor. They must have used some state-of-the-art computer layering and animation techniques, because I would have sworn they were played by at least three identical twins. A second viewing is almost a must since so much is going on visually (there's a lot more to the story, too). This is a MUST-see for all fans of this type of movie. ($0.00-pass, Tivoli)

02/23 "Planes, Trains & Automobiles" (1987)

**+ John Hughes wrote and directed this tale of two guys, Steve Martin & John Candy, who are trying to get from New York to Chicago for Thanksgiving with great difficulties. The whole thing is rather predictable farce intoned with Hughes gaggingly sweet morality. Reasonably funny, but the best gags were ruined for me, having heard them lampooned years ago by friends who had already seen it. ($0.00, video, Raye & Kelly)

02/24 "Angel on My Shoulder" (1946)

+ Paul Muni plays a second-class hood who goes to hell and meets the Lord of Darkness, Claude Raines, and gets a chance to go back to earth. The film is, in a word, unwatchable. It took half an hour of script to get to this point before I gave up. Muni is awful. Every line is like something from a cartoon (i.e., "Wipe that smile off your mug!" or "I can't believe it, Smiley plugged me with my own rod.") I'm sure criminals of the forties were never this laughable. The depiction of Hell is also a hoot. The suffering of eternal damnation is depicted as nothing more than working in a boiler room, shoveling coal with a smell of sulfur. Actually H2SO4, which one of the damned explains to us is hydrogensulfate. The writing could hardly be worse. At least when Claude Raines is forced to recite such drivel, its' stomachable. Satan's assistant looks like one of the actors from "Plan Nine from Outer Space," to which genre this film belongs. ($0.00, Channel 9)

02/25 "Dead Man Walking" (1995)

**** A great movie that explores the issues surrounding the death penalty. Excellent acting, writing, direction and editing. Susan Sarandon and Sean Penn give Oscar-caliber performances as a nun and convicted killer on death row. Though some have accused it of being propaganda against state executions, I thought it respected each side of the issue and didn't make me change my views for it at all. The film follows Sister Helen working with a remorseless "I didn't kill em" death row inmate and the parents of the victims. While I don't think remorse and regret excuse the crime, it shows how important it is for the person to do so for their own piece of mind. How sorrow and anger tears apart the victims' families is also touched upon, demonstrating the value of forgiveness for the victim. This is a very Christian movie, however, and I think most people will be touched by it if they allow it to do so. Kudos to Tim Robbins too for an excellent script. There were little bits of humor that weren't directly part of the story line that greatly added to the humanity of the characters (i.e., the speeding ticket and the adjacent grave plot). Subject matter probably hurt its nominations. ($4.00, Kenrick)

03/02 "Braveheart" (1995)

**** Excellent film that, while violent, seems an accurate depiction of the time and events. Mel Gibson stars in and directs this epic story of a Scotsman leading the fight against English tyranny in the 1200s-1300s. Grim, brutal view of warfare and civilization at the time is well-done. The cinematography, sets and feel of the film are terrific (similar to the best westerns). A little long and slow in places for all tastes, but I really admired it. ($2.00, Lindbergh, Rhonda)

03/03 "Kicking and Screaming" (1995)

*** A current look at 4-5 guys who graduate with liberal arts degrees and can't seem to get on with life after receiving their diplomas. They remain in their rented house and continue hanging out around the alma mater for the next 6 months. Very funny at first but gets a bit more serious and bothersome as the plots continue and not much happens. Written and directed by Noah Bomboch (in his first film effort ?), some of the dialogue and scenes are terrific, but it tries too hard to be clever and smart at times (the Josie and the Pussy Cats reference was a little too far out there). I really related to it, even though I'm 11 years past that time in my life. I made the "smart" choice and took graduate classes while trying to put off the inevitability of real life. ($0.00-pass #3, Tivoli)

03/08 "Broken Arrow"

**+ Typical actioneer about a stealth bomber pilot, John Travolta, who steals a couple of nuclear bombs. Christian Slater is the good guy co-pilot that foils his plans with the help of a spunky female park ranger. Parking your brain at the door will help, so when the incredible presentation of the IMPOSSIBLE is shown, you don't pound your forehead in disbelief, giving yourself a mild headache (not that I would know
). I may be getting old but films that require this level of suspension of disbelief I find just plan silly. Most viewers won't be so annoyed, and the acting and production is pretty good (a function of director John Woo's skills). The script, though, is pure hack work. Not my first choice of films to go see, but I was intrigued, having stayed at the same hotel that the film crew did last summer in Lewistown, MT. My ordnance weenie co-workers immediately grasped the significance of the term Broken Arrow on placards of the trucks. I noted the 20th Century Fox logo, and between the group of us we figured out what was going on. ($0.00-AMC pass, Crestwood, Todd, Linda & Christine)

03/09 "Fargo" (1996)

***+ Coen brothers film about a kidnapping in the northern midwest is a mix of extreme violence with moments of hilarious quaintness. The film is based on a true story, so the events are not as bizarre and obtuse as other Coen films, such as "Barton Fink" or "The Hudsucker Proxy." As always, the dialogue is quite strong, especially the Minnesota/North Dakota vernacular. I can't stop thinking, and laughing to myself at the line: "Hey Hon, the prowler needs a jump." I love regional accents and colloquialisms. If you can handle the brutal nature of some of the murder scenes, you'll love it. ($0.00-pass #4, Tivoli)

03/15 "Mr. Holland's Opus"

*** (**+ or ***+ Depending on your sentimentality appreciation level.) Richard Dreyfus plays a high school music teacher over a thirty-year period in a very sentimental, cliche ridden tale. It works on the tear-jerker level, but embarrassingly so. The choice of songs (Gershwin, John Lennon and "Louie, Louie") are cultural cheap shots. You can't lose by invoking them. Dreyfus turns in a competent performance, though not Oscar-caliber, in spite of a typical script. I must say, the one strong point was in the presentation of the teacher's relationship with the gifted student, Jean Louisa Kelly. It was real and mature. Kelly's version of "Someone To Watch Over Me" is excellent. We'll see her again. W.H. Macy plays a high school principal in quite a departure from his role in "Fargo" as the husband/car salesman. ($3.25, Kenrick)

03/23 "The Starmaker (1994)

*** Bittersweet and earthy look at life in impoverished Sicily in the early the 1950s. The film centers on a con-artist who, for 1,500 lire, will make a screen test for people with aspirations of being a star. He has them read lines from "Gone With the Wind" (in Italian) with humorous results, as a variety of people come forward to put forth their presentations. Many can't remember their lines, others illiterate, but all seem to open up to the camera, revealing their innermost thoughts and secrets. An interesting look at people, their dreams and what they are willing to do to make them come true. Eventually the con man meets a girl whose money he can't take. Very well-written and thought-provoking. It's somewhat depressing while being uplifting. Italy's entry for Best Foreign Film Oscar. ($3.00, Kirkwood)

03/?? "In the Line of Fire" (1993)

*** I didn't write this one down when I saw it, and it didn't leave a lasting impression. It was a good action drama with Clint Eastwood as a Secret Service agent on the presidential detail who's haunted by his past of not saving JFK. In the present day, he chases a would-be assassin (John Malkovich) who's playing with him. Eastwood does a good job portraying that type of bureaucrat. There's a love interest too that was pretty good, but that's all I recall. Nothing fantastic, but good, competent story telling and a sure pleaser for its market audience. ($0.00, HBO in hotel room)

03/29 "Pulp Fiction" (1994)

**** This is one of the best movies ever made. It will still be discussed with respect and awe when I breathe my last breath. Many have tried to imitate the style and humor of late without the success. The script is excellent, the plot twists are fresh, and the dialogue is real and very funny. Seeing it a second time after knowing what's in the brief-case makes the whole thing make more sense and is more meaningful. Everything I said about it back in November 1994 still holds true: This is one seriously fucking good movie! (video rental-Rico, Rachel)

04/06 "Georgia" (1995)

** Similar to "Leaving Las Vegas," this is a very difficult film to enjoy. The story about a no-talent sister, Sadie, of a successful country singer, Georgia, trying to make it made me wince in sympathetic pain several times. It's not due to poor acting. Jennifer Jason Leigh turns in a terrific performance as the sister who so desperately wants to be successful but whose pain and anger spills over into her performances so she is unbearable to listen to. Mare Winningham is also good as the sister (she has an excellent singing voice). The problem is the story. It keeps teasing you that it's going somewhere. You think that Sadie is going to learn something, take advantage of the second chance. Not. Other characters, the father, the brother-in-law, niece and husband, are brought in, and you think something meaningful is going to come of it or at least we'll gain some level of understanding. Not. We just get to sit and watch in pain, much like Georgia, as Sadie continues to make a mess of her life. I'm sure that the intent of the film makers was not to show any resolution or meaning to any of it, since that is the way it works in real life. People don't get it. They ignore the offers at help, continue to get beat up by life and refuse to understand the way things are. I can't imagine anyone liking this film as much as respecting it for what it tries to accomplish. It leads to the discussion as to what the point of a story should be: to entertain, teach, bring understanding and wisdom, or just present a look at another life. ($10.00, Kirkwood, Kent)

04/11 "Taxi Driver" (1976)

**** Brilliant masterpiece of the underside of NYC urban life at the time. I love the script's depiction of emptiness and loneliness; the inner need to do something big, important...meaningful; the torment of a doomed love for a beautiful woman; the need for some power and control over one's existence; and a common desire to clean up the mess of the world. Seeing it on the big screen made me appreciate the terrific camera movements, the mood and lighting all the more. The haunting music of the soundtrack is also excellent. Which isn't to ignore the fine performances from the cast: Robert De Niro, Jodie Foster, Cybill Shepard, Harvey Kietel and the director himself, Martin Scorsese. A cinematic work of art. I should also mention that Schaefer beer is shown several times throughout. ($0.00-pass #5, Tivoli)

04/11 "Raising Arizona" (1987)

**** Exceptionally funny and wacky story of a couple, H.I. (Nicholas Cage) and Ed (Holly Hunter). The "salad days" of Hi and Ed's marriage comes to an end when they discover that Ed's womb is a "barren place" where Hi's "seed" can't be planted, so they decide to kidnap a quintuplet. The one liners, especially from Cage's narration parts are classic. This is the most lighthearted of the Coen brothers films (most of it is actually shot in bright daylight as opposed to the dark brooding grays and earth tones of their other work). Fourth time I've seen it, but it remains fresh and vibrant. I think I'd like to get the script sometime. ($4.00, Tivoli, Jake, Jenn Cobb, Amy Cobb, Dave and Julia)

04/12 "The Parent Trap"

*** Corny but enjoyable Disney story about Hayley Mills as a set of identical twins who were split when their parents divorced. They meet at summer camp and conspire to bring their parents back together. Dated but great fun. ($0.00, video, Mark Broome, Jenn, Amy, Dave and Julia)

04/16 "The Benny Goodman Story" (1955)

**+ Exactly what you would expect of a Hollywood biography of the time. Glossy, dialogue and plot are stiff, with the whole thing being a showcase of the songs. I enjoyed it none the less, probably because of the music and the presence of Donna Reed ($0.00, AMC cable-Tacoma)

I loved both of the following films when I saw them, but I neglected to write them down or they got lost during a file corruption problem I had earlier in the year, so my initial thoughts are gone.

04/14? "Antonia's Line" (1995)

**** Dutch film about an independent woman and her teenage daughter after World War II returning to her war-damaged home and town. Antonia proceeds to make repairs to the house as well as mend the ills of most of the people around her through her love, compassion and refusal to accept the hypocrisy that imprisons much of society. Best Foreign Film winner is terrific view of tolerance and humanity over the course of a lifetime. A must see for the liberal minded. ($3.00, Kirkwood)

04/14? "Richard III" (1996)

***+ Sir Ian McKellen stars in this very approachable adaptation of the Shakespearean tragedy. The staging of Richard as a Hitler-esque English prince in the 1930s works exceptionally well, and the supporting cast is terrific. Much more satisfying than Pacino's pseudo-documentary "Looking For Richard" in the latter part of the year. ($3.00, Hi-Pointe?, ?)

04/29 "James and the Giant Peach" (1996)

**+ This Raoul Dohal story is imaginative and a visual delight, while being somewhat meaningful and enjoyable. Roughly 60% of the film is animated (in a style very similar to "Nightmare Before Christmas," which isn't surprising, since it was directed by the same person who did that one). The music is OK but forgettable, which I'm sorry to say is true for the story. It meant to be good but it just doesn't tie together well at the end. I was hoping for a "Willy Wonka..." but only got an OK, slightly above the run of the mill children's movie. ($8.00, Kenrick, Julia)

05/04 "Flirting with Disaster" (1996)

*** Ben Stiller plays a neurotic (almost Woody Allen-like), adoptee who searches for his birth parents across America with very funny results. The humor arises from the situations and the characters as opposed to exceptionally clever dialogue (so it doesn't lend itself to the post-viewing quotations, like a Coen brothers film). The supporting cast portraying the quirky yet realistic family members includes: Patricia Arquete, Mary Tyler Moore, Alan Alda, Lily Tomlin, George Segal and others who are terrific and make the film. The script's depiction of the ineptitude, half-baked emotions and ideas we all are prey to is the core of the story. The film does a good job of showing us that life rarely matches or lives up to our expectations. Although things may be messier this way, it's far more interesting. The film isn't for all tastes though, and has some rather adult themes, though none as the controversial nature of the Oedipal situations of "Spanking the Monkey," which was by the same writer-director and I admired a great deal. ($6.25, Westport, Jenn, Amy & Dave)

05/19 "The Last Supper" (1995)

*** Rather dark ensemble piece about a group of liberal Iowa graduate students who have guests over for dinner on Sunday evenings for discussions. Things change when a conservative stranger fills in one evening. Well-written and thought-provoking piece that should generate discussion. The choice of colors, art decoration and music is well-done. The main cast does most of the work and is good, but the cameo roles are definitely the most fun. I enjoyed it greatly while watching, but it didn't stay with me. ($3.75, Crestwood, Jenn, Julia, & Jeff)

05/24 "The Truth About Cats and Dogs" (1996)

*** Tender romantic comedy with a Cyrano de Bergerac-like plot of a plain, call-in radio show veterinarian who in the heat of the moment identifies her model neighbor as herself to a stricken caller. Janeane Garafaino is excellent as a the vet with a low self-image of her beauty. Well-written on a line-by-line basis, but there are some overall plot problems that don't work as well (like the basic premise). ($4.00, Kenrick)

05/24 "Babe" (1995)

***+ Exceptionally well-done film about a small, motherless pig who is befriended by sheep dogs and learns "the way things are"...sort of. Should be enjoyable for children of all ages, but I don't think it was quite "Best Picture" nomination stuff. The live action that has been doctored to have you thinking that all the critters are talking is particularly effective. I really liked the duck and the singing mice. I'm sure it will stop many a kid from eating bacon or chops for quite a while. If this doesn't make you want to be a vegetarian, nothing will. ($0.00, The Cobb Video collection, Brazil)

06/01 "Mission Impossible" (1996)

*** Tom Cruise delivers exactly what you would expect from this Hollywood update of the TV series. Actually, I was impressed that the script wasn't dumbed down too much for today's audiences. There were plenty of plot twists and intrigue. I really liked Vanessa Redgrave's role and how she played it with great seduction. ($4.00, Des Peres, Kent)

06/01 "Metropolitan" (1990)

***+ Exceptionally well written ensemble piece about a group of pretentious yuppies in NYC's west side during Christmas break of their freshman year in college. Their lives are an endless string of formal parties and dances at their parents very exclusive homes. They spend all their time talking and trying to reach out to one another but can't seem to get past all their formal upper-class stiffness. They are not really friends as much as acquaintances from the same class. You wonder if they even know how to be friends yet. Like all people that age, they are very full of themselves and have opinions on things they've never experienced. A good representation of the youthful angst and pain of the downwardly mobile. A must-see if you fall into that class, not that I do. ($2.00, Blockbuster, Jenn, Amy and Julia)

06/05 "The Monster" (1996)

** Crude, physical Italian comedy about a man, mistaken as a serial rapist, is fairly funny if you like burlesque humor. There's lots of bawdiness with women in skimpy clothes and the hero grabbing them in suggestively/graphic posses. Writer-Director-Star Roberto Benigni is like an Italian Benny Hill with a hint of Buster Keaton (only a touch). Only worth seeing if you like that sort of thing. ($4.00, Sacramento Inn)

06/07 "J'ai Pas Sommiel" (I Can't Sleep) (1994)

** French film that flows around the interconnectedness of a handful of characters. Like life, there's not really much of a plot as much as an unfolding of events. It's interesting, moody and somewhat dark (a serial killer is loose in Paris). Can't really recommend it. ($6.00, Roxie-San Francisco, Jake)

06/11 "Get Shorty" (1995)

*** Same opinion as last fall. John Travolta stars as a likable Shylock from Miami that arrives in Hollywood and wants to start making pictures. Gene Hackman, Renee Russo and Danny DeVito also star. It has nice plotting and a few predictable twists, a kind of a 1990s Damon Runyon story. Some of the humor is somewhat for film nerds, but I especially liked lines about "A Touch of Evil" and "Rio Bravo." Good, but not an essential see. ($0.00, Blockbuster Video, Jenn, Amy & Dave)

06/14 "Two Friends" (1986)

***+ Jane Campion's first film is an excellent story about two 15-year-old girls in Australia, whose friendship isn't what it once was. The plot device of telling the story in reverse is particularly effective. The film expresses the pain and insecurities of being a teenager and relating to your parents with feeling and understanding. It was refreshing to see a quality coming-of-age film about women. However, the low budget and second-rate sound quality drastically hurt appreciation of the overall product. It almost needed subtitles. ($5.00, Webster University, Julia)

06/15 "North by Northwest" (1959)

**** One of my favorite films of all time. It is intriguing and thrilling, while liberally sprinkled with lots of little jokes and sight gags that make this Hitchcock's most enjoyable film to watch, even with repeated viewings. The casting of Grant as the "everyman" caught up in the unusual is terrific, and Eva Marie Saint is at her best. The sexual innuendo between Saint and Grant on the train is fabulous, reminding us all that sex is mostly in the mind and not in the gratuitous display of nudity (editor's note: not that nudity hurts, right?
). ($20.00-pass #1, Tivoli, Kent, Julia, Amy and Dave)

06/18 "Crimson Tide" (1995)

*** Denzel Washington and Gene Hackman drive this tight nuclear submarine actioneer in a clash between Naval generations (Hackman representing the old school and Washington representing the new Navy). The plot highlights questions about leadership and doing the right thing in the military in the face of armageddon. Generally well-written and acted. It will please its intended audience. ($0.00, St. John's-apherisis)

06/23 "Cold Comfort Farm" (1996)

***+ Funny character film that surrounds Flora, a 23-year-old orphan from upper-class London society in the 1920s, who invites herself to stay with distant relations on a rural farm. She definitely tidies things up among the eccentric and dysfunctional family. "I saw something nasty in the wood shed" and "Robert Post's child" are tag-lines that ring through your mind long afterwards. An excellent lampoon of romantic English dramas such as last year's two Jane Austin companion pieces "Sense and Sensibility" and "Persuasion." ($2.50, Hi-Pointe, Julia)

06/29 "Like Water For Chocolate" (1993)

*** I really wanted to love this movie and tried very hard to, but just couldn't manage it. It is an excellently well-executed romantic story of love, with mystical overtones. The integration between love and the tastes of foods are particularly well-done. Gorgeous scenery and soft lighting and focus may give a romantic feel to the picture, but it just can't escape the ridiculous and self-centered nastiness of its story's premise: that love based completely on what people look like is the truest form. I got the feeling that it's based on a true family story that the great-grandniece choose to romanticize. The film cruelly depicts many of the non-"true love" characters, showing them in such a way that we root against them. Upon further reflection, we really shouldn't, since they didn't do anything wrong. It's the "heros" that screwed everything up. Pedro's snap decision to marry Rosaura, the sister of his "true" love, Tita, was truly buttheaded and ruins most everyone's life after that. Actually, it was all the repressed tradition-bound decisions of the characters afterward that really destroy the happiness of their lives. The second daughter, Gertrudis, seems to be the only one with any sense in the film, and her "marriage" is one of the most fanciful plot devices in the picture. Tita should have married the doctor, who was honest, smart, caring and good instead of waiting for her true love (based on what?) the handsome, weak, and whiny Spanish lead. Maybe it's the personnel Dilbert factor in me, but women who romanticize this kind of tripe deserve the unhappy, unrequited lives they get. The more I think about it the more I think it's ridiculous. ($8.00, The Movies-Portland, ME, Tippy)

07/02 "Jumanji (1995)

**+ Nice effects but forgettable tale about a board game that unleashes the beasts of the jungle and refuses to let the players quit. It has a few things to say about facing up to your responsibilities, but they get lost in the computer animation. Robin Williams is agreeable but it's not a role that needed his talents. There really isn't enough of a story for an hour and a half. ($0.00, Cobb Video Collection, Jenn)

07/05 "The Rock" (1996)

*** Nicholas Cage, Sean Connery and Ed Harris perform as expected (excellently) in this good actioneer about terrorist capturing Alcatraz. The whole thing is fairly implausible when you think about it, particularly the car chase in downtown San Francisco (not to mention the ordnance technical note that VX is not contained in little glass green bulbs inside missiles). Then again, you aren't watching this for reality. ($3.75, Crestwood, Julia, Jake, Raye & Kelly)

07/07 "Independence Day" (1996)

*** I didn't expect much from this rather predictable plot line of alien invaders attacking Earth, but I was very surprised. The cast of semi-known characters tie this rather large-scale production together, nailing the human aspects of the story. Will Smith as the fighter pilot gets all the best lines, but Harry Connick Jr., Judd Hirsch, Randy Quaid, Bill Pullman and even Jeff Goldblum are enjoyable. Sure it's comic bookish, but I liked it (though the longer I'm away from it the less comfortable I am in defending it). It was fun and enjoyable in a Star Wars kind of way. Not that it's on the same level as that, but it has the same sort of feel. Kind of "Flash Gordon" mixed with "War of the Worlds." ($3.00, Kenrick, Jenn, Julia, and Jake)

07/15 "Welcome to the Dollhouse" (1996)

**+ Stark and depressing look at a junior high school girl, Dawn, who doesn't fit in at school because she is ugly, uncool and has the misfortune to have a name that lends itself to derision (Wiener). Her parents are awful to her, too. While I applaud the intent of the story line and what it hoped to accomplish, it doesn't achieve it. None of the casts rises above being a "character" and becomes believable. It could be a function of the actors chosen, but I tend to believe it's more a function of the writing. Dawn's sister's pirouetting and her brother's nerd band are just too much. Obviously the writer was healing a few past wounds with the script. As a side note, I had a sexual harassment awareness seminar the following day. While not condoning it, none of the scenarios they presented as cases of harassment had anything on 7th grade. They were definitely a cakewalk compared to what Dawn goes through. (Follow-up-This film did stick with me long after seeing it, much more than other films, so it should warrant a viewing based on that alone.) ($5.00, Kirkwood, Jenn and Amy)

07/19 "Hard Boiled" (1992)

*** (**** for the genre, ** plot) John Woo has a genius for action/thrillers. The choreography of the shooting scenes are the best I've ever seen, albeit exceedingly violent. The opening tea house scene is incredible and a fitting successor to Sam Peckinpah's "The Wild Bunch." The cinematography for the entire picture is incredible (the library scene keeps coming to mind long afterwards). The way Woo moves the camera and transitions between scenes is particularly effective; a high mark not just for the Hong Kong genre but for all pictures. I didn't see this skill in his most recent Hollywood effort, "Broken Arrow," but the strength of both plot lines are roughly equivalent (weak). A cop, Chow Yun-Fat, attempts to break up an international arms syndicate, with an unbelievable number of people getting shot (roughly the equivalent of three Arnold movies). The female character is about two decades behind current expectations, not that I suspect that too many women will see this picture to be insulted by it. If you think Hollywood has a corner on the action market, watch this and see true mastery. ($5.00, Webster University, Julia)

07/20 "Lone Star" (1996)

***+ John Sayles (writer & director) succeeds with another tale of insight into the complexities of humanity. Chris Cooper stars as a reluctant sheriff of a Texas border town where a 40-year-old murder is uncovered. Sayles' story ties together the tension between the separate cultures of the town (i.e., white, Mexican, black and combinations thereof), the closing military base and politics of the current day, all of which are haunted by the ghosts of the past. It explores the parent/offspring relationships from numerous angles, particularly the father-son one, very well. The film slows a bit at the hour and a half point and could have lost about 15 minutes and been more effective. Kris Kristofferson has a supporting role and is fairly good (not the kiss of death for a film that I normally think of him as). A minor script gaffe: a .45 cal slug on a military rifle range is very typical and would not be proof of civilian use. I've been on a dozen rifle ranges of that time frame and have yet to see one where they didn't use pistols or .45 machine guns. ($6.00, Tivoli, Julia)

07/24 "The Thin Man Goes Home" (1944)

**+ Predictable yet truly enjoyable murder mystery lark with William Powell and Myrna Loy reprising their roles as Nick and Nora Charles. Not as good the original, but still a pleasure. I also rented "The Shadow of the Thin Man," which I had seen before, and quit about 10 minutes into it. "Shadow..." is one of the weakest of the series, partially because its portrayal of the black maid is very dated and Nicky, Jr. is a distraction as opposed to Asta who is rightfully a main character. ($1.07, Schnucks video)

07/27 "Courage Under Fire" (1996)

***+ Post-Desert Storm tale deals very effectively with the less discussed aspects of war: fratricide, guilt, as well as courage and fear under fire. Denzel Washington is excellent, as always, but Meg Ryan, Lou Diamond Phillips and the guy who plays the medic also turn in fine supporting performances. Well-done film has an audience far beyond the military/war film genre. Supporting roles may be remembered at Oscar time. ($3.75, Crestwood, Raye & Kelly)

08/01 "Bullet in the Head" (1992)

**+ John Woo Cop-saki film revolves around three friends who, as a result of a murder, leave Hong Kong in 1967 for Vietnam to seek their fortune. The bounds of friendship, loyalty and humanity are all examined, but the plot is purely perfunctory. Exceedingly violent and only recommended for fans of this genre. ($0.00, The Baker Video Collection)

08/03 "Walking and Talking" (1996)

*** Intimate and fairly funny story of two women in their late twenties and their ups and downs of their friendship and relationships with men over the course of a year. One's engaged and the other isn't. Very real and tender look at love and companionship as well as the miscommunication and petty jealousies that are our friendships. Might be labeled a "chick flick," but I liked it very much. Admittedly, it didn't stay long in my memory. ($6.25, Shady Oak, Julia)

08/17 "Trainspotting" (1995)

***+ Fun with young heroin addicts in Edinborough, Scotland. Sounds somewhat contradictory, but this is an excellent film of youth struggling with the prospects of the future. The dialogue is hilarious, especially the Sean Connery and the "colonized by wankers" bits. Much of the dialogue is difficult to understand due to very thick accents, especially the angry, violent one Begbe. Harsh in places, with graphically based humor (both verbal and visual)--most of the images won't quickly leave you. ($0.00-pass #2, Tivoli. Kent)

08/17 "Kansas City" (1996)

* A Robert Altman film without full frontal female nudity? Believe it or not, but it's true. There is little to recommend in this film except for the excellent jazz music, superior sets and costumes. The basic plot about a jazz, crime, black-and-white politics on election day 1934, kidnapping and love goes nowhere at an incredibly slow pace. The dialogue is meaningless and provides little insight into the characters. The characters are all unlikable, which is at least partially a function of the uninspired acting (Jennifer Jason Leigh is especially annoying and I usually love her work). This was one of those films where I'm literally raising my hands in the air at the theater wondering why it was made. ($5.75, Crestwood, Amy and Dave)

08/22 "South Pacific" (1958)

**+ Poor film adaptation of excellent Rodgers and Hammerstein musical of James Michener's Pulitzer Prize-winning novel. The acting is uninspired, and all the actors are forgettable (name one other picture Mitzi Gaynor was in, or any of the rest of the principals except for perhaps Ray Walston). The color "mood" filters are exceptionally annoying, but don't forget the insipid choreography in places (i.e., "Happy Talk"). Still, it's worth watching based purely on the strength of the music. ($0.00, cable, Jenn & Jeff)

08/23 "Wallace and Gromit-The Ardman Collection #2" (1996)

*** Compilation of animated short features, including Wallace and Gromit in 1995's short feature Oscar winner "A Close Shave." While funny, "A Close Shave" isn't as fresh or as humorous as Nick Park's earlier "The Wrong Pair of Trousers," but it's still worth seeing. The collection also included Nick Park's "Creature Comforts" and the series of commercials he did for the British electrical utility, which are fantastic ("I want to live in a place with lots of space and it's warm"). The other stuff was pretty good, too. ($0.00-pass #3 & 4, Tivoli, Jenn, Julia, Amy & Dave)

08/26 "Clueless" (1995)

**** Very funny and fresh updating of Jane Austen's "Emma." The plot is moved from the early 1800s of upper-class England to Beverly Hills High School of today. Our heroine Cher's efforts to play matchmaker for everyone else, while totally missing the obvious choice for herself, is great fun. The script is very well-written. I think me giving it 4 * after seeing it on video pretty well sums up how much I enjoyed this film. ($0.00, Cobb video collection, Jenn)

08/28 "Manny and Lo" (1996)

*** Fairly good independent first picture of two girls whose mother's death leaves them on the run in a station wagon. To say more would give away some of the plot turns that are better left to the film. Interesting insight into the differing motives and needs of people. Look for more good work coming from the younger sister who plays Lo. ($0.00-pass #5, Tivoli, Julia)

08/30 "Emma" (1996)

***+ Gwenneth Paltrow stars in adaptation of Jane Austen's tale of upper-class matchmaking by a young woman intent on finding spouses for all around her, while being oblivious for herself. The sets, costumes and all the rest of the production values are top-notch. ($5.00, Hi-Pointe, Jenn)

08/31 "The Man Who Shot Liberty Valance" (1962)

**** John Ford directs John Wayne, Jimmy Stewart, Vera Miles, Andy Devine, Lee Marvin and the always strong supporting cast of characters in a Ford film. The basic plot is excellent, highlighting the complexities of law, order, politics, love and honor in the West as it becomes tamed. Drinking is a major feature but isn't as glorified as in other Ford works. A couple of the lines clink with unintended irony, like having a women laud the virtues of the Constitution that guarantees everyone the right to vote, except of course women at the time. The truck farm comment seemed out of place, too (though having looked it up, the word truck is definitely acceptable). Gene Vincent hit song based on the title is nowhere in the film, thankfully. ($4.00, Tivoli, Rhonda & Todd)

09/01 "Nixon" (1995)

*** I only watched the last the half of this, but once again it's obvious that Oliver Stone is a brilliant film maker. The editing, camera techniques and production are all fantastic. I only wish someone else would write his scripts. His blatant slant and depiction of the story comes across as pure propaganda, undercutting and discrediting the impact of the story. You feel you're watching a commercial or political ad. Still, if you think of his work as a piece of fiction and not having to do with reality, it's terrific stuff. I've heard people lament that they hope kids don't watch this and decide this is what Nixon was really like. Maybe it was the name or maybe it was my Halloween party, but I was struck by the similarities of Stone's presentation of a historical figure in comparison with William Shakespeare's "Richard the III," which is generally thought to completely demonize someone out of favor with the then-current ruling party. ($0.00, rental, Jenn and Amy)

09/07 "The Trigger Effect" (1996)

**+ Kyle MacLachlan and Elisabeth Shue star in this cautionary tale about society and the anger and insensitivity that is just beneath the surface. The restraints are lifted when the power goes out. Shue emits sexuality throughout. The film is relentless and taught in its edginess. While I commend the intent and meaning of the film, the actual execution misses the mark. There are some holes in the plot line, but it's still pretty good. ($5.75, Crestwood, Kent)

09/10 "A Better Tomorrow" (1986)

*** John Woo Cop-saki has a better-than-average plot line, surrounding his usual themes of loyalty, friendship and family interspersed with his better-than-average gunplay scenes. The plot revolves around two brothers: one a cop, the other a counterfeiter/smuggler and the criminal's loyal friend, Chow Yun-Fat. Exceedingly large amount of gunplay, but the violence is all surreal and somewhat cartoon. The dubbing on this copy was terrible "I'll" would pass for a full sentence of "I will." ($0.00, The Baker Video Collection)

09/19 "The Wedding Banquet" (1993)

*** The plot surrounds a gay Taiwanese yuppie, tired of his parent's constant matchmaking, agreeing, on his American lover's advice, to marry an illegal Chinese immigrant friend so that she can get a green card. It turns out to be a bigger deal then he expected when his parents come and insist on having a traditional wedding banquet. Ang Lee directs, with shared writing and producing credits. I was a bit disappointed in the film, since I'd been looking forward to seeing it for years. Rarely does acting ever bother me, but the performances of the three leads are generally weak, particularly the Taiwanese yuppie, Winston Chao. Also, it wasn't as funny as I thought it would be, though it could be function of watching it on video. ($0.00, The Baker Video Collection)

09/19 "Girls Town" (1996)

*** Gritty realistic look at three teenage girls in a rough part of New York. The reservations of telling anyone else your fears and problems are thoroughly explored as the women learn to trust and communicate with one another. Refreshing in that while the girls are from a rougher part of town, it doesn't fall into Hollywood cliches that all urban youth resort to shooting guns to express their outrage. On the other hand, the lack of escalation in the violence seemed a little naive. Pretty much a chick film, since guys are pretty well trashed. Much of the dialogue is improvised but works surprisingly well (all the main characters share in the screen-writing credits). Not completely enjoyable or comforting to watch. It doesn't leave a lasting impression. ($20.00-Tivoli pass #1, Julia, Dana, Kent and David from Seattle)

09/28 "2 Days in The Valley" (1996)

***+ Excellent plot and characters drive this thrilling, sexy and thoughtful story of murder, kidnapping, hit men, love and redemption (yes the last two subjects belong). The entire cast is terrific, each shining in their own role, though James Spader as the evil hit guy is the most memorable. I won't say much about the plot, because that might ruin the effect of the story unfolding, but it's a terrific film and worth watching. ($6.00, Creve Coeur, Jenn, Julia, Amy and Dave)

09/29 "Robert F. Kennedy Remembered" (1968) & "Island of Hope, Island of Tears" (1995)

*** Two of Charles Guggenheim's Oscar-winning documentaries were good but not outstanding. The Kennedy film is dated somewhat but is a gripping look at probably the most sincere of the Kennedy boys. A true loss. The second film looks at Ellis Island and is competently made but doesn't succeed in bringing the story to life. I've grown accustomed to the Ken Burns/Geoffrey Ward school, and I'm definitely partial to it (the use of historians and famous narrators to breathe life into individual characters). Guggenheim's "The Johnstown Flood" is still my favorite piece of work, but then again, I may be discrediting the "Monument to a Dream" (making of the Arch film) from having seen it too often as a kid in school. ($5.00, Webster University, Jenn and Dave)

10/5 "A Grand Day Out" (1990)

*** Nick Park's first Wallace and Gromit feature is not as refined as either of the two later works but enjoyable nonetheless. Their trip to the moon for cheese explains the jokes in the later films. "The Wrong Pair of Trousers" is still the best of the bunch, especially the evil penguin. ($0.00, video, Jenn, Amy and Dave)

10/20 "Big Night" (1996)

***+ Funny but not hilarious film has a terrific ensemble cast including Isabella Rosselini. The story overtly revolves around two brothers in late 1950s New Jersey trying to run a good Italian restaurant. One brother, the cook, is a perfectionist and stubbornly insists on serving traditional dishes and not conceding to customer demands ("...sometimes the spaghetti likes being by itself and doesn't want the meatballs"). The other brother wants to take the high ground but can't help seeing that they're losing their shirts while the cheesy meatball place across the street is raking in the customers. The big dinner scene will raise hunger pains no matter how much popcorn you eat (editor's note: not if it's good popcorn). Underneath the main story is the deeper parable about good, evil and the temptations of life. ($6.00, Hi-Point, Julia, Jenn, Amy and Dave)

10/27 "Michael Collins" (1996)

*** Liam Niesson stars as the hero of the Irish Republican Army who masterminds the guerilla warfare tactics that brought the British to the bargaining table to recognize a separate Irish state. The story looses steam after Collin's trip to England to negotiate the Irish state with the Brits. Maybe it's having to adhere to the facts, which don't lend themselves to good plotting (the last 30-40 minutes seem anticlimactic). Adian Quinn co-stars as his right-hand man who vies with him for the affection of Julia Roberts (who is romantically beautiful but totally forgettable). ($5.75, Hi-Point, Julia, Jenn and Jeff)

11/01 "L'America" (1994)

*** Low-budget Albanian/Italian film that touched my sense of humanity and dignity. The story revolves around a young Italian who arrives in Albania after the collapse of communism to get rich off government incentives for opening factories. The scheme requires that they find a local Albanian patriot to be the puppet head of the firm. The selection of the CEO gives the youth much more than he bargained for. The film's imagery of the impoverishment in Albania and the strength of its people is terrific, lasting long afterwards. Not for those seeking adventure, but if you want to glimpse and understand another society a little better (as well as yourself), give it a look. ($5.00, Webster University, Julia, Amy and Dave)

11/03 "The First 100 Years: A Celebration of American Movies" (1995)

*** Chuck Workman's compilation, documentary tribute is well-done but not as fresh or touching in a 90-minute format as his earlier work for the Oscars or "Precious Images" for the Directors Guild (which brought me to tears.) Parts defiantly echoed the "That's Entertainment" series both in content and narration. ($0.00, Art Museum, Julia, Kent, Amy and Dave)

11/08 "Ransom" (1996)

*** Ron Howard competently directs this well made thriller about a kidnapping of an independent airline owner's son. Much of the impact of the film's plot line is ruined by the trailers at theaters and on TV, which show the major plot device, which doesn't occur until about 70 minutes into the picture. It does a fine job of explaining why Mel Gibson does this but the stumbles by not explaining to us the whys of the kidnapper's motives. Renee Russo looks pretty and anguished as appropriate, but the film belongs to Gibson and Gary Sinise as a cop. Worth seeing, but not a must see. ($6.00, Creve Coeur, Jenn, Julia {sort of} and Dawn)

11/09 "The Philadelphia Story" (1940)

**** This wonderful film about divorce and marriage amongst high society is a joy to watch. Cary Grant, Katherine Hepburn and Jimmy Stewart star, with Hepburn shining in a role created for her on Broadway. Some of the scenes are true classics, as are some of the lines. Maybe it's the result of seeing it three times previously (not counting a couple of the musical remake "High Society"), but the film's flaws were more noticeable. It's slow in places, and some of the dialogue seems off (particularly Grant's lines, though he has the best looks with no lines). Jimmy Stewart won an Oscar for his supporting role, but it's far from his best work. Maybe it's an unwillingness on my part to accept him as even a reluctant cynic (i.e., newspaper reporter). I have to join the consolation prize theorist for him not getting it for "Mr. Smith Goes to Washington" the previous year. Did I mention I missed the Cole Porter soundtrack of the remake? ($0.00, Channel 9)

11/10 "Dogs: The Rise and Fall of an All Girl Bookie Joint" (1996)

*** Despite the limitations of a very low budget of $80K (i.e., very poor sound quality), this is a surprisingly fun, fresh and energetic look at 4 women sharing an apartment on the Lower East Side of Manhattan who start a numbers operation in desperation for cash. There are lots of scenes that take place in the shower, which they share to conserve hot water (which was OK with this immature male). I'm guessing this is a function of losing the main apartment set and needing a few transitional scenes to take place somewhere else where they live. First-time writer, director and co-star, Eve Anneberg presented the film and should probably get an opportunity to make movies with a real budget and shooting schedule (she said it was shot over 17 months when they had money and people and equipment available). Part of the New Filmmaker Forum at the St. Louis Film Festival, which included the 6-minute short "Surprise," which was a very humorous Rube Goldberg bit. ($1.00+$21.00 pass punch #1, Webster University, Julia)

11/10 "Persons Unknown" (1995)

*** Hometowner George Hickenlooper directs Joe Mantegna in a film noire about a former Long Beach cop in the security business who meets a mysterious, beautiful woman that changes everything. To say more would ruin the story line. Very Hitchcockian in presentation (plot pacing, locations, character development), in a very complimentary kind of way, as opposed to the De Palma rip-offs that tend to annoy me. Film deserves to find a wider audience, but without the backing of a major studio, it will be difficult. Hopefully it will get a run at the Tivoli. Part of the New Filmmaker Forum at the St. Louis Film Festival, which included the 16-minute short "The Next Big Thing," which was very dark and somewhat meaningless (i.e., why bother making it?). ($1.00+pass punch #2, Webster University, Dave)

11/17 "Jane Eyre" (1995)

*** Well-done English production of classic Charlotte Bronte's tale. The plot surrounds a young girl sent by an uncaring aunt to a cold and harsh English orphanage/charity school in the 1830s to grow up. Following graduation, she is dispatched to be a governess at a mansion with a missing landlord and a few mysteries lurking about. Kind of a cross between Jane Austen and Charles Dickens. Somewhat predictable but a fine cast and production (sets, costumes, locations, etc.) make for enjoyable viewing, though not as good as the three recent Austen film adaptations (though this assessment could be a factor of my video bias). ($0.00, video, Jenn and Amy)

11/22 "Star Trek-First Contact" (1996)

** Disappointing but OK film staring The Next Generation cast fighting the dreaded Borg for the fate of earth using time travel (ho-hum, never had any of those plot devices before). Patrick Stewart is terrific as always, but elements of the plot are a little tired, and the new characters on Earth are insulting (cartoonish characterization and bad acting). Plot line couldn't survive standing on its own without the built-in audience of Star Trek fans. It's no "Wrath of Khan" (Star Trek at its best, but then again it's no "The Final Frontier" ("What does God need a Starship for?")-the worst of the series. Roughly on par with "Star Trek-the Movie" but without the horrible light-blue uniforms or the 6-minute fly by of the Enterprise. ($7.00, Maine Mall, Matt)

11/24 "Ed's Next Move" (1995)

***+ Terrific romantic comedy about a midwestern molecular biologist who moves to NYC and finds love is refreshing. The real situations make for a touching vision of romance as opposed to the slick productions that mars Hollywood products that depend on mindless gimmicks for a plot (hey what if a cop leaves a lottery ticket for a tip?). Probably the best romantic comedy of the year. ($3.00, Kirkwood, Julia)

11/29 "The English Patient" (1996)

**** Sweeping romance on a grand scale (think "Out of Africa" or "Dr. Zhivago"). The story unfolds slowly over the 2 hours and 40 minute running time and in retrospect seems rather predictable, but I enjoyed the terrific imagery of the African desert, the Cave of Swimmers and Italian countryside, all which haunt my thoughts weeks later. It's directed by Anthony Minghella, whose earlier work included the very memorable "Truly, Madly Deeply," which I admired greatly. It begins with a mysterious patient, seriously blistered, being taken care of by a Canadian nurse (Juliette Binoche) in an abandoned Italian monastery during the last days of WWII. It flashes back to a time just prior to WWII and a Hungarian Count (Ralph Fiennes) who is part of an archeological team mapping the Egyptian desert. Among the team members is the sensual, captivating Kristen Scott Thomas. I loved the Indian-Canadian bomb disposal guy, reminding me just how dangerous that job really is. My only real complaint concerns the typecasting of William Dafoe to the film's discredit. The cinematography will be remembered at Oscar nomination time, as might other categories. Walking out of the theater, the stunning beauty of the desert contrasted sharply with the cool drizzly weather in University City. ($0.00, Tivoli #2 & 3, Jake & Julia)

11/30 "Sleepers" (1996)

**+ Barry Levinson directed and wrote the screen adaptation for this tale of revenge of 4 boys abused at a reform school in New York in the late 1960s. It's an ensemble piece that has smaller roles for screen stars such as Dustin Hoffman, Brad Pitt, Kevin Bacon and Robert De Niro as a tough but caring priest (excellent as usual). While a little longer than needed, the initial shots of Hell's Kitchen in the 1960s reminds us of Levinson's best work depicting times and places in urban, working-class America. The Count of Monte Cristo angle was nicely worked in, and the depicted characters remind us of the scars people carry within from the past, that some can never get past. ($6.25, Kenrick, Jake & Julia)

12/5 "When Harry Met Sally" (1989)

**** Terrific film all around: writing, acting, direction, locations, scoring, casting. I can't think of anything that I would change. The heart of the film is Nora Ephron's fantastic script, but Billy Crystal and Meg Ryan are at their best (this film established all the major parties as definite bankable commodities). My pick of the best romantic comedy of its time. (It's not really fair to judge films of this genre from different eras against one another. They are so much a function of their time.) ($0.00, video)

12/6 "Palookaville (1996)

**+ Story about three affable losers/thieve wanna bes in Jersey City is funny and fairly good entertainment. No big laughs or memorable lines, but enduring look at those who populate the lower class, their dreams and basic decency. The brother-in-law cop who wears his gun around the house is a hoot. It should make most viewers feel their lives are completely with it in comparison. ($0.00, Tivoli #4 & 5, Julia)

12/7 "Vertigo" (1958)

**** This top-notch Hitchcock in a restored print is arguably one of the best movies ever made. I've only seen it once before when it was re-released in the mid-1980s, but the imagery of every scene has stayed with me (except for the ones with the husband). Kim Novak never looked lovelier, and the lighting, mood and character make nice use of her mediocre acting abilities. But than again, this isn't a film about character. It's about mood and imagery, a tragic love, and perfect beauty (a Julia Roberts role if ever remade, but why?). Jimmy Stewart does an excellent job in one of his toughest roles, as he portrays a complex mix of emotions: obsession, fear of personal inabilities, rage, love, justice, and guilt. Terrific use of scenery (the San Francisco tourism board couldn't have made a better promo for the city). I've been to San Francisco several times since first seeing the picture and got the biggest kick of seeing the different places around the area, even without trying: the Palace of the Legion of Heros, Fort Point, Stewart's house on Lombard Street (a block east of the crooked section), the Sequoias, and my father's Wedgewood/gun shop just a block away from the San Juan Batista Mission (with out the matte painted bell tower). I think it's interesting to see how my tastes of my ideal male lead have changed as I've grown up: having shifted from John Wayne to Cary Grant and resting on Jimmy Stewart of late. Not that I don't appreciate the others, just that I see more of what I value in life in his characters than in the others. Just a thought. ($0.00-6 can goods, Shady Oak, Raye)

12/12 "Twelfth Night (or what you will)" (1996)

*** Trevor Hunt (?) wrote and directed this fairly good adaptation of the Shakespeare comedy, though not as good as we've come to expect from Kenneth Branaugh and company. Terrific sets and locations help, but the first half drags, slowed down by some archaic references in the language and dark lighting (implying the melancholiness of the lovelorn ,but this is a light comedy, and the realistic darkness of the pre-light bulb castles would be better left to the tragedies). Once all the characters and the plot is set up, though, it's great fun to watch. The plot centers on Viola (Imogen Stubbs, who I thought was very good and captivating, but where did she get that name?). After losing her twin brother Sebastian in a shipwreck, she dons his clothes and becomes Cesario, seeking employ with Duke Orsino (played by a flat and forgettable guy). He sends her/him to the noblewoman Oliva (Helena Bonham Carter, as classically beautiful as always) to woo her for him. Olivia falls for Cesario/Viola, who has it bad for the Duke. The expected fun ensues. The subplot characters are well-cast too, in particularly the blackhole of fun Puritan, Malvolio (Nigel Hawthorne) and the not-so-foolish fool, Feste (Ben Kingsley). ($5.00, Hi-Point, Kent)

12/13 "Secrets and Lies" (1996)

**+ Low-budget and overly long British film which portrays how a few secrets and lies stifle and distance a small family. Nothing particularly bold or interesting in the story, aside from the one plot development played up in the trailers of a black woman searching for her birth mother. I'm probably being too harsh, but this isn't much fun to watch. Only one character ever seems to smile or is one you would you want to hang out with. The musical scoring is also terribly dark and depressing (heavy, brooding strings), reminding me of two earlier French films--"Blue" and "Tous Les Matin Du Monde" (1992), which is maybe the connection to how this film won the Cannes Palm d'Or. As an American, and an exceedingly open one at that, maybe I just can't appreciate the British tight-lippedness and the moral of the tale seemed blatantly obvious. ($5.00, Hi-Point, Julia)

12/14 "Forget Paris" (1995)

***+ Funny, touching, bitter sweet comedy of the on-again, off-again romance of Billy Crystal and Debra Winger (who's at her most enjoyable). Nice supporting roles by Joe Mantagena and others, but it's all Crystal's and Winger's film. Very effective use of locations in Paris, and a terrific soundtrack of American standards. I liked it very much, but than again, I'm a sucker for a Gershwin tune. ($1.06, Schnucks Video)

12/19 "Looking For Richard" (1996)

*** Al Pacino directs and stars in this half-documentary, half-adaptation of Shakespeare's "Richard the III". Kevin Spacey, Winona Ryder, Alec Baldwin, Aidan Quinn and others do some of the more famous scenes quite well. The interviews with noted Shakespearian scholars and actors, such as Kenneth Branaugh were also enjoyable (particularly the woman with glasses, whom they neglected to name). Interesting and thought-provoking as we watch the actors wrestle with the meaning of the lines and the proper way to play the role. Well-done, but I couldn't help wanting to see the whole story, which was very well-done earlier this year by Sir Ian McKellen. I'm sure that's Pacino's intent is to stir interest into the works of the great bard, which can be hard to approach and difficult to understand 400 years latter without the cultural literacy of the times needed. At this he succeeds, mostly. ($3.25, Westport)

12/20 "Red" (1994)

***+ It's difficult to summarize the plot of this French movie, but than again, it's not really about plot as much as image and mood. This is another segment of the "color" trilogy by French writer-director who first and last names begin with K and are unique. Much like his other film in the series "Blue" (with Juliette Binoche, which I liked a great deal. Its mood and feeling of depression and loss still linger in my mind), the color of the title is everywhere, appearing throughout the movie right down to the tinting of a German Shepherd. The plot surrounds a model, the very sensual Irene Jacob, who meets a bitter, old man with a story/mystery that slowly unfolds. The story pleasantly ties together and joins (just barely) with the characters from the other two films in the series, "White" (haven't seen yet) and "Blue." ($2.00, Blockbuster video, Julia)

12/22 "The Killer" (1989)

*** Nearly as good as John Woo's "Hard Boiled." Actually, overall it may be better, since "HB" never regains the momentum of the first scene in the Tea House, and it really gets a bit too over-the-top by the hospital climax. This film is much more even throughout. Once again, the plot line follows two men on either side of the law. Questions of right and wrong center on a man's loyalty and honor and not necessarily their profession (i.e., assassin or cop). It stars Chow Yun-Fat as an assassin who kills an incredible number of people, but they are all men without honor or faceless flunkies. When he inadvertently blinds a lounge singer during a shootout, he becomes her protector. The helpless waif female role seems more acceptable when the character is blind. This is a terrific film of its genre, but it's not for all tastes (very violent from a shooting stance, but it's like 1950s B or C Westerns, nameless people get shot and die. No pain and little suffering. Only the leads can take a few hits and still keep going). The pairing of Woo and Chow-Fat recalls other legendary pairings of star and director like Ford-Wayne, Capra-Stewart, Hitchcock-Grant or Hitchcock-Stewart, where each's best works is with the other.($0.00, video)

12/24 "It's A Wonderful Life" (1946)

**** My favorite film of all time. I never grow tired of watching it, and it makes me cry throughout. ($0.00, video)

12/25 "Jerry Maguire" (1996)

**+ Tom Cruise stars as a sports agent who goes through a "transformation" from a sleazy, money grubbing agent with lots of clients to one with fewer clients and decidedly less money. An idealistic, single-mother accountant follows him with predictable results. The supporting cast is terrific: the mother, the older sister, the son and particularly his one remaining client looking to resign with the football Cardinals (surely he got a Golden Globe nomination). Wonderful acting, however, can't salvage the emptiness of the basic plot. I just couldn't escape the fact that this guy's job is to milk as much money as possible from others, ultimately us, the consumer. Only Hollywood could give us such a tale and pass it off as a morality film. I think it's an indication of the limited expectations of our society, that so many people consider this film's message a virtuous one. Bah Humbug! ($3.25, Crestwood, Mom)

12/26 "Shine" (1996)

***+ Geoffrey Rush is excellent as Australian pianist David Helfgott, a musical genius who suffers a mental collapse and slowly regains a portion of his faculties. This frank and human portrait of a troubled mind stumbles occasionally in the story telling. The plot device of using Rachmoninoff's Third Concerto as the Mt. Everest of piano recitals isn't very effective, and at times it's laughable. Additionally, it does a poor job of explaining the father's motives for his behavior (it's hinted at but easily missed) and the remainder of the family seems like extras. Still, actor Armin Mueller-Stahl does an exceptional job of making the father seem human and understandable. John Gieguld and Lynn Redgrave are also good in supporting roles. This is a terrific picture, but I was disappointed in it in places and I feel somewhat apologetic for not liking it more, since its on many top ten lists. ($3.25, Kenrick, Kent)

12/28 "Grumpier Old Men" (1996)

*+ Decidedly less funny than the original and certainly less fresh. Walter Mathau and Jack Lemon reprise their roles, but this time after patching up their differences. Sophia Loren is stunning as always but just can't pull off the unbelievable of falling for a codger with "a face like a mackerel". Ann Margaret is completely wasted and the subplot of Darryl Hannah and Kevin Pollack getting married offers nothing of value except a feeble attempt to appeal to younger audiences. A few very funny lines, most belonging to Burgess Meredith as in the original, can't bring this film up to muster. ($0.00, Blockbuster, Jeff and Julia)

12/29 "Joe's Apartment" (1996)

** Enchanting scenes of singing and dancing cockroaches make this rather inane story watchable and mostly enjoyable. The special effects are terrific, especially the toilet bowl scene of them singing "Funky Towel," but the surrounding plot just isn't funny enough to compete with the brilliant nature of the cockroach only scenes. It originally started as a short film on MTV, which is probably a more suitable length and format. ($3.18, Schnucks video, Kathy, Traci, Rebecca & Bill)

12/31 "Belle Epoque" (1992)

*** Open and uninhibited comedy set in Civil War Spain (1930s) where a young deserter finds shelter with an old man who has four beautiful, single daughters. The four daughters all are enamored with the good looking, nice youth and...well...let's just say it's a different, more liberal kind of family values that are presented. It won the Best Foreign Film Oscar, I'm guessing partially rewarded from a strong male constituency voting for this romantic fantasy. It's not really a "guy" picture either since, the women have all the control over the weaker sex (?). ($1.06, Schnucks Video)

Total Number of Movies Not Seen Before 76

Total Number of Movies Seen again 16

Total Money Spent - $305.30