Films I Recommend - Showing for the 1st Time in St. Louis in 1998 or late 1997

Below are the films I'd recommend and how I rated'em when I saw them. They are grouped by rating in the order that I saw them in. Only one **** this year, which is definitely too harsh. I didn't include pictures I'd recommend that are several years old or that I've seen before. My spin on each film follows:

****

12/27 Life is Beautiful (1997)

***+

01/01 Good Will Hunting (1997)

01/18 The Sweet Hereafter (1997)

04/03 Men with Guns (1997)

04/27 The Apostle (1997)

05/15 The Spanish Prisoner (1998)

05/16 Sliding Doors (1998)

05/19 The Horse Whisperer (1998)

06/22 The Truman Show (1998)

08/02 Saving Private Ryan (1998)

11/08 Happiness (1998)

12/11 A Bug's Life (1998)

12/25 You've Got Mail (1998)

***

01/09 As Good As It Gets (1997)

01/19 Wag the Dog (1997)

02/06 Boogie Nights (1997)

02/13 Mrs. Brown (1997)

02/22 Afterglow (1997)

02/27 Shall We Dance (1997)

03/01 Ma Vie En Rose (1997)

03/19 Colors of a Brisk and Leaping Day (1997?)

04/24 The Newton Boys (1998)

04/30 Eye of God (1997)

05/02 Les Miserables (1998)

05/31 The Winter Guest (1997)

06/14 Wilde (1998)

06/23 Mulan (1998)

07/03 The Opposite of Sex (1998)

07/23 Out of Sight (1998)

07/24 Something About Mary (1998)

07/26 Smoke Signals (1998)

08/16 Pi (1998)

08/29 Return to Paradise (1998)

10/03 One True Thing (1998)

10/09 Simon Birch (1998)

11/01 Pleasantville (1998)

11/04 Six String Samurai (1998)

11/14 American History X (1998)

12/04 Living Out Loud (1998)

12/18 Gods and Monsters (1998)

Randy's 6 Best/Favorite Movies released in 1998 in Retrospect (not in any real order)

Life is Beautiful

The Truman Show

Saving Private Ryan

The Spanish Prisoner - best thriller

Happiness - most uncomfortable to watch

Men with Guns - John Sayles and his films are the most underrated by Hollywood. I can't think of another film maker who so consistently creates works extolling humanity.

Sliding Doors - best romantic comedy of the year, which means it won't be nominated

I hate to make judgements on best actors/actresses because I'm not nearly so critically of that portion of film making as I am of the script and to a lessor extent the directing. Still I believe Edward Norton deserves it for his role American History X. The merely adequate script would have been completely forgotten without his performance. Jim Carrey was terrific in The Truman Show but it had the benefit of a terrific, very interesting script and superior direction. Likewise, Martha Plimpton does an incredible job in Eye of God.

01/01 Good Will Hunting (1997)

***+ Matt Damon stars and wrote, with his real-life school chum buddy Ben Affleck, this good tale about a troubled undiscovered, math genus laboring as a janitor at MIT. The writing and dialogue are superior, particularly the scene where Will meets a Harvard pre-med. type (Minnie Driver), who becomes his love interest. She's particularly effective, as is the entire cast, which includes Robin Williams as his semi-willing shrink. The result is mostly effectual but upon reflection, it ends up all too neatly to be completely believable and satisfying. An Oscar nomination for Best Original Screenplay seems certain with possible nominations for picture, actor (Damon) and supporting actor (Williams) ($6.50, Shady Oak, Julia and Susan).

01/02 Deconstructing Harry (1997)

** Mediocre Woody Allen film about a writer who lifts characters and events from his life to populate his stories, earning the wrath of nearly everyone who knows him. Despite Allen's protests in interviews that it isn't autobiographical, this story of a man who "can't function in life but only in art" appears to a direct reflection of the nebbish film maker. The added character faults of alcoholism and pill-popping, mixed with an insatiable sexual appetite, only minimally draws attention away from the true protagonist of the film, the real life Allen. Combining scenes from his life, with presentations of scenes from his stories provides for a large number of cameos and bit parts, but what's the point? While it's all solid film making, he's done the examination on love, relationships, and self centered angst before, and better. He should stick to characters that tell masturbation jokes instead of ones keeping "whore money" handy. Recommended for Allen fans only. I did like his Jack Purcells though ($3.50, Kirkwood).

01/02 Party Girl (1994)

** Parker Posey stars in a low budget film about a 24 year old NYCer without any skills or ambition except for clothes and parties. Possible direction comes in a job as a librarian clerk. Energetic and sort of fun but meaningless ($0.00,Schnucks video, Julia).

01/03 Jackie Brown (1997)

*** Quenten Tarantino's first film since the monumental Pulp Fiction suffers in comparison, which while inevitable, is somewhat unfair. This film ends up being just a "good" crime thriller surrounding an over-the-hill stewardess (Pam Grier) moving gun money from Mexico to the States. Samuel Jackson is fantastic as the gun runner. Can anyone else say MF... and N... with such effect? Granted this is a dubious distinction. Grier and Robert Foster, the bail bondsman, are also terrific but the rest of the cast, including DeNiro, Michael Keaton and Bridget Fonda, seems somewhat wasted. The audience only marginally connects with the characters. At a 2:23 running time, it's about 20 minutes longer then it needs to be. The whole film drags but it seems particularly indulgent during the several 1+ minute steady shots of Pam Grier, set to some "hip" 1970s music throughout the film. The audience was noticeably shifting during the last shot, which was typical ($5.75, Crestwood, Julia).

01/09 As Good As It Gets (1997)

*** Jack Nicholson stars as an obnoxious reclusive writer in NYC with OCD (obsessive compulsive disorder). He avoids human contact by being incredibly rude to everyone. His life takes a turn for the better when entrusted with a neighbor's (Greg Kinnear) dog and when the only waitress (Helen Hunt) who can stomach his abuse, misses a day to take care of her asthmatic/allergic son. As usual, most of the cast gets lost in the aura surrounding Nicolson. The exception would be the dog, which director James L. Brooks milks for all he's worth and Hunt who does a good job as the suffering, optimist who falls for JN. Still, neither one can overcome the resulting audience disbelief in the character's ages of about 30 years. A funny film that makes you fill good, for awhile ($11.00, Crestwood, Julia).

01/16 In & Out (1997)

**+ Kevin Kline stars as a high school English/drama teacher about to get married to Joan Cusack when he's "outed" by a former student during their Oscar acceptance speech. Laugh out loud funny in places but uneven. It has trouble deciding weather it wants to be highly satirical and farcical (i.e., masculinity self help tapes, numerous stereo-typed Barbara Striesand jokes ) or a sincere, thought provoking comedy. So it does both, albeit not either well. The supporting characters and scenes seemed disjointed too, though this could be a function of watching it on a plane. I can't think of a worse scenario for film watching. The movie depends a great deal on funny dance scenes and the viewers enjoyment of disco hits I Will Survive and Macho Man, neither of which I cared for when there were out, though I did enjoy them here ($4.00, TWA flight in from Vegas).

01/18 The Sweet Hereafter (1997)

***+ Independent Canadian film exams the lives of a small rural mountain community after a school bus accident. Strong performances and gritty writing communicate the difficulties with dealing with the loss of a child or tragedy in general. Writer/director Atom Egoyan draws interesting literary parallels to the Pied Piper of Hamlein. Good, powerful, though provoking film making but hardly cheerful ($3.00, Hi Pointe).

01/19 Wag the Dog (1997)

*** Highly cynical tale of a Presidential fix-it man (DeNiro) who hires a big Hollywood producer (Dustin Hoffman) to help distract the populace from a scandal before an election. Hoffman is excellent and it's nice to see DeNiro in a role other than his typical angry guy typecast. Ann Heche's character seems to be present just to have an attractive woman in all the scenes. Levinson's tale is just a little to un-believable from the point of view of being able to keep more than a couple people quiet about anything ($3.75, Crestwood, Julia).

01/22 Great Expectations (1998)

**+ Ethan Hawke stars in this updated version of Dicken's tale of a poor boy, Finn (Pip), who falls for a beautiful girl, Stella, as a child, who has been raised to break men's heart. Gwyneth Paltrow looks fabulous and exudes sexuality as the adult Stella. Anne Bancroft has a field day as the rich, crazy, recluse dancing to at least seven versions of Besame Mucho. Robert DeNiro (he's in everything lately) is as good as ever. The script is merely ok with a predictable plot but the film really shines visually. The sets are beautiful and the camera angles have romantic feel, adding to erotism that I'm sure wasn't in the book. It is also helped by the great art work; a function of having Finn's rise to fame and fortune be a function of his artistic skills ($0.00-invitational tickets, Des Peres, Julia).

01/23 The Birdcage (1996)

*+ Predictable and out of date stereo-typed story of a gay couple, one who is a drag queen, the other the club owner. When their son announces he's getting married to the daughter of Senator ultra-right wing, family values, the "surprising" plot twist is that the gays have to appear straight, so as not to scare off the self righteous Senator. It's insulting to both ends of the political spectrum. Nathan Lane and Aziria are the only bright spots as Robin Williams, Gene Hackman and Diane West are wasted. I smirked once. The script writing must have been a hack job since it was based on the popular French film Les Cages Aux Faulles, or maybe that wasn't very good either ($2.11, Hollywood Video, Julia).

01/24 The Jerk (1979)

*** I missed Steve Martin's first film when it first came out and haven't gotten around to seeing until now. I finally get all the joke references I've been hearing for years. I'm sure it's funnier with a group, on the big screen but it was enjoyable and kept me wondering when the next silly thing was going happen to our hero Navin. Bernadette Peters looks sexy and was probably at the peak of her popularity. Reminded me quite a bit of Pee Wee's Big Adventure, as an innocent makes a comic journey of an epic sort. The scene where he's looking up a credit card number in a newsprint book of stolen numbers brought up memories of doing it as a Petroleum Transfer Engineer and amazement that there existed a time when computers didn't do the check ($0.00, Hollywood Video).

02/06 Boogie Nights (1997)

*** Multi-character story of the adult film industry in the mid-1970s to mid 80's. It is a well made and acted, story with terrific insights into the characters. Not much sex as might be expected. The new Great Expectations is far more erotic. Burt Reynolds shines as the gentlemanly, director who is the rock that all dysfunctional stars and support staff cling too. His Golden Globe Supporting Actor win, though he's really the lead, will surely gain him an Oscar nomination but not a win with this subject matter (that and it's not the best performance of the year). I'm not as sure what I think about Mark [y Mark] Whalberg as Dirk Diggler or the rest. I can't put my finger on it but I had trouble connecting with them but I don't think it was the acting. Either way, I never completely cared about the characters. Maybe it was that they were all depicted as delusional and not the most gifted mentally. But it wasn't just me, the writer/director doesn't seemed to like them much either as evidenced by the gratuitous violence that occurs at places, particularly through the second half. While this may true to life, it's hard for the viewer to empathize with the characters when the makers of the film don't seem to. This is a good movie but not a brilliant one ($0.00, AMC free pass, Crestwood).

02/07 Titanic (1997)

**+ Fairly standard love story of a young woman (Kate Winslet) engaged to a pompous, wealthy ass who meets a free spirited, penniless artist with a heart (Leonardo DiCaprio). He shows her that life offers her more against the doomed voyage. The tragedy of the 1912 shipwreck only provides a romantic backdrop and a reason for the titanic $200+ million budget (sorry about the obvious pun). It reminded me of the sweeping romance films of the 1940s or the Cecil B. De Mille epics of the 1950s, for both better and worse. The tone of the romance and lack of cynicism is welcome, as is the realism of two beautiful youths falling in love (as opposed to the contrived paring of Hunt and Nicholson panned above). On the down side is the stereo typical characters spouting corny dialogue permeating the entire film from the Italian pal, providing comic relief at the beginning, to the White Star executive, whose drive for publicity help lead to the disaster. Her fiancee is also comic in his evilness. I kept looking for a dog for him to kick and really cement the audiences hatred of him. As for Winslet, she's lovely to look at but the nude scene struck me as gratuitous to get the R rating, though it was the only part of the film I'd willingly see again. The multi-million $ special effects didn't make up for the short comings of the story line and left me unimpressed, as did the historic accuracy. There exists documentaries on PBS and the Discovery Channel which do a much better job explaining the details of the ships design and causes for the tragedy at far less than 3 hours and 12 minutes. I kept looking at my watch wondering when they were going to hit the iceberg. Than again this film is only marginally about a ship hitting an iceberg; it's a love story and a second rate one at that. Perhaps not as bad as my harping on it makes it seem but hardly deserves the accolades and praise its gotten. I do have to give credit to James Cameron for creating a film so BIG. De Mille would be proud, though honestly I'm not a big fan of his work either ($5.75, Esquire, Julia).

2/13 Mrs. Brown (1997)

*** Nice film with Judi Dench starring as Queen Victoria, grieving years after the death of her husband Prince Albert. Dench does a superb job showing us the tensions of a grieving queen, with no one to lean on until a Scottish highlander, John Brown, portrayed with great competence by Billy Connerly, arrives. The plot centers on Brown's encouragement of Victoria to ride in the fresh air and live again, which endears him to her, as he becomes her closest friend and protector. Their relationship becomes scandalous adding drama. The film is not wholly satisfying for reasons I can't quite put my finger on. Perhaps, even with Denche's fine performance, I never completely connected with the queen ($3.75, AMC-Hampden Denver).

02/20 The Fountainhead (1949)

**+ Ann Rand wrote the script based on her novel about an architect (Gary Cooper) who refuses to compromise his ideas or plans. For anyone who has read her ultra-right wing stuff, there are no surprises: broadly drawn characters, who give lots of sermons extolling the virtues of individualism, while bemoaning the concept of compromise, self sacrifice and the masses in general. Almost the entire plot serves as a vehicle for her flawed political/philosophical viewpoint. As such, you have to wonder about the love story end of things, as the heroine, Patricia Neal [a disguised Ann Rand?], is very subservient to the lead and quite dated. The one aspect I can recommend it on is the absolutely beautiful photography, art direction and lighting. The black and white imagery in the film is about as good as it gets. Almost every frame could be used as a still picture. Neal and Cooper look fantastic ($1.60, Hollywood Video).

02/22 Afterglow (1997)

*** Interesting human drama, staring Nick Nolte as "Lucky Mann", a handyman who fixes more than just the plumbing. His wife Julie Christie, in an Oscar nominated role, is a former B-actress beset by melancholy mixed with acceptance of her philandering husband. Laura Flynn Boyle exudes sexuality as a young, dissatisfied housewife married to a pompous, arrogant, distant, and potentially suicidal husband. He's got some hang-ups that aren't explicitly explained but make for some fun amateur psycho analyzing. Good acting all round and the plot is interesting. However, many of the English lit. references went right past me though I caught some (i.e. the young couple are the Byrons, another character is Cassie for Cassandra) ($4.00, Tivoli, Julia).

02/27 Shall We Dance (1997)

*** Japanese film about a serious accountant who has everything he's ever wanted in life: a wife, a child and a recently purchased home, yet is unsatisfied. He begins taking dance lesson on the sly, hiding from his work and family to avoid the embarrassing "scandal" (some of the cultural nuances come through only partially). I could all too easily sympathize with our hero's frustration, struggling to learn the first dance steps. The film is helped by a wonderful and energetic supporting cast, breathing warmth and realism into the plot elements about relationships. The gratuitous sex of American films is happily absent and not missed ($4.00, Tivoli).

03/01 Ma Vie En Rose (1997)

*** Excellent Belgian film about a seven year old trying to come to terms with who he is and wants to be. The mother is very good as she shows a very believable mix of love, frustration and anger at her son and the troubles that come from his dilemma. Notable use of color, both in the set design and costumes but the subtitles weren't perfect (are they ever?) ($3.00, Tivoli, Julia).

03/13 The Big Lebowski (1998)

** Joel and Ethan Cohen's latest effort is disappointing given their normally high standards of writing. The film centers on the "Dude", Jeff Bridges, whose life of bowling and drinking White Russians is disturbed when mistaken for the successful Lebowski. John Goodman plays his crazed Vietnam vet pal, living in the past in more ways than one. There's lots of other quirky characters populating the film,like Julianne Moore's quasi-domitrix, art type. While amusing for awhile, the characters became tiresome about half way through. By the end, I was left thinking what was the point. The dream sequences, while exceptionally well done, seemed more an indulgent fancy than anything else. They were visually interesting and memorable but distracting and did little to advance the story line. Reference the Broadway Melody sequence in Singing in the Rain; an excellent bit but it could easily be cut out and never missed from a plot standpoint (I know that the dance junkies are howling at that comment). Worth seeing for Cohen fans but not among their best work ($5.00, Kirkwood, Julia).

03/14 Z (1969)

***+ Although never specifically mentioned, this political thriller surrounds the real life occurrences of Greece's peace movement during the 1960s. Advocates for the removal of the nuclear bombs and the NATO bases from Greece are taunted and badgered by the opposing side with no assistance from the police or the democratic government, worried about the rise of communism. Violence and coverups ensue. Uncomforting to watch when you realize it's the US's foreign policy that is the driving force behind all the events. It doesn't necessarily change my mind but it challenges ones beliefs. An excellent and important story, told well but not brilliant. My feelings are that it won the 1969 Oscars for Best Foreign Film and Editing more for the topicality than for cinema (it also got a nomination for Best Picture as well). Still good liberal/anti-government stuff. Funny how the effective editing flashbacks immediately reminded me of the Midnight Cowboy, which assuredly was also nominated for Best Editing but took the top Oscars that year ($3.18, Hollywood Video).

03/17 Smiles of a Summer Night (1956)

*** Ingmar Bergman wrote and directed this surprisingly modern and mature comedy about several couples/lovers, whose paths cross one another in turn of the century Sweden. I can only imagine the shock in American audiences to this very European view of love and marriage. Hard to keep up with the plot, given the subtitles and the fairly quick pace of the dialogue. My viewing suffered from the double whammy of subtitles and video tape but it was still enjoyable. The film serves as the source of Sondheim's A Little Night Music and Allen's A Midsummer's Night Sex Comedy, which aptly describes the plot ($0.00, Hollywood Video).

03/19 Colors of a Brisk and Leaping Day (1997?)

*** Truly beautiful film of a young man's attempt to save the Yosemite Valley Railroad from receivership in 1945. This film is a "motion picture" in the truest form of the expression, as it is series of stunning B&W photography that moves. The images of El Capitan in the moonlight, easily recall Ansel Adams' work. I can see why it got the best cinematography award at Sundance. This is the best looking film I can remember in recent years (not counting the 50 year old Fountainhead). The plot, while poetic, was less successful, touching on several themes, such as racism (the lead was a Chinese/French American), sexuality, family ties, success and the changing post-WWII America. The acting also suffered from having the budget of an independent film. Still Christopher Munch, who wrote and directed this picture, is to be commended for a remarkable looking film. I also saw and enjoyed his earlier film The Hours and the Times on John Lennon and Brian Epstein ($21.00 #1 of 5, Webster University).

3/27 Bronco Billy (1980)

** Clint Eastwood stared and directed this tale of a rag tag traveling wild west show, barely surviving in the age of disco. Hampered by grade-B cast and mediocre script, which is a mix of Eastwood's sense of morals and machoism. The film also doesn't have much respect for the intelligence of its audience, resorting to having to literally explaining every nuance of intended meaning. What's wrong is perhaps best evidenced by the presence of the always annoying Sandra Locke in the romantic lead. Eastwood's efforts during this period are always held back by his personal love interest ($0.00, TV).

03/28 The Man in The Grey Flannel Suit (1956)

***+ Gregory Peck stars in this surprisingly modern film that holds up very well today. It concerns a junior executive haunted by his memories and deeds in WWII as a paratrooper. He struggles for meaning and truth in work and at home, where his wife has aspirations to the upper middle-class and his children are mesmerized how many people are killed during the nightly western on TV. The script is very good; excellent for the period. Peck is terrific, as is the supporting cast which includes Fredric March as the head of UBC (i.e. NBC). Marche's role recalls his earlier work of veterans readjusting to civilian life after the war in The Best Years of Our Lives. Aside: Best Years... swept the big Oscars in 1946, beating It's a Wonderful Life, probably my favorite film of all time. I would have chosen ...Wonderful Life but Best Year... is an excellent film and given the time frame probably more topically relevant ($0.00, Channel 9-PBS).

04/03 Men with Guns (1997)

***+ John Sayles, who wrote, edited and directed this excellent film, is surely the most underrated film maker today. As to be expected from his past work, such as City of Hope, Matewann, or Lone Star, Sayles weaves a tale of people in conflict. He explores their actions and motives from several views; giving a greater understanding of each and their conflict. The story is basically a road movie of an established, recently widowered Latin American doctor, taking his vacation to search for his former students he trained to bring medicine to the undeveloped Indians. His noble gesture for a life's legacy, meets a harsh reality of a country in conflict between the Army protecting the interests of the rich and guerrillas fighting against them. As with all epic journeys, it's a trip with hard won and difficult lessons for the protagonist, as well as the group he picks up along the way. The multi-level plot line refuses to go for graphic depictions of the violence that has befallen the country. As with Sayles other works, the film is a vision of an imperfect world, marked with human spirit and the innate dignity of man. It examines the meaning of justice and redemption, while weaving a tapestry of hope. The film is in Spanish with English subtitles, which will certainly hurt its marketability in the States. That, and the only Americans in the picture, are Tom Arnold-like buffoons ($4.00, Tivoli).

04/11 Dogtown (1997)

* I hate to trash an effort by an independent, and hometowner to boot, but this is not George Hignlooper's first effort and as the writer and director, the films faults lie mostly with him. I really enjoyed his earlier documentaries and the underrated, under seen Persons Unknown. This story concerns a young man returning to Cuba, MO (actually Torrance, CA) from a less than successful stint in Hollywood to face his past, which consists of abused, alcoholic, backwards-ass, dysfunctional people. From the get go, not many of the elements in the plot work. Everyone accepts that he's a "success", though none of them has actually seen or heard of him doing anything. In today's world of trash TV journalism, even the depicted idiots of Cuba should figure this one out. The script hints at all types of abuse but explains little of it, letting the viewer be distracted by non-essential elements (what the hell was the deal with the Civil War sword and the aunt in Rolla?). The film does feature a strong cast of "B" actors, including Mary Stuart Masterson, who I always liked but once again she's playing the stereo-typed troubled soul. She doesn't remember our hero from high school, even though the class size has got to be less than 30 in a town of 1,861 (as shown on the city limits sign twice). This is typical of the sloppiness of the script. The sound quality was also poor, hurting the delivery of lines. The only notable feature of the film is the casting of Harold Russellas the only decent man in town. He's the veteran who lost his hands in WWII and got an Oscar for his role in The Best Year's of Our Lives ($0.00, pass #2 & 3, Webster University, Julia).

04/14 Mr. Smith Goes To Washington (1939)

**** Terrific Capra film of a Boy Ranger leader, Jimmy Stewart, plucked from obscurity to fill a Senate seat. His patriotic naivete takes a beating at the reality of DC politics. The supporting cast is excellent and the script is filled with many of the same themes and elements of Capra's masterpiece It's a Wonderful Life (IAWL). The ending is pure fantasy but I love the film. Each time I see it, I tear up through out. It's becoming fashionable to bash Capra, mostly a function of the cult status of IAWL at Christmas time and that he's an incredible manipulator of emotions. Boorish film snobs point to Leni Refinstahl's Triumph of the Will at the epitome of propaganda and how it could move a nation. Baloney! A hour and a half of goose stepping masses could only move the seriously down trodden and disenfranchised. Give me Capra any day for showing American values, ideals and "Why We Fight". I think I have a thing for Jean Arthur too ($0.00, pass #4 & 5, Webster University, Jennifer Ematage).

04/16 Twilight of the Ice Nymphs (1997)

*+ I really enjoyed the introduction and post Q&A session with writer director Guy Maddin and the accompanying documentary Waiting for Twilight. His dead pan humor and wonderful word choice and sentence structure were a joy to listen too. I was less enthralled with the picture though. This surreal fable of love and obsession set on a mythical/magical island inhabited by 6 people grew tiresome. The script lacked much humor and seemed more concerned about setting a mood than meaning anything. The claustrophobic sets, costumes and colors had a feeling of Fellini's Julliet of the Spring mixed with a PBS children's program set in a forest. Quirky sound technic of rerecording all the dialogue after editing is annoying due to the difficulty in understanding the weighty dialogue. I'll gladly go see another Maddin work based on the strength of the documentary or his presence ($21.00, pass #1, Webster University).

04/23 The Usual Suspects (1995)

**** Excellent crime thriller with a plot that will keep you guessing about 5 crooks who are brought together by a police line up. The cast is terrific, particularly Oscar winner Kevin Spacey. Upon a second viewing, my appreciation of this film and its very tight script (original screenplay Oscar winner) has increased and I think of it as one of the better examples of the genre ($-4.00, pass #2 & 3, Webster University, Dave Razchowski).

04/24 The Newton Boys (1998)

*** Well done real life tale of the "most successful bank robbers in American history". It a pretty standard plot line of a group of brothers who get together to pull progressively larger bank robberies in the early 1920s. The plot climaxes to them pulling one final big job that will set them up to retire. The characters' friendliness and fact they didn't ever kill anyone is fairly endearing but we still talking about a bunch of criminals. Ensemble cast of B-actors is good but I found Matthew McConehey and Ethane Hawke annoying as usual. Not a must see but definitely worth viewing when it's on TV ($6.00, Crestwood, Jennifer Ematage).

04/27 The Apostle (1997)

***+ Robert Duvall plays a Texas evangelist who hits a patch of trouble, leading him to his greatest achievements as a preacher. He truly has the "Holy Ghost" power running through him. Wonderful characters and acting in a moving story of redemption, obsession, anger and a man's frustration that the world isn't what it should be. It drags a little bit in the end but it's a definite achievement for star, writer and director Duvall ($5.50, Kirkwood).

04/30 Eye of God (1997)

*** Powerful imagery and superb performances, especially Martha Plimpton, mark this gritty film about the loneliness in small town America of people that don't have the facilities to leave. Actually, the non-linear plot is about much more but detailing it would tend to take away from it. It's a dark film, that won't have you leaving the theater whistling a happy tune. But the story is powerful and touching. Just the thought that Kate Winslet got an Oscar nomination compared to Martha Plimpton in this film pretty well sums up what is wrong with any popular voting scheme ($0.00, pass #4, Webster University).

05/02 Les Miserables (1998)

*** Well crafted telling of early 18th century France tale of redemption, justice/injustice, love and obsession. The plot surrounds a man imprisoned for 20 years for stealing a loaf of bread (roughly 4 minutes of the plot), who is given a second chance at life and truly makes the most of it, only to be hounded by an inspector obsessed with his past. Uma Thurman, Geoffrey Rush and Liam Neison are adequate in the leads but the end of the story is hurt by a heavy emphasis on Claire Danes and her young love interest late in picture (obviously an market driven scripting). The inspector's strict adherence to absolute truths without ever questioning right and wrong is frightening and sad ($6.00, cinema-Louisville, Jeff and Michelle).

05/08 Godzilla, King of the Monsters (1956)

* Insipid and generally mindless monster movie is fairly laughable, particularly with addition of the painfully obvious dubbed American footage featuring the incredibly wooded acting of Raymond Burr. The much hyped 1998 film can hardly be worse than this. I could be wrong but TV's Ultraman probably had better production values and plot lines. Watching it in a group on TV with snacks and jokes flying is really the only way to appreciate it ($0.00, Alex Brand's Godzilla party, Kathy, Mirella, George, Bob, Kristen, Natalie, Todd, Alan and wife).

05/08 Gydra [Godzilla versus...] (1965)

+ Although it's hard to believe, this film has worse special effects, acting and story line than the initial one. But what do you expect from the sequel, to a sequel, to a sequel... The plot has the catapillar twin brother of Mothra, joining Rodin and Godzilla to fight a new nemeses: the three headed Gydra from Mars. But wait, there's more, you get the Mothra-island fairies singing magic chants, a princess posed by Martians being chased by evil henchmen, as well as the obligatory young lovers. I can rest assured that I could make better movies, and probably have ($0.00, Alex Brand's Godzilla party, Kathy, Mirella, George, Bob, Kristen, Natalie, Todd, Albert and wife).

05/15 The Spanish Prisoner (1998)

***+ David Mamet wrote and directed this tight thriller in very much a Hitchcock-ian manner and it stands up well in comparison. The plot is about a young man who has developed a break through "process" that stands to make it's owner a lot of money. The "process" is only the McGuffen (i.e. meaningless plot device) for the plot twists and all the characters to interact. It recalls North By Northwest, without so much humor. The cast is great, including Campbell Scott, Steve Pigeon and Rebecca Pigeon. The film color and props (i.e. rotary telephone, seaplane) aid in recalling the glory of Hitchcock best work of the 1950s. Terrific ($5.50, Hi Pointe, Julia).

05/16 Sliding Doors (1998)

***+ "Cheer up...you know what the Monty Python boys always say"...Unexpected, terrific, and truly original twist on the standard romantic comedy with a multiple universe/what if twist. Its completely charming and British. Gwenyth Paltrow is becoming one of my favorite actresses, even if she's frightenly skinny. Helped along by the charming Scottish actor John Hannah (Four Wedding and a Funeral). Writer/Director Peter Howitt is one to watch. Best romantic comedy in the last year ($6.75, Shady Oak, Raye and Kelly).

05/17 Bridges of Madison County (1995)

*** Meryl Streep plays a dissatisfied Iowa housewife, who find herself free one weekend from her family. A National Geographic photographer (Clint Eastwood) arrives, and...well it's a love story, so figure it out. The best selling book was infamous for its sappy lines which have generally been omitted in the movie. The film intelligently explores the meaning of love, relationships, dreams, loyalty and marriage in an understanding manner. It touched me a great deal more than I thought it would ($0.00, NBC).

05/19 The Horse Whisperer (1998)

***+ Excellent, exceptionally well photographed film that even at nearly 3 hours, seems more hurried than director/star Robert Redford would have like it. Overtly the story is about a woman who takes a accident traumatized horse and daughter to Montana to be healed by a cowboy with a calming way. It's also a very well written and insightful look at a marriage that has lost most of it's luster but the participants haven't dismantled it yet with hate. Kristen Scott Thomas and Sam O'Neal play the married couple. There's many other layers of story and meaning flowing through the film. I look forward to seeing it again ($6.00, Tinseltown-Arlington, TX).

05/25 Face/Off (1997)

**+ Only watched part of this film I loved so much last summer. It loses a lot the second time around and on the small screen. It didn't hold my attention and I turned it off after less than an hour. Still a must see for Woo fans ($0.00, HBO-San Antonio).

05/31 The Winter Guest (1997)

*** Poetic look at four relationships in a small coastal town in Scotland on the rare day when the ocean has frozen over. Although centered on the mother-daughter relationship between real life mother and daughter Phyllida Law and Emma Thompson, the true meaning of the story really unfolds when looking at the other three: the two boys playing hooky, the young lovers and the old friends. Somewhat slow and talky but a thoughtful view about friendships and our need for others ($4.00, Westport).

06/06 Hope Floats (1998)

** Sandra Bullock stars in this atypical, uneven romantic comedy that is really more of a drama. After finding out on a Jerry Springer like show that her husband is cheating on her with her best friend, she moves back to small town Texas with her daughter to live with her eccentric mother. Harry Connick is the old flame but the romance plays second fiddle to the drama of the former beauty queen getting her life back together after her marriage falls apart. The picture tries to be too many things and in the end doesn't do any of them very well ($6.00, Kenrick, Julia).

06/12 Dog Day Afternoon (1975)

***+ Al Pacino is excellent, as an awkward bank robber in this film based on actual events in Brooklyn in 1972. His characterization has many layers, and presents a sympathetic portrait of a complex person. It's particularly interesting to watch his energy ebb and flow through the ordeal. The script's depiction of the robbers planning in progress, seems so much more believable than the smooth, efficient clock-work exercises that are typically depicted in movies. An excellent view of the time, place and attitudes ("Attica!"). Slows a little about half way through but the change in pace, also changes the viewers comfort, adding to the impact. A benchmark in American film, whose scenes have been pastiched often and is a part of advanced US cultural literacy of the late 20th century ($6.00, Tivoli).

06/14 Wilde (1998)

*** Stephen Frye turns in a solid performance as the flamboyant Irish playwright and novelist. The sets, locations and art direction are excellent, as typical of the costume drama sub-genre of British film biographies (i.e. Carrington, Shadowlands, Mrs. Brown). The film's unconventional view point of the philandering protagonist as the victim of the younger "trophy" lover counters the standard heterosexual model of the older partner preying on and using the youth; food for thought ($4.00, Tivoli, Kent).

06/16 Now Voyager (1942)

***+ Bette Davis stars as a wealthy, ugly duckling trapped by her controlling mother and families' homely image of her. Claude Raines plays her psychologist, who gives her a push of self confidence before she blossoms on a trip abroad. Generally strong female role, that would be more popular with women, if more widely seen. Parts of the script and romance, particularly the ending, are dated but this is still a joy to see. I'm surprised it hasn't been remade, although Striesand's flawed The Mirror Has Two Faces is similar in some ways. It's a shame that Barbara didn't follow Bette's example and truly make herself an ugly duckling. The film is most famous for the imagery of Paul Henried lighting two cigarettes and giving Bette one. The tobacco industry couldn't have asked for better PR. It almost made me want to light one up ($6.00, Tivoli).

06/16 Casablanca (1942)

****+ What's to say? Arguably the best film ever made, especially if you add the delimiter of the best romance films. Having seen it immediately after Now Voyager, it was interesting to see the effect of the studio system: Claude Raines and Paul Henried in both film, as were the patio chairs outside Ricks- Casablanca and in Rio De Janeiro Now Voyager ($6.00, Tivoli).

06/17 The Searchers (1955)

**** Terrific John Ford western has a matureness of story line lacking in his 1940s works. Although, Unforgiven and Dance With Wolves have been lately widely hailed for their revisionist view of the American West, this film also moved the genre past the earlier serial oaters. Actually, the serious or "A" westerns never were quite so standard as they're remembered. Red River and Ford's later The Man Who Shot Liberty Valance come immediately to mind but a host of other films also come to mind. Actually, most of the genre has been dismissed based on the prolifery of "B" products with little plot or theme variation. The best Westerns are still the ones with the best plots, just like any other genre. That said, I really like John Wayne's portrayal of the embittered Confederate uncle on a vengeance hunt, that last years. It's one of his best roles. Having lauded the picture's significance and independence from the standard, I feel have to apologize for some of it's failings. The depiction of Native Americans is typical of the period and the casting of a white man as the dreaded chief, Scar is particularly annoying. Part of the posse uses pistols instead of rifles to pick off the warring tribe, which would have been totally in effective at that range. There's also the standard Ford character actors, which at best includes Ward Bond and John Qualen but also includes Wayne's talent-less son Patrick. Although I enjoyed the lovely location shots, Monument Valley isn't in west Texas, which is even more clear having just visited the area. Still it's probably the most beautiful opening and closing shot of any western ($6.00, Tivoli).

06/19 The X-Files: Fight the Future (1998)

**+ Pretty good film that doesn't require you to be an fan of the series to appreciate it. Personally, I have trouble buying into the basic premise, that the government is covering up alien invasions and other paranormal events from the public. I think the shows popularity says a lot about society's shift in trust in our government, which as a dutiful lackey I don't share. I question much of the science too. There's no credible anthropological or geological proof of the initial scenario. Still what's the most unbelievable thing about the X-files: a) massive government cover ups; b) covert alien plots to take over the earth; or c) Scully and Muldar haven't done it? ($0.00, Esquire, Rhonda and Reggie).

06/22 The Truman Show (1998)

***+ Engaging tale of a man (Jim Carrey) whose whole life has been the subject of 24 hour TV show unbeknownst to him. Well done script and set design, augment a super performance by Carrey (probable Oscar nomination) and Ed Harris. The plot has particular strong parallels to Brazil but doesn't have that nagging, haunting feeling of the 1985 classic. More than any other film, thoughts of this one followed me immediately afterwards and the days that followed. It had a lot to say about breaking free of the prisons that are our lives. The difference is that most of our imprisonments are by choice. We have the freedom to break out at any time but generally we don't. "Freedom of choice is what we got. Freedom from choice is what we want" -DEVO ($6.00, Mark 5-Hopkinsville, KY).

06/23 Mulan (1998)

*** Standard quality Disney animation film offers a strong story of a Chinese girl who disguises herself as a man to take her father's spot in a conscripted feudal army to stop a Mongolian invasion. Excellent role model for girls, should be enjoyable for boys too but many of the male roles are needlessly buttheaded. Forgettable songs, predictable characters and plots hold it back ($6.00, Mark 5-Hopkinsville, KY).

06/25 A Perfect Murder (1998)

** Un-engaging remake of Hitchcock's Dial M for Murder, which was one of his more modest films. Updates generally work but can't overcome a plot that sports three unsympathetic characters involved in a love triangle of revenge and money. The cast is uninspired. Michael Douglas turns in his standard performance and Gwyneth Paltrow, while lovely, does not have the captivating beauty of Grace Kelly did in the original. OK but not a must see ($6.00, Mark 5-Hopkinsville, KY).

06/27 Gone With the Wind (1939)

**** Excellent film making (sets, costumes, etc.) and some distinguished performances from the leads Gable and Leigh. However, at the risk of cinema sacrilege, I don't like it, even after giving it a third chance. I have never understood the Southern gentleman/belle thing. The myth of the South is a perversion of values to justify a social and economic system based on the exploitation of others (not that we're not doing that still on a less overt, yet global basis). The film explicitly laments that this way of life is "gone with the wind". I've always felt "thank goodness". But that isn't my real problem, nor is the dated dialogue or racist and sexist stereotypes (those shortcomings go without saying). What really gets me is how annoying every character is. I felt like slapping sense into everyone, except Mamie. Scarlet is the most dislikable bitch in film I can think of (though Eve in All About Eve would be up there). Rhett, while charming, is a self absorbed, whore-mongering, rip off artist. Romance all you want to about the lovable rogue, I can do without it. Melannie, while a saint, is just too nice for words and Ashley Wilkes appears to have lost his manhood in the war. After 4 hours of watching these people abuse one another and others in the story complacently accepting it, I just didn't give a damn what happen to anyone of them (a cardinal sin of storytelling overall effectiveness in my book). Why this is so many people's, particularly women's, favorite film is beyond me. It's similar to the Princess Di fascination, I suppose. My guess is that it has more to do with some darker aspects of humane nature; our exhalation of beauty and acquired wealth, regardless of the method. Scarlet parlays her looks into money at every chance and is lauded as a strong woman for it. Rhett gets away with being such a rascal only because of Gable's good looking charm. Anyone care to defend his drunken forcing of himself on Scarlet in this era of "no, means no"? And women can't understand why men don't understand their mixed signals. On the complimentary side, I do appreciate Rhett's cynical understanding of the Southern myth and the glory of war. Still, this isn't a story about average looking folks; only the beautiful people could exploit everyone and still be loved. Put that way I can't think of a more "American" film. Still it's better than Titanic. Though as I thought about it, there are striking parallels between Rhett and Kate Winslow's fiancee; only different spin doctors ($4.00, Tivoli, Rhonda).

07/03 The Opposite of Sex (1998)

*** Christina Ricci stars as a disturbed 16 year old, who enters into her gay step brother's life and wrecks havoc with he, his lover and ex-lover's sister (Lisa Kudrow). Don Roos directed, his own fresh and witty script, that is mostly black comedy but part drama. Interesting examination of people's relationship motives of love versus/and/or sex. I'm afraid Ricci may be typecasting herself as the quirky, troubled girl but it was great seeing Kudrow not playing her spacey blonde role in Friends ($5.50, Hi-Pointe, Raye and Kelly).

07/03 The Deer Hunter (1978)

***+ Beautifully photographed and acted American tragedy staring De Niro, Streep and Christopher Walken. The film looks at how the Vietnam War touches a small town of second generation Russian immigrant, steel workers in the Pennsylvania hill country. The story focuses on a group of male friends, of limited ambitions beyond excessive drunkenness, occasional night of sex and deer hunting. The first hour or so centers on the weekend before three of them go off to paratrooper school (101st Airborne at Fort Campbell) and one is getting married. Interesting and important character development but it seems a little slow at first. The film spends only a fraction of film's length in Vietnam but the rest of it focuses on its effects on the three, who were forced to play Russian Roulette while POWs. The films' imagery offers variants of heaven and hell metaphors (i.e. the white '59 Cadillac, the fires of the steel mill, the ethereal mountains of the deer hunt) though not all them did I catch or understand. This would be a good example of a film one needs to see with others who did well on English essay questions while in college. The film probably had more impact when it first came out but the horror of the war and the tragedies that occurred are told at lest as well if not better than in latter films. Memorable and moody John Williams theme song helps out. Having watched the last half hour on Independence Day it brings up interesting questions about patriotism ($3.25, Hollywood Video).

07/?? Wings (1927)

**+ First Oscar winner for best picture doesn't hold up to well by today's standards. It's a silent drama covering American aerial fighters in World War I. It's a pretty standard plot: a love triangle between the two heros and a girl back home (Clara Bow) starting with civilian life, training and followed by war. Many parts of the drama's plot line do not age well though. The series of scenes with one of the boys on leave in Paris is particularly annoying with the technical special effect of animated champagne bubbles. Silent comedies hold up better, having the advantage of intending to be absurd. The aerial dogfights are still fairly interesting and as it was filmed at one of my project sites for work: Camp Stanley and Camp Bullis outside of San Antonio,TX ($1.56, Hollywood Video).

07/18 The Night of the Hunter (1955)

*** Charles Laugthon directs this surprisingly artistic B&W film. The story concerns a traveling preacher with a thing for rich widows in the depression era South. Saying more might hurt enjoyment of the creepy and disturbing plot and imagery. Robert Mitchum is Satan incarnate in his visually most memorable role (this is the one with the famed Love and Hate knuckle tattoos). Shelly Winters stars as a widow and is wonderfully photographed about half way through the picture but her acting leaves me cold as usual. Silent screen star, Lillian Gish is a treat. The photography heightens the plot's tension and sense of evil. Surely this picture got a nomination for cinematography and art direction ($3.00, Tivoli).

07/23 Out of Sight (1998)

*** Steven Soderbergh directs a good script of an Elmore Leonard crime novel. Nothing exceptional or particularly novel occurs but its a very good and solid storytelling across the board. George Clooney plays a bank robber who meets and falls for a Federal Marshall (Jennifer Lopez) while breaking out of prison. Non-sequential script helps add interest to the plot and the characters filled out by exceptionally strong cast including big names Albert Brooks and Michael Keaton in bit parts. As an aside, I think the stark visual difference between the sunshine of Miami and the dark gray of Detroit was a bit unfair to the Motor City ($6.25, Plaza 10-Jackson, MS).

07/24 Something About Mary (1998)

*** Very funny, yet exceptionally rude (and that's on the Randy adjusted scale) film of high school nice guy dolt (Ben Stiller) hiring a sleazy investigator (Matt Dillon) to find his long lost love Mary (Cameroon Diaz). Humor is mostly slapstick or visual sight gags as opposed to an equally crude Kevin Smith film which gets most of it's laughs from the witty dialogue. The movie is also helped by supporting cast including the lovably annoying Christopher Guest, sunshine and a fun soundtrack, including personal favorite Brazil played twice. The Farllery Brothers also made Dumb and Dumber and Kingpins, which I'm now inclined to see sometime ($11.50, Crestwood, Julia).

07/25 James Elroy: Demon Dog of American Crime Fiction (1993)

** Documentary of Los Angeles crime novelist before the success of the film adaptation of his LA Confidential. It's an interesting view of the dark and seeming side of LA, as he gives a tour of some famous crime spots in the metro area. His excessive hyperbole on evil and corruption of the city gets old after about a half an hour and the damned cinema verte/hand held camera made me want to hurl in no time at all. Probably a treat for Elroy fans but skip-able for the rest ($0.00, pass #5, Webster University).

07/26 Smoke Signals (1998)

*** Funny and warm story of two Couer D'Aileone Indians brought together by the death of a father/father figure. They've know each other all their lives and don't particularly like one another but learn to respect each other as the plot unfolds. Fresh and funny bits of dialogue and comments are the strongest point in this film, which was billed as the first totally produced, written and directed Native American film. I really liked the story telling/nerd character and his relationship with his mother. It was charming. Fried Bread Power! ($4.00, Plaza Frontenac, Raye and Kelly).

08/01 Hud (1963)

**** Excellent film adaptation of Larry McMurphy's novel of a tough, womanizing, self adsorbed, cowboy, working on his father's cattle ranch in west Texas in the late 1950's. Paul Newman is fantastic as the anti-hero, bringing understanding to an unlikable character. Oscar winner Patricia O'Neal as the jaded cook/maid, exudes warmth and a tired sexuality. It is a great period depiction of time and place with outstanding, moody B&W photography. Easily recalls Bogdonavich's later McMurphy adaptation The Last Picture Show, a personal favorite ($1.60, Hollywood video).

08/02 Saving Private Ryan (1998)

***+ As expected from Steven Spielberg, an exceptionally well crafted WWII story about the D-Day landing on Omaha Beach and the subsequent mission to save Private Ryan by a squad of men. It's a really good film but isn't brilliant. It's received many alcaldes and predictions of numerous Oscars, so I feel completed to justify why it isn't the "Best War Movie Ever". Much has been said of its graphic depiction of the horrors of war, which are truly there and the beach invasion scenes are as good as has ever been done. However, exceptional special effects don't make for superb storytelling. If it did there would no longer be any theater. There isn't enough story line for two and a half hours. The film bogs down in the second half, as it becomes a fairly typical war story, though thankfully the script writers didn't feel obligated to distract us with the 1940s-50s required meaningless love interest angle. The character development seems sluggish and like other films that star Tom Hanks, it seems to depends on our attachment to his previous roles and general likability, instead of developing it strictly from the script. The Spielberg machine hype has rolled a lot of historians' lauding the technical accuracy of much of the film, in particular Stephen Ambrose. However, the explosive weenies I worked with questioned somethings, especially after the invasion scenes. The last sequence defending the bridge is particular enigmatic. The ambush was crudely set up, with inane use of weapons that range from the stupid (shooting rockets at the front of a tank, as opposed to the top), to the questionable (use of land mines and bulk explosives) to the highly unlikely (priming mortars by hand and having the nose fuze detonate after being lobbed). Sure this added "drama" to the story but it is the weakest part of the film and the one that rung the least true to me, even before hearing the negative comments. This will probably be remembered at Oscar time partially because it's a film whose message is easy to support and political in keeping with the time (reminiscent of 1993's Philadelphia) ($0.00, Kirkwood, Julia).

08/03 Rashomon (1951)

***+ Akira Kurasowa's classic film of a rape and murder retold from several points of view. I've heard about the picture for years and blew off seeing it easily imagining how easily this could be done in film as opposed to other media and the strength behind it's message. I was pleasantly surprised at the potency of Kurasowa's film and that it was more meaningful than I expected. If I ever taught a high school level cinema class, I would probably include this one ($1.60, Hollywood video).

08/08 to 08/11

Sick at Home Film Festival featuring Randy's video collection and

about 10 hours of Buster Keaton films. Only the feature length films had I not seen before. Buster Keaton is my favorite silent comedian and the omission of his masterpiece The General from the list of the 100 Best American Films completed in the spring, greatly discredits the meaning of that list.

08/08 One Week (1920) - two reeler

08/08 Scarecrow (1920) - two reeler

08/08 The Saphead (1920) - feature length

08/08 Convict 13 (1921) - two reeler

08/08 High Sign (1921) - two reeler

08/08 The Goat (1921) - two reeler

08/08 Buster Keaton: A Hard Act To Follow (1993) - 163 min documentary

08/10 The Boat (1921) - two reeler

08/10 The Paleface (1921) - two reeler

08/10 Hard Luck (1921) - two reeler

08/10 The Haunted House (1921) - two reeler

08/10 The Playhouse (1921) - two reeler

08/10 The Electric House (1922) - two reeler

08/11 The Blacksmith (1922) - two reeler

08/11 Cops (1922) - two reeler

08/09 Philadelphia (1993)

*** Good film about an up and coming lawyer who appears to have been fired when his co-workers find out he has AIDS. I feel much as I did the first time I saw it in 1994. The story line bogs down in the courtroom and is hampered by stereotype characters, that the excellent actors (Hanks, Denzel, Robards, etc.) can't seem to move beyond. I know Hanks won the Oscar but was it for his portrayal or the subject matter? I like the obvious overtone of the title questioning the concept of brotherly love and I still think Neil Young's song at the end is much more powerful than Springstien's Oscar winning opening tract ($0.00, CBS).

08/10 When Harry Met Sally (1989)

**** As enjoyable as ever and one of my favorite films of all time. The exploration of the "Can men and women be friends?" has never been told better. Crystal and Ryan are at their best. Probably helped that a man, Rob Riener, directed a woman's script and why it succeeds better than Nora Ephron's later Sleepless in Seattle, which she wrote and directed ($0.00, Randy's video collection).

08/13 Hannah and Her Sisters (1986)

***+ Excellent Woody Allen ensemble cast and story line that stretches over the course of a year or two, charting the ups and downs of various relationships. Not as many layers as Crimes and Misdemeanors or as monumental as Annie Hall, though it is still an insightful and funny bit of story telling. It also has some of my favorite bits of Allen dialogue:

"You don't deserve Cole Porter" and the Woody and Mia exchange:

"Could you have ruined yourself somehow?"

"How could I have ruined myself?...How could I have ruined myself?"

"I don't know, excessive masturbation?"

"Hey, you're going start knocking my hobbies? Jesus!"

($1.60, Hollywood Video).

08/16 Pi (1998)

*** Visually stunning, Kafakaesque view of a man obsessed with finding meaning of God and everything in the chaos of the numbers in our lives. He's being hounded for the results by Wall Streeters and devout Jewish numerologists that think he's found the answers. I mostly recommend it, if you're in for an offbeat, B&W view of obsession. Images of the film remained with me long afterwards, particularly his bouts of cluster headaches (extreme migraines), naked computer hardware with scrolling numbers passing by. Excellent first film from a writer director that we should expect good things from in the future ($3.00, Tivoli).

08/29 Return to Paradise (1998)

*** Thought provoking story of three post-college Americans enjoying the Malaysian exchange rate, particularly the cheap hash. One gets caught with all their stash after the other two return to the States. He is sentenced to hang as a result of it being over the limit for drug trafficking. Anne Heche, in one of her better performances, plays a lawyer attempting to convince the other two to return and serve a few years jail time to spare their friend's life. Although knowing the plot outline, you can image most of the resulting ethical questions and personal dilemmas that the characters go through. Still, it's fairly well done, in a well thought out, albeit manipulative way. I wonder if most people leaving the picture feel they would go back and furthermore, I wonder if they would. Brings up the running thesis that the stories we chose to tell and listen to are a reflection/intrinsic to the values and morals we chose to have. A few more story lines that make the audience look inside themselves and question their value system would be a good thing in my opinion ($7.75, AMC 1000 Van Ness-San Francisco, Jake & Darlene).

09/02 Rio Grande (1950)

*** Good John Ford/John Wayne film, that I don't recall seeing since I was a kid, if even then. The familiar plot has Wayne as the Colonel of a cavalry troop in West Texas (which Monument Valley fills in for again) experiencing troubles with the Apache. The Apache are merely a cardboard backdrop to add drama and excitement. The real plot revolves around the recent enlistment of his son and the return of his estranged Southern belle wife, Maureen O'Sullivan. Generally enjoyable but hampered by the over use of the choral group, the "Sons of Pioneers", who serenaded us at every opportunity ($0.00, American Movie Classics-Yreka, CA).

09/23 A Night at the Opera (1935)

**** The Marx Brothers at their best, highlighted by the classic stateroom and the contract scenes. Every time Groucho, Chico and Harpo are on screen, the film hums along but it slows to a stand still when the focus changes to others, particularly the musical numbers with the horrible dubbing job by Allan Jones. The only appearance I'm aware of 1960s game show panelist Kitty Carlisle ever having in a film (understandably). Duck Soup may have made the AFI's top 100 list but this is their best film ($21.00, Webster University, Mel and Hannah).

09/27 The Governess (1998)

**+ Minnie Driver stars in this 18th century period piece of a Jewish woman who passes herself for a Christian to gain needed employment in the English country side of a reclusive inventor tinkering with photography. It's an unexpectedly sensual and interesting spin on historical facts, exploring the roles of men and women in a different time. Definitely told from a woman's perspective, not that this a bad thing. Not completely satisfying, perhaps because of the mixing of fiction with historical figures ($3.00, Kirkwood).

10/02 & 04 The Longest Day (1962)

*** David Selznick's All-Star epic retelling of the D-Day invasion, based on Cornelius Ryan's book of personal interviews with veterans from all sides. The dialogue is somewhat corny and hackneyed, particularly when uttered by John Wayne. It ends somewhat abruptly with many questions lingering as to what happened next. Perhaps too big of a story to be told in three hours while covering so many characters. In comparison Saving Private Ryan comes across as a much more serious and honest retelling of the story, even if it only focuses on the American part of the invasion ($4.25, Hollywood Video).

10/03 One True Thing (1998)

*** A daughter (Renee Zieglweller) is called back home from NYC and a promising career as a magazine feature writer to care for her dying Martha Stewart-ish mother (Meryl Streep) by her literature professor father (William Hurt). Excellent performances, as expected, in this good telling of the maturing that occurs for most of us in our twenties as we begin to see our parents as real people. Almost had an Old Yeller thing going at the end. I find the older I get, the more I'm drawn to Meryl Streep's portrayals ($5.75, Crestwood, Raye & Kelly).

10/07 What Dreams May Come (1998)

**+ Visually stunning film of a man's travels in the after life. The imagery will surely linger in one's mind long afterwards for it's wonderful use of famous art work to create the sets, giving everything a familiar and majestic feel. However, the story lacks clarity and focus in attempting to convey its message and the actors Robin Williams, Cuba Gooding Jr. and Max Von Sydow don't reach beyond their standard portrayals to bring their characters to life ($6.00, Clarksville, TN, Shirley Hamilton).

10/09 Simon Birch (1998)

*** Touching tale of two misfits boys, one a bastard and one malformed dwarf, Simon, in small town coastal Massachusetts in 1963-64. Despite, his condition Simon bravely faces the taunts and abuse of the town, helped by his intelligence and a strong sense of faith that includes a conviction that God has a plan for all of us. Generally predictable but many of the plot elements rise above the hackneyed. Somewhat manipulative, it defiantly tugs at the heart strings and is well made. Though I found much of its Hollywood smoothness annoying. I couldn't help thinking that the autumn scenes were all done with faked leaves. That sort of polish is seen throughout the production ($3.00, Crestwood).

10/16 A Touch of Evil (1958/1998-remastered Directors cut)

**** Orson Welles adaptation of a "B" pulp fiction murder mystery is terrific and I enjoyed it much more this time than 4 years ago. Part of it is probably due to the reediting job to reflect Orson's original cut based on his 58 page memo in response to the studio's hack job. But a good part of it has to be that since I was already aware of the weaknesses of the film (i.e. accepting Charleston Heston and Marlene Dietrich as Mexicans or the dated script, particularly when taking about drugs) I could concentrate on its good qualities. The cinematography is terrific from the much lauded opening single shot to the end. The images are excellent; filled with double meanings and symbolism. The acting is generally good, particularly Welles as the jaded, worldly American policeman with a touch of evil. Dennis Weaver as an imbecile night-man at a motel and Marlene Dietrich's madame have small parts but steal every scene they're in. On the other side, Heston's Mexican police officer is as wooden as ever and his new bride Janet Leigh has little to offer except for big breasts ($20.00-Pass#1 & #2, Tivoli, Hannah).

10/18 The Tender Trap (1955)

** Very dated tale of swinging bachelor Sinatra living out a cocktail generation male fantasy of beautiful women pouring out of the wood work because he's a single man in NYC. It's sort of an East Coast Surf City where "there' two swinging honeys for every guy and all you have to do is just wink your eye". Debbie Reynolds comes in as the talented singer who main goal is to be married by March 13, which is insultingly quaint by today's standard. Celeste Holm and David Wayne are a real treat though, and there are some truly inspired bits, such as the cleaning up after the party the night before. Can be fun if you don't take it seriously. Hope you like the title track because you hear it three or four times ($0.00, Hammonds-Innsbruck, Devil Dogs).

11/01 Pleasantville (1998)

*** Interesting tale of two sibling teens who get transported back to an idealized 1958 TV show of the title. They have a decided effect on the perfect family and town, as shown by color blossoming throughout the B&W landscape. Many of the points of the plot are well taken but it's near total condemnation of the ideal town is too harsh, since it isn't all evil, just as it isn't all good. Story drags a little the second half, as it drives its morals home. Untellable until recent technology allowed for the relative ease of mixing color and B&W imagery. At times, it seemed that taking advantage of the technique was the prime reason it was written, as opposed to telling a story. Don Knott's shines as the TV repair guy ($3.75, Crestwood, Mike Mall).

11/04 Six String Samurai (1998)

*** Stylistic samurai film stars Jeffrey Falcon as a guitar wielding Buddy Holly look alike making an epic journey across a post apocalyptic 1957 southern California landscape in search of Lost Vegas. Thin plot line only provides an excuse for the numerous well staged fight scenes in the barren landscape. Falcon looks terrific slashing up the baddies in a mixture of genres: Sergio Leone, Akira Kurasowa and post apocalyptic sci-fi films of the 1980s. Overall effort is buoyed by a rocking soundtrack by the Red Elvises. Mindless, stylistic fun ($14.00, Plaza Frontenac-STL Film Festival, Hannah, Dave and Amy).

11/04 The Birth of a Nation (1915)

???? D.W. Griffith's epic silent film of the founding of the KKK based on the novel The Clansman, is very dated and VERY racist. The film starts with a story of two families, one northern and one southern whose friendship is stressed by the outset of the Civil War. The war really only sets things up for the second half, which would be completely farcical if people hadn't taken it as the truth when it came out. The much duplicated images of the good guys riding to the rescue of the helpless maid in a nick of time, seems laughable when it's the klan riding to the score of the Wagner's Ride of the Valkri. At times, I thought Mel Brooks could have been behind it all. Still, its worth seeing to give you a basis of where the numerous cinematic references came from in westerns to The Blues Brothers. I've come to the conclusion that dramas have a much harder time holding up through time than do comedies or at least they don't wear their cultural basis as well. The panel discussion of the head of the Urban league, President of the local NAACP chapter, Wash. U. African American studies and a columnist for the Post-Dispatch offered little incite beyond condemning the racial stereotypes promoted, missing that it made everyone look silly. Their references to degrading "our women" didn't win any points with any feminists ($0.00, Grandel Theater-STL Film Festival, Hannah).

11/06 The General (1998)

**+ Well crafted John Boorman film telling the story of Martin Cahill, an infamous Dublin bank robber of the 1980s-90s. I can't say I cared much for it, as I never liked the characters, which didn't rise above their lowly pursuits of stealing things as opposed to doing anything of their own making. The film traces their rise from petty crooks to major bank and art robbers. I'm not sure why any one wanted to make a somewhat glowing tribute to such a scum bag. Admittedly, my appreciation was hurt by the less than ideal viewing circumstances of a minute and a half delay in between reels as one projector died ($7.00, Art Museum-STL Film Festival, Hannah, Dave).

11/08 Happiness (1998)

***+ Very stark and depressing black comedy about a three sisters and the people in their lives. The plot raises ones definition of DYSFUNCTIONALITY to new heights. Very little in this film is easy to watch as everyone is anything but happy, as they look for love, usually in the wrong places (to be more specific would be unfair to viewers). Laura Flynn Boyle's standard carnal nymphet character is perhaps the best adjusted of the individuals. Superb acting in very difficult roles and an excellent script make the events all too real and believable but the frank discussions and depictions of sexual behavior not condoned by society (although there is next to no nudity) will dissuade most from seeing it. Not for most tastes. Todd Solondz, the same writer/director of 1996's Welcome to the Dollhouse, must have had a rough life to make these two films. Made me feel like my whole life has been in Pleasantville by contrast ($0.00-#3 pass,Tivoli, Julia).

11/14 American History X (1998)

*** An incredible performance by Edward Norton as an skin head dealing with his younger brother following in his footsteps of hate and anger in present day Venice Beach, CA. Norton should get an Oscar nomination for his stellar performance, though the younger brother, Edward Furlong, is terrific too. When Norton's on screen, he rivets your attention as a frustrated, intelligent youth seeking to blame something or somebody for the state of his life. Insightful look at the white gang subculture, mixing an understanding of how it happens with the wisdom that hate engulfs and imprisons you, best summed up in the rhetorical question "Has anything you've ever done made your life better?". The script stumbles having taken a storytelling shortcuts and being a bit too manipulative in places ($0.00-Pass#4 & #5, Tivoli, Hannah).

11/21 Ocean's 11 (1961?)

*+ The quintessential Rat Pack film based on the presence of the entire gang (Sinatra, Martin, Davis, Lawford, Bishop, et al). The film's plot concerns a group of WWII 82nd Airborne special forces conspiring to knock over 5 casinos in a row in Vegas. It seems more of an excuse by the gang to get paid to womanize and hangout in Las Vegas with their drinking buddies than anything else. There's little more to the script than I just described and I'm not sure there was a director. In fairness, I can't accurately judge this because I kept dozing off. If you're interested in seeing what all the Rat Pack fuss was about, I recommend viewing the 1965 show they did in St. Louis with Johnny Carson subbing for Bishop, recently released on video ($0.00, video, Dave).

11/28 Dr. Zhivago (1965)

***+ A sweeping David Lean epic of love, set against the landscape of the years prior to and following the Russian October Revolution. The wonderful cinematography was surely breath taking on the big screen. Lean's depiction of hope springing through the frozen plains or forest, set to the haunting Lara's theme are emotionally powerfully and the most unforgettable aspect of the film. Excellent film making from a production and image standpoint, though my appreciation of it is hampered by a plot line that legitimizes and celebrates adultery (yeah, call me Midwestern). Omar Shariff stars as the poetic young MD, who marries a terrific woman he's known since childhood but only has love for Lara (Julie Christie) ($0.00, Channel 9).

12/03 Forrest Gump (1994)

***+ Although it's popularity allowed it to become a cultural joke after it came out, the film really is good and enjoyable. Its story of a simple good natured man, not only making it in the world but succeeding well beyond anyone's imagination touches a chord. It's the ultimate moral tale of being at the right place at the right time. I think it appeals to an audience seeking solace in an ever increasing complicated world, where all of us know less and less, simply because there's more and more to know. It works beyond that though, with numerous metaphors (i.e. running to and from things) and alludes to grander themes (i.e. assignations of the best leaders of the times; persistence of unrequited love; silliness of many's dreams and ambitions). That said, it still isn't as good of a film as Pulp Fiction, though infinitely more palatable to a wide audience ($0.00, ABC).

12/04 Living Out Loud (1998)

*** Holly Hunter is terrific as a woman in her mid-40s rediscovering herself after being dumped by her NYC West Side MD husband. Danny Devito plays an elevator operator and would be suitor, also recently dumped, who befriends Hunter and they both help heal each others wounds. The scenes of Hunter's mental fantasies and steam of consciousness thoughts and fears were particularly enjoyable. The soundtrack is fairly good, as is Queen Latifa as the sultry lounge singer who befriends Hunter and gives voice to themes of love ($7.50, Century 10-Ventura).

12/11 The Avengers (1998)

** A mediocre reexamination of the 1960's British spy show gets many of the pieces of the puzzle right but flubs others. Ralph Fiennes and Uma Thurman do a good job as Stead and Emma Peal and the witty banter between them is terrific. Also the color, presentation and framing of many of the scenes in the English country side captures the feel and charm of the original. The plot line is a silly as many of the shows but than the whole premise was tongue in cheek in the first place, deriving from it's charm from the leads English poise and sense of wry, sexy humor while facing mad men trying to take over the world. The main problems lie with the insipid, completely over board special effects and the producers who felt this was needed (likely the case for an illiterate third world action hungry audience). It is definitely trying to please two different audiences and succeeds at neither. Sean Connery is completed wasted in a thankless role as a mad weather controlling genius ($4.00, TWA).

12/12 Elizabeth (1998)

*** Cate Blanchette stars as the young "virgin" queen in a fascinating story of power and intrigue. The plot is violent, sexy and exciting but somewhat complex and won't lend itself to distracted viewing. I can understand why liberties were taken with some of the historical details and characters to bring a complicated story to the screen. I can't place my finger on why it wasn't completely engrossing; maybe the lack of familiarity with most of the cast ($6.00, Hi-Pointe, Rhonda).

12/11 A Bug's Life (1998)

***+ Pixar's second feature length film is terrific entertainment, that works for both adults and children. It's a nice expansion of the classic grasshopper and ant story, with strong role models and characters throughout. The plot has the ants toiling away to prepare a food offering to the mean and lazy grasshoppers. It made me wonder if other parts of the world will see this as an ironic metaphor of the US's thoughtless exploitation of the labors of the third world (sorry about that leftist, anti-American thought). Still, I enjoyed it much more than this summer's Mulan, which followed a recent trend of male bashing in Disney animated films, ostensibly to make amends for the insipid female characters in the films until the 1990s ($8.00, Kenrick, Julia).

12/18 Gods and Monsters (1998)

*** Interesting story for film buffs, particularly fans of 1930s Universal horror films, such as the two first Frankenstein films and The Invisible Man. Ian McCellen turns in an excellent performance as director James Whale set in his final days haunted by the images of his past and a Hollywood that forgot him because of his sexuality. Brenden Frasier plays his new gardener, model and friend ($5.50, Hi-Pointe, Jenn, Matt, Amy, Dave and Julia).

12/23 Crumb (1994)

*** Very good documentary on 1960s-1970s underground comic artist Robert Crumb, the developer of Fritz the Cat, Mr. Natural, Tommy Toilet and early 1970s icon of "Keep on Truckin". Crumb's frank, ribald depiction of male lust and anger of a social outcast are frequently pornographic and misogynistic but definitely part of the culture of the late 20th century. You don't have to a big fan of his comics to appreciate this exploration of the incredibly creative mind, which regulates him way outside main stream culture, bordering on mental instability. The interviews with his two brothers, who are very creative also, show how close it is to fall on the other side of the line. It's a pity that the film makers couldn't get interviews with his two sisters ($1.07, Schnucks Video).

12/25 You've Got Mail (1998)

***+ Meg Ryan and Tom Hanks star as two pen pals falling in love anonymously through email, while in real life they're at odds with each other over business (Ryan has a cute, personal children's bookstore; Hanks runs a mega store opening around the block). Nora Ephron wrote and directed this romantic comedy, which should pretty well sum it up. This film is most easily compared to Eprhon's earlier scripting efforts on When Harry Met Sally and Sleepless in Seattle, which she also directed. The things the film does well, it does exceptionally. The cast is terrific, from the leads to all the supporting roles filled with character actors such as Dabney Coleman and Jean Stapepelton. The sets and locations look fabulous and surely would give any Woody Allen picture a run for it's money on the candidate for best promotion of New York City. The soundtrack is a joy with a few standards and three from the nearly forgotten Harry Nilsson, including his original pick for the Midnight Cowboy theme, I Guess the Lord Must Be in New York City. I also thought the timing and pace of the scenes and plot were noticeably well done. Now that I've mentioned the good points, the films stumbles in places over easily corrected things (all of which I attribute to Ephron). It's manipulation of viewers is fairly heavy handed, besides the praised soundtrack. Was is really necessary to give Hanks a golden retriever and scenes with his families kids showing what a terrific dad he would be? Also, several of the characters seemed superfluous and I had the feeling that their presence was from script rewrites in midstream. Also, the use of Starbucks as a set was very distracting for it's obvious commercial placement but even more so for it's disrespect of Ryan's character. Would an independent bookseller really frequent the upscale java Deathstar, infamous for its Megalithic tactics of putting local cafes out of business? I doubt it. I'd like to see the original film version, Ernest Lubitsch's The Shop Around the Corner with Jimmy Stewart and Maureen O'Sullivan and compare the two ($6.00, Crestwood, Nancy).

12/25 Kingpin (1996)

**+ Rudely funny film about a bowling prodigy (Woody Harrelson) who falls on hard times after the loss of his hand, only to be resurrected by the discovery of an Amish natural (Randy Quaid). Bill Murrey has a wonderfully sleazy role as the evil rival bowling champ. My viewing suffered from watching without a crowd, which always diminishes with farces. That and I really don't care for Woody Harrelson at a gut level. I can definitely see a formula to the Farllery Brothers pictures: a rough plot bringing together idiots with laugh out loud funny comic bits of a vulgar nature (scatology, really crude sex jokes, an oblivious disregard for anything remotely politically correct), effectively using the score to manipulate the viewers emotions ($1.07, Schnucks Video).

12/26 Dr. Doolittle (1998)

** Eddie Murphy stars a medical doctor who discovers he has a gift for talking to the animals. Fairly amusing family type story but it has a bit too many potty jokes for my taste. Has no real basis in the original stories or the 1969? musical starring Rex Harrison ($0.00, American Red Cross-apherisis donation).

12/26 Star Trek Insurrection (1998)

**+ Fairly good story exploring the limits of the Federation's prime directive with the Next Generation cast protecting a small group of humanoids living a Shangri-la existence, from those who wish to destroy it. I kept expecting them to break out in song, a la the 1970s color, musical remake of The Lost Horizon, but perhaps that's unfair. Everything is fairly competently done but nothing exceptional or that you haven't seen before. It's a better than average TV episode but it doesn't really fill the big screen ($4.00, Kenrick, Raye & Kelly).

12/27 Life is Beautiful/La Vita E Bella (1997)

**** Writer, director and star Roberto Benigni has created a film of great hope and humor against the backdrop of the century's greatest racist tragedy. The film has two distinct parts, with the first half concerning the antics of a would-be bookseller in 1939 Italy wooing and winning a beautiful schoolteacher. Benigni, who is generally known for his bawdy, physical comedy of the Benny Hill variety, is surprisingly restrained here, while being exceptionally funny. The hitch is that the bookseller is Jewish, which sets the scene for the second half of the film, 5-6 years later. The family, which now includes a small boy, is sent to a Nazi concentration camp. In order to shield his son from the horrors of the situation, Benigni concocts a story that it's all an elaborate game that they're trying to win. His constant sense of humor and buoyant silliness provide light in the darkest hours of the ordeal. The film may be faulted for totally focusing on Benigni. Many of the other characters, such as the concentration camp prisoners, never get to say or do anything except act as scenery. I didn't considered this an issue, since doing so would only have only distracted viewers from the main plot. Benigni is potentially a contender for several Oscar nominations including Picture, actor, director and screen writing. He definitely deserves to be recognized for this magnificent work ($.00, Frontenac, Kent and Mark).

Total Number of Movies Not Seen Before 82.5

Total Number of Movies Seen again 25.5

Total Money Spent - $378.39