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DOWNLOAD MOVIE Mad Max 2: The Road Warrior Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Mad Max 2: The Road Warrior
I think this may be the greatest ‘car movie’ ever made. The chase scenes
are
gritty and thrilling, and quite realistic. None of that ‘car falls over
cliff and blows up’ crap.

In the fighting/war scenes, it plays a perfect balance between hidden
action
and open action, never overselling the gore nor underselling the
violence.

The plot is an excuse to have a long highway battle, but I’m not
complaining. It’s vaguely feasible enough that you don’t worry much about
it, just accept it as a needed background to hang the fun stuff on. Oh, to
be a stunt driver in this movie! Or even to be a mechanic! That would be a
story to tell your children.

This is every driving fantasy I’ve ever had, and played perfectly. I know
that certainly flavors my review, but tell me that movies which are
cathartic for you haven’t affected YOU that way?

Bottom line: thin plot, heavy action, decent characterization. Symbolism
absent, directness the rule of the day. Jump on this bandwagon and ram
something. Fun all the way.

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DOWNLOAD MOVIE Hudsucker Proxy, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hudsucker Proxy, The

Though set in the late 1950s, this comic fantasy concoction by the Coen Brothers (Barton Fink, Blood Simple), as well as co-screenwriter Sam Raimi (Darkman, Spider-Man 3), owes much more to the screwball comedies of the 1930s and 1940s than it does to the era in which it’s set.  From Preston Sturges to Howard Hawks (such as Leigh’s riff on Rosalind Russell from His Girl Friday, with a healthy dash of Katherine Hepburn thrown in for good measure) to Frank Capra (especially Mr. Deeds Goes to Town), the Coens explore various styles of cinema to create a wholly unique blend of classic comedy motifs, done in the oddball yet fascinating way that only the creative duo can. 

Oddly, despite its immense pleasures for film buffs and Coen fanatics alike, the movie itself never quite took hold with the public, and is often forgotten when discussing the better works of the brothers.  Personally speaking, I think it’s one of their finest films, with a breathtaking visual dimension they’ve rarely bested, while also dishing out a story that’s funny, vibrant, and occasionally endearing. 

The Hudsucker Proxy stars Tim Robbins (Short Cuts, The Player) as Norville Barnes, a dull tool from Muncie transplanted to New York City without the experience or know-how to land a decent job in his industry.  His only option is to start on the ground floor, quite literally, by taking a mail room assistant job for mega-corporation, Hudsucker Industries.  It doesn’t take long after he’s hired than he is promoted, not just a step up, but right to the very top as president of the company.  How it happens is that the previous CEO, Waring Hudsucker (Durning, Stick), has killed himself, leaving the shares to go public, so to drive down interest in the company and get the shares for themselves, the Board of Directors put what they feel is a complete imbecile in charge in order to lose public faith and make blunder after blunder.  Little do they know that Norville has a big dream for a product for the kids that he thinks will be the greatest idea ever, and though it’s completely crazy from the Board perspective, it’s just crazy enough to work.

The Hudsucker Proxy stands as one of the most ambitious of the Coen Brothers projects, and if you’re familiar with their work, you’ll know that’s saying something.  With a sizable budget with which to work with, they proceed to put together a quality cast and fantastic sets geared toward making the 1950s one that appears both retro and futuristic at the same time, not too far off from the sort of thing Terry Gilliam (Brazil) might construct.  At its heart, the story might be called an amalgam of style more so than something one could make a compelling tale out of, but the richness of the characterizations and environs bring the narrative to life, with a good sense of wit, romance, and satire. 

The acting is terrific across the board, with Robbins once again succeeding in playing a daft but entirely loveable simpleton.  As fine as Robbins is throughout, the work by Jennifer Jason Leigh (The Hitcher, Fast Times at Ridgemont High), who nails that classic girl reporter on the beat vibe from the classic films of Hollywood’s yesteryear, ranks among her finest performances.  Both characters are essentially caricatures, but yet the superb acting and the Coens’ skill with creating mood allow the humanity of them to come out, enriching what might otherwise have been just a quaintly odd pastiche.  You have to admire the casting decision of anyone who’d give a part to "Hud" himself, Paul Newman (Slap Shot, Butch Cassidy and the Sundance Kid), as the head of "Hud" (as Hudsucker Industries is occasionally referred to).

I suspect that the bigger a lover of old Hollywood films you are, the more mileage you’ll get out of this colorful homage by the Coens.  It definitely helps to know the acting styles and conventions of classic cinema to know why people act the way they do, say what they say, and live as they live, especially since many seem to be pulled in from different worlds altogether.  Though some critics have knocked the film for being too large to be personal, too lifeless to be engaging, I can’t agree with this assessment. I find it an entertaining, fun, and spirited comedy worthy of repeated viewings.  With its PG rating, it’s the most family-friendly of the Coen Brothers films, but it’s definitely not just, you know, for the kids.

Qwipster’s rating:
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DOWNLOAD MOVIE Man About Town Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Man About Town Reviewed By brianorndorf Posted 02/23/07 17:22:20

"It’s getting easier to loathe Mike Binder" (Total Crap)

To even suggest that Ben Affleck is responsible for the poison the spills out of "Man about Town" is just insanity. The awfulness of the film is writer/director Mike Binder’s fault. He’s the one who made the lunkheaded dramatic choices, the excruciating stabs at comedy, and ridiculous choice of a Hollywood agent as a psychological profile.?Man About Town? was shot back in 2004 when Ben Affleck was at the very end of his career rope. Reeling from the unfair clobbering of ?Jersey Girl,? I?m sure the actor looked over this script?s laundry list of ennui and salvation as a way to get himself back on the right track.Jack Giamoro (Ben Affleck) is a television writer agent starting to feel the pinch of discontentment with his life. With his marriage (Rebecca Romijn) falling apart, his co-workers (Mike Binder, Kal Penn, and Gina Gershon) pushing him to swallow his problems, and his ailing father (Howard Hesseman) reminding him of life?s fragility, Jack escapes to a weekly journal writing course to help find needed perspective. Easing into a new headspace, Jack is horrified when his journal is stolen by a vindictive newspaper reporter (Bai Ling) who threatens to spill his secrets.Writer/director Mike Binder nailed the intersection of comedy and pathos with his 2004 effort, ?The Upside of Anger.? The Joan Allen/Kevin Costner film was unexpectedly funny, balanced sincerity with melodrama effectively, and tackled absorbing subjects such as grief and social displacement. ?Anger? was basically everything that ?Man? isn?t. It boggles the mind to watch Binder fall from such observational highs to this piece of garbage. ?Man? is a bundle of clich?s, but not the interesting ones that could lead to a passable motion picture. Here we?re given the plight of a Hollywood agent; that age-old character of moral corruption and hopelessness that turns up every month in lazy scripts. Like his contemporaries, Binder clings to the idea of an agent as the everyday man with everyday problems. Hogwash. All it really allows is for Binder to cook up inside Hollywood jokes about the industry and the talent fishing process that only the coasts will find appealing. It doesn?t take long for ?Man? to assume a ?Jerry Maguire? route of self-inspection and romantic lament. Binder treats these themes robotically, using cheap tragedy and bizarre flashbacks to best investigate why Jack is losing his moral center. Because Binder clings so close to routine sights and sounds, the impact of Jack?s revelations are lost in the mix. A short list of offenses: we have the side-impact-out-of-nowhere car crash, the agent-pleading-for-a-client scene, and 70s d?cor straight from the stores of ?Brown and Paneled.?How dense is Binder? He uses an acoustic version of ?Our Lips Are Sealed? to underscore a tender moment Jack recalls from his childhood. Because nothing says 1976 quite like an iconic song from 1981. When all is said and done, it?s impossible to nail Affleck to the wall for this film?s lack of competence. I like the actor and I think, with elevated material, he?s capable of great things. The blame for this mess stands completely on Binder?s shoulders. After all, Affleck didn?t write an extended sequence where, after a botched dentist visit, Jack runs around the second half of the picture with gigantic buck teeth. Affleck didn?t cast Kal Penn, Mike Binder, and Adam Goldberg as the comedic relief (I think I?m gonna be sick). And Affleck wasn?t the guy staging separation sequences around a massive fish tank that appears courtesy of the ?Symbolism for Dummies? directing playbook. This is all Binder, demonstrating some of the worst screenwriting and directorial lethargy I?ve seen in the last year.Over the last year, ?Man? had a dickens of a time finding a theatrical distributor, and now I can see why. Binder steps back to the plate with this spring?s ?Reign Over Me,? and I can only pray that?s he?s gained some sense of restraint from the bloated corpse of the miscalculated and diseased ?Man About Town.?
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DOWNLOAD MOVIE Assault on Precinct 13 Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Assault on Precinct 13 (2005) / Action-Thriller

MPAA Rated: R for strong language, strong violence, and some drug content Running Time: 109 min. Cast: Ethan Hawke, Laurence Fishburne, Brian Dennehy, Gabriel Byrne, Drea de Matteo, John Leguizamo, Maria Bello, Ja Rule, Aisha Hinds, Matt Craven, Currie Graham Director: Jean-Francois Richet Screenplay: James DeMonaco

 

 

Assault on Precinct 13 is a remake of the cult classic John Carpenter film of the same name of 1976, offering several key twists to the story, and ratcheting up the graphic violence and language for today’s less discriminating audiences.  Both are loosely based on the classic John Wayne flick, Rio Bravo, so if it seems redundant twice over, there’s a very good reason. 

Ethan Hawke (Before Sunrise, Taking Lives) stars as Detroit police officer, Sgt. Jake Roenick, who has spent the last few months as a pencil pusher in his now-closing precinct after a drug bust gone bad, which saw the deaths of two fellow officers.  With most of the force gone, Jake finds himself in command when a busload of criminals are forced into the precinct’s jail to stay on New Years Eve due to a vicious snowstorm.  One of these prisoners includes notorious cop-killer Marion Bishop (Fishburne, The Matrix Revolutions), who becomes a magnet for a mysterious group of deadly gun-toting fiends who want him released, putting the precinct under siege.  It turns out these other bad guys are really corrupt cops out to take down Bishop before he can rat them out, putting cop against cop in a battle to the death.

This updated Assault does feature more credible actors than the original film, and better production values, but it never really transcends its b-movie origins to become a top-notch action vehicle.  It is a very conventional plot, and even with a few twists and turns, there are very few real surprises to be had, as nearly every clich? in the book comes to fruition before the end credits roll.  It doesn’t always make sense (at least not to me), since the corrupt cops shouldn’t have such a difficult time with all their firepower overtaking the precinct.  Since they have resolved to kill everyone inside, smoking them out just never occurs to them, as they would rather take potshots from long distances.  Some of their modus operandi truly boggles the mind.  For instance, take a scene where two of the characters try to make an escape in a hotwired vehicle, only to be surprised by a third passenger in the back seat out to kill them.  Why does he wait several minutes while the car is being hotwired and for the car to go into fast motion before striking?  I guess so we can have that ultra-cool car crash that results.  Yes, this one’s going for style points wherever it can.

Richet’s direction keeps the action plentiful and stylish, while the very capable cast do make this leaden plot seem better than it is.  Sadly, that’s not really enough to elevate this pedestrian rehash into anything more than a passable escapist popcorn flick, as easy to watch as it is easy to forget. 
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DOWNLOAD MOVIE Scary Movie 4 Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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A good spoof is hard to find now that Mel Brooks has been preoccupied with Broadway. Earlier this year we had the horrific and anger inducing “Date Movie” which, for your sake, I will not take the time to verbally abuse. Now we have the barely sub-par “Scary Movie 4“, directed by David Zucker (Airplane) and starring Anna Faris (Brokeback Mountain), Craig Bierko (Cinderella Man), Leslie Nielsen (Naked Gun) and Regina Hall (The Honeymooners). The good news is it’s certainly better than both “Date Movie” and even “Scary Movie 3″, but the bad news is that’s not saying much.

Cindy Campbell (Faris) just doesn’t seem to have any luck avoiding evil beings, ghosts, or serial killers. Despite the fact that she has sometimes not even survived past additions to the Scary Movie series, she always returns for the next film with no explanation why. It’s a spoof. Do they really need a reason? In Scary Movie 4, Cindy moves to a new town and finds a job as a housekeeper. Her next door neighbor is Tom Ryan (Bierko), a dock worker who’s failed marriage and ineptitude as a father keeps him on the lookout for the next Ex-Mrs Ryan. And everything seems to be great except for the creepy japanese ghost that lives in her house and the alien Tri-pods that have come to destroy everything in their path. Sound familiar? Of course it does. It’s a spoof movie.

The Scary Movie series has never been that funny. The first two overloaded on being gross for a laugh (anyone remember the geyser of sperm?) and number 3 left me with a very sour feeling. I find it interesting that, to me, Scary Movie 4 is the best of the bunch. Don’t assume that means I’m recommending it. The film does have some pretty hilarious moments, but they have been sparsely scattered amongst a great deal of flat or unfunny scenes.

The film opens in an obvious parody of “Saw”, but this time it is Shaquille O’Neal and Dr. Phil McGraw who are playing the game. Afterwards it cuts to James Earl Jones reciting Morgan Freeman’s lines from ”War of the Worlds” and we get the first real giggle inducing bit when microscopic organisms jiggle, dance, and flash the camera to the tune of “I Like Big Butts”. Some of the other highlights of the film include: an overdose of viagra; the alien crafts being giant (Tr)I-Pods that switch from “Awesome 80s” to “Destroy Humanity”; a ghost victim being used as an office supply; a Dakota Fanning look-alike being struck by lightning (twice) and also by whatever blunt objects imaginable; and the US president’s obsession with a story about a duck.

What kills the movie is it’s lack of energy. I’ve never understood why Anna Farris is one of the only two original cast members to return for each film in the series, because she has always been the most forgettable with her lack-luster ditzy girl impression. The saving grace comes from Regina Hall as Cindy’s sex obsessed friend Brenda. She adds the much needed energy to each scene she is in, which makes it a pity that she isn’t introduced until the movie is half over. I also thought that  Bierko gave a memorable performance as clutzy neighbor Tom Ryan. I’m sure most people will appreciate the scene where he spoofs Tom Cruise’s behavior on Oprah.

Much like most spoofs, every scene seems to be directly taken from the movie it parodies. But it’s when the film breaks the mold and does something unexpected that my interest is peaked. You get a few moments like that from this movie, but usually you’ll be expecting the joke long before you get to it. When Anthony Anderson and friend have a flashback about being two cowboys out in the wilderness…well…you already know where it’s headed. Even the “twist” at the end of the film leaves you feeling cheated.

While “Scary Movie 4” will not be joining the short list of decent spoof films, it will not be known as one of the worst either. I left the theater feeling unsure exactly how I felt about the film because I at least got a few good laughs in. The movie is average as far as spoofs go. I will give it that honor. At the end of the year, when you think back to your favorite comedies you had seen over the course of it, you might not even remember Scary Movie 4 at all. If you decide you must see it, bring along friends and see it in a crowded theater. The contagious quality of cascading laughter through the room may be the only thing that saves this movie for you.

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DOWNLOAD MOVIE In the Line of Fire Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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In the Line of Fire
In The Line Of Fire Reviewed By spork-girl Posted 09/08/98 11:50:19

"But you should see this. Because John kicks ass." (Average)

There is an interesting theory that states the best actors get out of Hollywood as soon as possible. John Malkovich lives in a villa in Southern France.John Malkovich has got to be one of the coolest guys around. What completes a great actor’s bag o tricks? A perfect voice’ll keep you in business forever. Kelsey Grammer, James Earl Jones, and Johnny Malkovich all fit the profile.In this he is a master villan. A master of disguise, and his voice is so important in this movie because for 80% of his screen time he’s on the phone. However, the rest of this movie sucks. Clint is simply too old to play the FBI agent on the run against a madman. Well, at least in this one he is. He shoudl retire to chief of police or strategic advisor. With his wrinkly ass it’s no wonder his partner gets it (spoiler!)And basically, no one likes to think that Clint Eastwood can defeat John Malkovich. The discrepency in their coolness factors simply do not allow it. 3 sporks.
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DOWNLOAD MOVIE Secret Window Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Secret Window (2004) / Thriller-Horror

MPAA Rated: PG-13 for violence, sexual content and language (I’d rate it R) Running Time: 96 min.

Cast: Johnny Depp, John Turturro, Maria Bello, Charles S. Dutton, Timothy Hutton, Len Cariou Director: David Koepp Screenplay: David Koepp

 

 

Note: This review doesn’t contain any overt spoilers, but film savvy readers may pick up on some things they may not want to know.  Skip the next paragraph if you don’t want to take any chances. Stir of Echoes writer-director David Koepp returns to the genre with Secret Window, the film version of the Stephen King novella, "Secret Window, Secret Garden".  As King adaptations go, this one ranks in the middle of the pack, not nearly the best, but definitely not one of the worst. The problem here is that the whole plot hinges on a twist that has been done several times in films in recent years (Fight Club most notably), including a similarly delusional Coen Brothers film about writer’s block that also starred John Turturro (Barton Fink — probably the reason he was cast in this film). Although the story pre-dates many of the movies, there is a nice irony that the film deals with plagiarized ideas, as this film feels like it is lifted from other sources, while in reality, its real source came first.  Sadly, the predictability weighs in heavily in why Secret Window is a mediocre thriller, and the fact that it isn’t particularly scary.  In fact, it plays much more like a quirky black comedy (which it is), with another idiosyncratic performance by Depp (Pirates of the Caribbean, Once Upon a Time in Mexico) that treats this nonsense with all of the seriousness it deserves — none. Depp stars as Mort Rainey, a best-selling author struggling with an impending divorce and a serious case of writer’s block.  While at his country home, he is visited by a strange and menacing man claiming to be John Shooter (Turturro, The Big Lebowski), who drove all the way from Mississippi to denounce Rainey’s story, "Secret Window, Secret Garden" as plagiarized from his work.  Shooter give Rainey three days to provide evidence that he was the original author of the story, but Mort blows him off as just another crazy coot.  Things get serious — deadly serious — when bad things start happening that turns Rainey’s life upside down, so the race is on to secure proof before he loses all that is dear to him. One more bit of irony — for a film that is all about getting its ending right, the one in Secret Window is all wrong.  That’s a shame since it had been an intriguing trip up until that point, but we knew the screw would turn eventually, and unfortunately this one is screwed up.  It’s not surprising, since this material is fairly weak to begin with, and only the colorful performances by Depp and Turturro spark any life into it, so when they are forced to change their personalities toward the final scenes, it all falls apart. Secret Window is a flawed but interesting movie, and although I don’t really recommend it as a good film, I also wouldn’t call it was a waste of time either.  Even with the flaws, it is always interesting, and iIf you like the stars, there will certainly be some appeal here, with the direction by Koepp keeping it a lively visual affair.  The only real problem here is the main story itself, held together by the barest of plot developments and a surprise ending which probably won’t be much of a secret to anyone. ? 2004 Vince Leo

   

 
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DOWNLOAD MOVIE Hellboy Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hellboy (2004) / Action-Horror

MPAA Rated: PG-13 for violence and scary imagesRunning Time: 132 min.

Cast: Ron Perlman, John Hurt, Selma Blair, Rupert Evans, Karel Roden, Jeffrey Tambor, Ladislav Beran, Doug Jones, Corey Johnson, David Hyde Pierce (voice of Abe Sapien) Director: Guillermo del Toro Screenplay: Guillermo del Toro

 

 

Mike Mignola’s "Hellboy" was a favorite comic of mine for a short while, back when it first appeared in Dark Horse comics in the pages of John Byrne’s "Next Men", back in early 1990s.  I enjoyed the humor, and the interesting artwork, but ultimately dropped it from my pull list because, once the interesting set-up was resolved, it never really grabbed me sufficiently again.  Now Hellboy sees the big-screen treatment, and my expectations coming in were something akin to my feeling after League of Extraordinary Gentlemen and Spawn — it looked like it would by nothing but dark, violent action eschewing dialogue and characterizations for special effects.  I would be disingenuous in telling you that the strengths of Hellboy doesn’t come from the action and eye-candy, as it does provide more screen time than anything else.  However, what elevates Guillermo del Toro’s latest horror hybrid into something entertaining comes from the originality of the characters and the high doses of comic relief from the main character himself.  It’s a fun movie. Del Toro’s film starts off with an origin of sorts, set back in the waning days of World War II, where the Nazi army has taken to more desperate measures to keep their mission alive, which includes opening a portal to Hell to draw darker powers.  The plan is botched, but an odd creature manages to make it through the portal, a demon child who is adopted as a son by one of the scientists who eye-witnesses the event.  He is given the moniker of Hellboy, and we flash forward to today, where a now adult demon (he ages in something akin to reverse dog years) is used as a government agent trying to take down all manifestations of supernatural creatures while also trying to keep a low profile for the unsuspecting public.  He rarely has any problems with his assigned task, fulfilling them with cocky arrogance, but he gets more than he bargained for when coming up against Rasputin and his hordes of creatures that keep resurrecting themselves.  Rasputin has diabolical plans for Hellboy, which includes seeing him in his rightful place as a lord of demons in an Earth taken over by the dark powers that be. This is del Toro’s second comic book flick, coming on the heels of the modest hit Blade 2, the improved hit sequel to Stephen Norrington’s Blade.  The material seems right up his alley, as he has directed several pictures of a darker nature, including Mimic and The Devil’s Backbone.  It is with Hellboy that del Toro seems most at ease, never losing the tone or vision of the film from beginning to end, and faithfully capturing not only the essential ingredients of Mignola’s creation, but also deriving much of the storyline and plot developments from the comics themselves.  It’s a hodgepodge of various styles, pulp horror/fantasy and deeper mythos, blended into an irreverent delivery for easier consumption.  It’s a moving picture comic book, after all.

If there is a downside to the film, it’s the same thing that can be said of most comic book adaptations: it tries to do too much too soon.  Much of the storyline relies on the viewers to fill in the blanks as to what is going on, rather than a full understanding of who these characters are and how they came to exist.  Basically, we just have to resolve that certain people are good, certain creatures are bad, and whatever they are fighting over the ultimate fate of the world.  If it doesn’t always elaborate, at least the action moves fast enough for us not to dwell too much on the finer details in order to have a chuckle, fright or adrenaline-charged battle in every scene.

Hellboy makes for some fun escapist entertainment for fans of the the darker comic style films, such as Men in Black, X-Men, and Blade.  It exists to take you to a fantastical world, but sets modest sights on just giving you laughs and action.  Nothing too deep, but there is a lot of ground yet to be uncovered from the material, and for a fast-moving diversion, Hellboy does justice to its graphical print counterpart quite well.

?2004 Vince Leo

   

 
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“Stuart Little 2” is true to its name twice over. It’s a little movie (78 minutes, including more than five minutes of credits) intended for little people. But, more than the last time around, it has elements that might help divert those bigger people who find themselves unavoidably in attendance. For one thing, the adventures of the 3-inch mouse who walks like a man now have more visual flair, including a particular emphasis on flying. The use of a new piece of technology called a SpyderCam, unleashed from a 200-ton crane placed on the roof of a New York hotel, re-creates the feeling of birds and miniature airplanes swooping daringly over Central Park. ADVERTISEMENT The addition of a pair of birds to “Stuart 2’s” cast of characters is also a plus. Both admirably voiced, they are Margalo (Melanie Griffith), a flirtatious avian free spirit brought over from E.B. White’s original book, and Falcon (James Woods), a nasty predator who warns cohorts, “Never make a friend I can eat.” Stuart himself, voiced by the wonderful Michael J. Fox, appears to better advantage here, and not just because he has an extremely spiffy wardrobe (14 costume changes, all digitally tailored and designed by Mona May). Though it’s hard to know how seriously to take producer Douglas Wick’s assertion that this film’s goal was “to give Stuart more of a character arc” than the first picture allowed, he’s sort of right. Freed from the burden of setting up Stuart’s world, this film, written by Bruce Joel Rubin and directed once again by Rob Minkoff, gives freer rein to Stuart’s enthusiastic personality. A curious byproduct of this improvement is that by comparison, “Stuart 2’s” on-screen humans are even harder to take than they were in the original. Granted that the characters of Mr. and Mrs. Little (Hugh Laurie and Geena Davis) are so toweringly sappy there’s probably no good way to play them, there’s really no excuse for them to seem less real than a bunch of computer-generated animals. One of those animals, the white Persian cat Snowbell (voiced by Nathan Lane), is almost as much of a drag as the Littles. This animal’s stand-up comic one-liners (”Look what I’m reduced to, a Handi Wipe with hair”) are probably intended as a sop to the parents in the crowd, but the script’s painful wisecracks clash with the tone of innocence the film is mostly concerned with projecting. “Stuart 2’s” plot has two main thrusts, the least interesting one involving Mrs. Little’s tendency to be overprotective and not allow Stuart room to grow psychologically. Or something. Stuart’s older brother George (the reliable Jonathan Lipnicki) is spending more time with his friends, so Stuart feels a bit abandoned and in need of a new pal. One promptly falls into his lap, or at least into the seat of his car, when wounded bird Margalo, fetching in an Amelia Earhart-style aviator cap, takes refuge with Stuart as she tries to escape the attacks of Falcon. Stuart gets an instant crush on Margalo and asks the Littles if she can move in (chastely, of course. What were you thinking?). Margalo dreams of flying south, but the fact that she enjoys watching Alfred Hitchcock’s “Vertigo” should be a hint that this bird is not all she seems. Like many modern children’s films, “Stuart Little 2” can’t decide between teaching good values (”You’re only as big as you feel”) and tossing out fake-hip jokes. Though it doesn’t happen as often as it should, this is a better film when it allows itself simply to be sweet. * MPAA rating: PG, for brief mild language. Times guidelines: more tension and jeopardy than the smallest viewers might expect. * ‘Stuart Little 2‘ Michael J. Fox…Stuart Little Melanie Griffith…Margalo Nathan Lane…Snowbell Geena Davis…Mrs. Little Hugh Laurie…Mr. Little Jonathan Lipnicki…George James Woods…Falcon Columbia Pictures presents a Douglas Wick/Lucy Fisher Production, a Franklin/Waterman production, released by Sony Pictures. Director Rob Minkoff. Producers Lucy Fisher, Douglas Wick. Executive producers Jeff Franklin, Steve Waterman, Rob Minkoff, Gail Lyon, Jason Clark. Screenplay by Bruce Joel Rubin, story by Douglas Wick and Bruce Joel Rubin, based on characters from the book “Stuart Little” by E.B. White. Cinematographer Steven Poster. Editor Priscilla Nedd Friendly. Costume designer Mona May. Music Alan Silvestri. Production designer Bill Brzeski. Art director Shepherd Frankel. Set decorator Lisa K. Sessions. Running time: 1 hour, 18 minutes. In general release.
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Born into Southern money and a rather troubled family life Gram Parsons had both the best and the worst in life right from the beginning. Being a talented musician who was supported by his family he parlayed his skills, left Harvard after on semester and headed for California to start making music before things came crashing down.

For those who don’t know Gram Parsons was an alt-country [or country rock] rock ‘n roll musician who’s flamed burned bright for too short a time before he died of a drug overdose in 1975 at the young age of 26. Along with that other group of hallowed musicians who died too young - such as Jimi Hendrix, Janis Joplin and Jim Morrison - Parsons created some fine music. But where each of the others hit their stride early and became legends before death Parsons was just on the cusp of greatness.

He played in the International Submarine Band, The Byrds ? where he lent his sound to their “Sweetheart of the Rodeo” album, The Flying Burrito Brothers. He is probably most well known for his two solo albums, which included fabulous duos with Emmylou Harris.

Seven years in the making by Gandulf Hennig and Sid Griffin Gram Parsons: Fallen Angel is to date the definitive documentary on Gram. But it is also a refreshingly sober look at his life. The filmmakers avoid the E! expose treatment and other such underhanded TV exploitative tactics to over-hype or oversimplify Gram’s demise.

The filmmakers do get into Gram’s bad boy behavior and his penchant for opportunism and his somewhat odd fawning of Keith Richards and the Stones but they stick with facts rather than speculation. They also try to focus on Gram’s life and music rather than try to explain what may have led to him becoming an addict and ultimately an overdose victim. Some interviewees surmise that maybe Gram had a death wish, or maybe he was distraught by his childhood or by the death of other members of his family. But for the most part the filmmakers do not explore this in any deep psychological way. They also don’t try to give his life an obvious destiny trap. I prefer it this way because it feels more honest; but others may want more dirt or some kind of conspiratorial angle.

Interviews are done with many including fellow musicians and friends like Keith Richards, Emmylou Harris, Chris Hillman, James Burton, as well as admirers like Peter Buck and Dwight Yoakam. But it is the interviews with family members who help set the record straight and keep the film from veering off into the kind of film some may hope to see.

Interspersed throughout are a lot of good period footage and photos along with a few concert footage and some early music videos [well before MTV]. There is also plenty of fine music that fills out the soundtrack.

Only toward the end when the filmmakers interview Phil Kaufmann - and follow him out to Joshua Tree - does the documentary get into rather dark and disturbing waters. If you know what happened after Gram died there is no need to reiterate it; if you don’t then watch the documentary. For some, the handling of his death added to his legend. But I agree with Emmylou Harris that Gram should be remembered for his music not his death. And the filmmakers seem to respect that above all.

Video:
Shot in video and presented in 1.85:1 anamorphic widescreen it looks great. The image is sharp and clear. The vintage homemade footage is dark, grainy, out-of-focus and jarring ? but it only adds to the legend and gives it a veneer.

Audio:
Audio choices are in 2.0 stereo or 5.1 Dolby Digital surround. The quality is good and the each voice can be heard clearly. The 5.1 has a bit fuller sound for obvious reasons but the music has not been restored for such sound so it is not necessarily better than the 2.0.

Extras:
There is a good 14 minute interview with Gandulf Hennig where he talks about the time and effort it took make it all work.

Overall:
Gram Parsons Fallen Angel will probably become the definitive documentary on Gram’s short but musical and eventful life. The filmmakers keep it all pretty straight forward but it is not boring and has plenty of good touches and fine editing.
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