DOWNLOAD MOVIE Good Night, and Good Luck. 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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"Who knew that George Clooney would become the next Alan J. Pakula?" (Awesome)

Good Night, and Good Luck, George Clooney?s second directorial effort, is a fly-on-the-wall historical drama that values realism over drama. Much of the film?s dialogue is taken directly from TV transcripts and speeches, and apart from Rosemary Clooney?s brief and gentle jazz arrangements, there is no soundtrack to remind you that you?re watching a movie. Clooney has created an important production?an exercise in pragmatism?that effectively captures an overlooked chapter in the history of McCarthyism.The movie chronicles the on-air battle between Senator Joseph McCarthy and newsman Edward R. Murrow, whose choice to take on McCarthy?s ?Guilt-by-association? Communist witch-hunt became a seminal factor in McCarthy?s declining popularity and changed the nature of television journalism forever.I hate to admit this, but I?m not the best person to determine the accuracy of David Strathairn?s portrayal of Murrow. To my shame, I?ve never seen footage of Murrow and have only heard scattered audio recordings of him from World War II. However, Strathairn presents a portrait of such honesty, strength and intellectual charisma, that I found myself wishing he was on the air presenting political commentary daily. With a lit cigarette continuously in hand, Strathairn?s Morrow softly fights for the candor and integrity of the news, while remaining loyal to his friends and coworkers.A brilliant facet of Good Night, and Good Luck is its scope. Most historical dramas zoom from location to location and character to character, dashing across time to the glee of set designers and makeup artists. Clooney and Grant Heslov?s screenplay never strays from the mid 1950s and the smoke-filled rooms of Columbia Broadcast System?s offices.Newsmen and newswomen are enclosed in a world of glass and seem to exist only as occupants of the studios and offices of CBS and the adjacent bar. There are no exterior shots. Consequently there are no face-to-face confrontations with the enemy. All spars take place over the fairly new medium of the television. In casting the movie, the filmmakers decided to use actual televised footage of McCarthy instead of casting an actor: a wise move similar to Murrow?s decision to give McCarthy a chance to defend himself on the air, uninterrupted. Seeing the real McCarthy?s thinning hair, desperate face, and unsubstantiated pontifications serves as a strong reminder of what unchecked sententiousness looks like.The film is being lauded (and scorned) as a condemnation of the current media, and of journalists? reticence to substantially criticize the Bush administration for fear of reprisal. While there are certainly elements of this in the film, I see Good Night, and Good Luck more as a critique of Americans? current overwhelming desire to be entertained. Watching someone like Edward R. Morrow operate, one comes to the realization that his type of honest intellectualism wouldn?t last five seconds in today?s media. Today?s popular political analysis has no room for focus or seriousness. Conservatives get their politics from angry fact-bending pundits. (Bill O?Reilly, Sean Hannity, and Rush Limbaugh.) While liberals get their political views from clownish humorists concerned more with eliciting laughter than effective criticism or praise. (Think Bill Maher, John Stewart and Michael Moore.)Good Night, and Good Luck?s greatest strength is that it asks us to remember a time when intelligence and social concern, not amusement, made the media a powerful force.
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DOWNLOAD MOVIE Core, 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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But something happened in the cutting room. The scenes that added depth
to the characters were cut, leaving only the vestiges of a run of the
mill catastrophe science fiction movie.

And it's wonderful the special effects people are proud of the work
they've done but as viewers we're not interested so much in that as we
want to have something pleasurable to watch.

And that's where this turkey fails.

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DOWNLOAD MOVIE Road House 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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Hey, I’m not going to lie about it. I often like “bad” movies and sometimes,
I even love ‘em. This is one of those cases. Road House is a movie that has been in seemingly constant rotation on the cable
channels for years- probably making more than a few fans tire of seeing it-
with more than a few choice words and scenes pared away in order to make it
a bit less rowdy for general viewing. Its mindless, constantly over the top fun with a solid
recognizable cast, lots of punches being thrown, adequate T&A (in its uncut
form anyway) and stuff getting blown up.

The parallels of Road House to a Western are obvious through and through;
the entire town of Jasper is being run by a corrupt badman and as a result
his henchmen are terrorizing the townsfolk, prompting one of the business
owners to call in “the best” hired gun available. No sooner than Dalton
arrives, he gets to the job of cleaning up the worst rathole bar one could
find and in the process steps on the toes of the badman who rules Jasper by
firing Wesley’s nephew. Upon finding out that Dalton isn’t so easily
squashed, he escalates the manner to doing so, time and again coming up
short but definitely putting our hired gun ’sheriff’ to the test in the
process. It isn’t long before Dalton’s own hero Wade (Sam Elliott- a
consummate cowboy figure of the last few decades with the film credentials
to prove it) comes along to stand by the side of his protege’, the duo
unleashing all hell on the henchmen Wesley throws at them. Oh, these hired
guns aren’t good guys through and through; they certainly have a profound
liking to violence in spite of any zen misgivings Dalton might claim, and
when the going gets really rough Wade is ready to let Wesley have the little
town to corrupt all he wants, chivalry be damned. In any case, Dalton is
forced to choose between saving his mentor or his girl and comes up short in
his effort to ensure they both survive, setting up a through and through
Western showdown with Dalton riding alone into the villains’ hideout for one
whale of a shootout. In the end the good townsfolk themselves come to the aid
of their ’sheriff’, standing up to the badman who has been extorting and
pillaging their little town for far too long. For a movie with no horses
there sure are alot of cowboys on the screen.

Swayze is an interesting actor; an incredibly athletic, graceful man who
excelled in dance, gymnastics and was even awarded a college football
scholarship, he ultimately turned to an acting career as a result of
recurring knee problems. His choices of movies are known to be erratic; he
gained heartthrob status in Dirty Dancing, yet seemed to choose films that
run the gamut from action-adventure to comedy to more artistic drama.
Watching him in a film such as Road House or Steel Dawn you get the
impression that his dedication to zen physical and mental training is
genuine, much in the way Wesley Snipes has came across in his acting career.
While a bit on the small side, I’ve always thought he was very plausible in
the action film genre with his quiet, stoic manner and his lithe, graceful
physique. He’s definitely the right man to play Dalton.

Video-

Many who read this review will be chiefly concerned with what differences there are between the barebones disc that has been on the market for a few years and this one. Whereas the aspect ratio for the old edition is listed as being 16×9 widescreen, the deluxe edition here is 2.35:1 anamorphic widescreen, remastered in high definition. How do they compare? Frankly, I’ve never had a problem with the barebones offering and have watched it a number of times since it’s release. In any case, the new disc looks very good; the print is extremely clean with deep, rich colors and very solid blacks. As this new edition is hi-def remastered one would expect it to be sharper and it does seem to be; while not razor sharp, this is as good as I’ve seen the movie look after years of viewing it on cable, on tape and its previous DVD release.

Audio-

Again, I can’t discern alot of difference in comparison to the old edition. The sound here is good; I would have appreciated a remastered 5.1 offering of some sort, but the stereo track is solid with sufficient depth and clarity.

Extras-

If you’re looking for deleted footage in the form of extras or added footage making this a new cut of the movie, don’t- because there isn’t any. What you get here is the theatrical cut, and the same film that comprised the barebones edition.

Audio Commentary with director Rowdy Herrington- Herrington’s commentary track is highly informative, if a little subdued; he walks the viewer through the shooting of the film, commenting on all the actors at some point as well as how he saw the script as a modern day Western, and the lengths he went to in order to get the look he wanted. Its worth checking out if you’re a longtime fan of the movie.

Audio Commentary with Road House fans Kevin Smith and Scott Mosier- Smith and Mosier have alot of fun with this, an admitted cult favorite of the two. Expect a loose, fun, tongue consistently in cheek commentary with the boys, who also show themselves to be extremely knowledgeable on both the cast as well as the production itself. MST3K fans should have no trouble appreciating the offerings here with Smith and Mosier- its a hoot.

On The Road House- Clocking in at 17 minutes this is a recently filmed, retrospective featurette with Patrick Swayze, Kelly Lynch, Director Rowdy Herrington, Jeff Healy, Marshall Teague (uber-bad guy Jimmy in the film), and martial arts choreographer Benny “The Jet” Urquidez discussing the ongoing appeal of Road House to the masses; its similarity to a Western film, the very comic book-like appearance of the movie with vibrant colors, almost superhuman good guys and bad guys, beautiful women and over the top action sequences; the filming, the bonds made making the movie, the surprise all the stars seem to have at how enduring the popularity of the movie has been to date. A fun piece to see, if only to get a look at the actors in present day.

What Would Dalton Do?- Coming in at 12 minutes, a series of conversations with real life coolers and bouncers and how they handle real crowds and dangerous situations in their profession. I’d rather see more behind the scenes stuff on the movie.

Trivia Track- An endless deluge of tidbits about seemingly anything and nothing, mostly not involving the movie itself, shown onscreen as one watches the film. I felt like I was at a sports bar watching the screen with one of those trivia game pads in my hand. Thanks, but I’ll be leaving this option in the off position.

Sneak Peek at Road House 2

Final Thoughts-

Let’s face it; the main reason this new Deluxe Edition likely exists is to ride piggyback on the new direct-to-video sequel, Road House 2 which was released the same day. Happily, rather than simply slap a new cover on the old disc there have been some tweaks made as well as an assortment of bells and whistles installed.
Just how much you enjoy the film is going to dictate whether you feel this is deserving of a double dip. If you love the movie then by all means I say pick it up for the commentaries and the featurette present here. As far as how the film looks and sounds in comparison to the barebones disc, there isn’t a whole lot of difference to this viewer’ eyes and ears, but that is a compliment to the old edition as I’ve always felt it looked and sounded fine. If you’re a casual fan and already have the barebones edition, don’t waste your time. If Road House is one of your longtime favorites, the new deluxe edition isn’t a huge improvement over the old version, but still recommended.
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DOWNLOAD MOVIE Evil Dead II 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 strong attitude filled role by Bruce Campbell as the leading man gives us the open sense of humor we really should have in horror. It also provides a cover for poorer acts by the other members of the cast, not including the evil acts. That’s one thing Raimi needs to be proud of.

No longer over the top compared to current movies, Evil Dead 2 still has enough special effects for any cult fan to love. The extra years and cash also meant that the overall effects could be improved too (make-up for example, alongside the shack) while giving us more Ash hitting comedy.

Direction is Sam Raimi. With the use of his and his brothers script the story realy comes through (or lack of story) allowing us to get some nice simple humour, and allowing others to feed on the gore factor. The characters are also less stupid in this movie thatn other current movies in recent (and past) memories.

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Austin Powers: The Spy Who Shagged Me – *** (out of 5)   (1999)

Cast: Mike Myers, Heather Graham, Michael York, Robert Wagner, Rob Lowe, Seth Green

Directed By Jay Roach

Funnier and more cohesive than the first outing, AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY, it also suffers from the same weaknesses. Lots of bathroom humor, penis and breast jokes, and playing around with popular culture, some of it very funny and some of it woefully misguided. Myers and Roach seem to enjoy the Benny Hill-style sight gags more than they do the plot since they wait until the film is almost halfway over before introducing one. But does anyone watch AUSTIN POWERS for the plot? I think not.

Here’s the plot anyway: Austin goes on his honeymoon only to discover his newlywed wife is really a fembot created by his arch nemesis, Dr. Evil. Soon after, Dr. Evil returns after being thought banished forever in space, and has a master plan to exact revenge on Powers by traveling back 30 years in a time machine and stealing Austin’s "mojo". Austin is also sent back, teaming up with another agent Felicity Shagwell, in order to stop Dr. Evil’s plan for world domination using a laser cannon on the moon to wreak massive destruction.

Laughter is the key to the success or failure of the film, and SHAGGED certainly delivers a number of genuine belly laughs. It also delivers some prolonged "dry periods" where jokes fizzle repeatedly, and sometimes unfunny sections of the film drag on mercilessly for minutes. This "kitchen sink" approach to films seems contradictory. It’s as if they said to themselves, "Everyone has a different sense of humor so let’s try every style and try to make everyone laugh." This works to a certain extent, but it also backfires in that there will be many jokes that a typical viewer will not find funny causing a certain unevenness.

When all is said and done, how much you like this sequel will depend on how much you liked the first film. If you loved the first film, you may have a hard time enjoying the second film as much since the focus has shifted from Austin to Dr. Evil and his henchmen, as if Myers had exhausted all his material for Austin. If you thought the first film was mediocre due to poor plotting and a half-baked script, you’ll most likely enjoy this second installment since the overall schemes are fuller and more fleshed out. Of course if you abhor the first film, by all means stay away from this one, as the jokes are cruder, the characters more obnoxious and the level of humor sinks to lows the first film only hinted at.

Back to Qwipster’s Movie Reviews            

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“The Libertine” world-premiered at the AFI Fest 2005 and marks the feature film debut of British commercials and music video director Laurence Dunmore based on the 1994 play by Stephen Jeffreys who adapted it to the screen.  Set against the extraordinary backdrop of The Restoration, the film offers a brilliant, brutal, tragically realistic, and witty look at 17th century England, perhaps the most authentic ever committed to film.  The film follows the meteoric rise and fall of John Wilmot (Johnny Depp), the second Earl of Rochester, who was a gifted poet, a complicated genius, and a shameless rake.  His short but wildly sexy, irreverent life reflected the growing new sensual freedom of the modern age that was filled with radical new ideas, heightened sexual permissiveness, and a festive exuberance in theater, parties and lifestyles.  Famous for his irrepressible hedonism, rebellious personality, and daring, subversive wit, Rochester refused to obey any of the rules and dictates of his age and scandalized London society with his outrageous sexual escapades.  He constructed a spectacular life for himself and then set about tragically destroying it, debauching his way to an early grave and squandering every advantage he had, only to earn posthumous critical acclaim for his life’s work.

Depp’s portrayal of Rochester is powerful, intense, and compelling.  The dark, mesmerizing, terrific to-camera opening prologue and closing epilogue, done in character as the scandalous libertine, epitomize the theatrical, larger than life nature of his tragically short existence.  These scenes along with his gut wrenchingly eloquent speech before Parliament and confrontation with his wife at the end of his life exemplify his extraordinary artistry.  He captures with impeccable finesse and naturalness the essence of a man who despised life, drank profusely, seduced women, insulted everyone from the King to his mother (Francesca Annis) to his servant, and preferred his portrait done with a monkey rather than his wife. Indeed, his contempt for everything that others respected was so profound as to almost amount to sublimity.  Intertwined with his utter disrespect for life were his charm, esprit, irresistibility, and impulsive inclination to do whatever he pleased.  As disease slowly ravages his body, Depp undergoes a haunting transformation into a character that is almost unbearable to watch, whose face is mutilated and scarred beyond recognition.  And the more he becomes disfigured, the clearer our perception of the repulsive creature that exists within.  His performance is riveting, heartrending, and played with tremendous range and depth.  In what is an extraordinarily demanding role, Depp leaves the audience with strongly conflicted emotions of hatred, pity, love, admiration, and sympathy for his character that a lesser actor could not achieve.

The strong supporting cast includes Rosamund Pike, who turns in a powerful performance as Rochester’s devoted but neglected wife, Elizabeth, whose steadfast temperament helps her endure his unfaithfulness and indiscretions.  Samantha Morton, in a bracing and mercurial performance, embodies the vulnerable, ambitious, talented, and fiercely independent actress Elizabeth Barry who becomes Rochester’s alluring theatrical protege.  John Malkovich, in an atypically understated performance, plays the stately, restrained, sensual and decadent ruler, King Charles II who values Rochester’s friendship, admires his ingenuity, but finds him a frequent thorn in his side.  Johnny Vegas plays the historical rake and wit, Charles Sackville. Kelly Reilly plays Rochester’s prostitute friend, Jane.  Rupert Friend plays Downs who meets a tragic fate in Rochester’s company. Richard Coyle is Rochester’s aptly named servant, Allcock.

Jeffrey’s adaptation of the play to screen is brilliant.  His screenplay is witty, pungent, sexually forthright, and authentic in its representation of the historical period in a manner rarely seen in cinema.  And it offers an exciting mix of shrewd humor and emotional truth as he courageously examines the place of moral values and extreme behavior in a free society.  While focusing on the adventure, romance and ruin of Rochester’s final years, he explores the connections between genius and decadence, freedom and danger, lust and love, and in doing so, invites the audience to see the parallels between Rochester’s sensually charged, morally corrupt era and our own modern times.  Indeed, the story of Rochester is about the darker side of human nature.  In his examination of Rochester’s life, love, and genius, Jeffrey exposes his subversive compulsion to betray his talent with his actions and destroy the things that mattered most to him. The dialogue is period appropriate and razor sharp, and the writing is smart as well as entertaining (e.g. “You’ve cut me down, I must confess; but in your mouth my balls must rest.”) 

The film opens with Restoration-era intrigue as King Charles II confronts a hostile House of Lords.  Then it shifts focus to the personal dilemmas of the Earl of Rochester as he splits his time between his home in the countryside and his roguish lifestyle in London.  We see him plunge from the heights of social celebrity to the depths of ruin as he drowns his creative genius in alcohol, scurrilously lampoons England’s royals with sexually explicit poems, pursues his obsession with the struggling actress Elizabeth Barry, watches as his career is surpassed by friend and literary contemporary, George Etherege (Tom Hollander), and finally seeks a self-serving redemption before succumbing to syphilis. His short, but intensely colorful life was filled with so many outrageous, often self-contained, incidents that it presents a daunting challenge to weave them into a coherent narrative.  Indeed, in the final cut (as compared to the work-in-progress screened at the Toronto Film Festival), a couple of incidents (i.e. when Rochester disappears after a lethal street fight and reappears as the infamous Dr. Bendo) have been shortened at the expense of narrative continuity.  In their abridged version, they fit awkwardly within the broader context of the story and disrupt the film’s otherwise smooth narrative flow.  That said, these are minor imperfections in an otherwise exceptional film, and they are offset by Depp’s extraordinary performance which provides cohesion to the occasionally choppy storyline.

Dunmore’s direction is strong and the film’s pace is tight. He captures the atmosphere of the period exquisitely with simplicity, a sharp eye for detail, and the use of compelling images that frame the flamboyant artifice of the period in close-up and reveal a society recovering from years of Cromwellian repression and post-Puritan excess.  From fops and painted dandies slogging through London’s crowded streets congested with mud, muck and raw sewage to an amusing ‘family’ portrait of the Earl with a monkey bought spontaneously from a street vendor to enliven the boring formality of the occasion, Dunmore gives us scenes that are at once incongruous and entirely appropriate to the era and to the character of Rochester. He creates a very fluid style to capture the action by putting the camera on his shoulder and operating it himself rather than using the more traditional approach of putting it on a dolly or a crane.  Using a hand-held camera allows him to move quickly and economically, not waste time trying to figure out tricky moves, and work more intimately with his actors by positioning himself next to the action while they are performing and watching the scenes unfold directly in front of him.  In a scene between Rochester and his wife, Dunmore racks focus in a stack shot as they deliver their lines allowing their performance to motivate the camera.  When Rochester succumbs to the ravages of syphilis which included progressive blindness, his point of view is shot almost entirely out of focus for large portions of one scene.  In a compelling sequence that puts the audience in the middle of the action, the camera pans twice 360 degrees around the interior of a London theater as its balconies fill with spectators and the actors assume their positions on stage.  The camera’s fluid, dynamic movement captures the raucous mood of the spectators and conveys the nervous anticipation of the performers.

Cinematographer Alexander Melman collaborated closely with Dunmore to create a unique 17th century look that does not reflect its 21st century origins.  Together, they imbue the film with a dark, raw, grungy realism not seen before in period pieces.  Nearly every interior shot is lit with candles while green filters are used to remove warmth and put a green pallor into all the flesh tones.  Mud, mist, rain and smoke captured in grey-brown tones convey the film’s gritty look and mood perfectly. Melman contrasts the opulence and splendor of the court and of life inside the aristocratic realm against the grimy dynamism outside on the city streets of London where one can practically smell the noxious odors.  He uses a variety of photographic techniques to draw a stark contrast between Rochester’s stately home life and the raw energy and excitement of his life in London. Rich colors convey the magic of the theatrical world while grainy realism reflects the filth, haze, and grime of the ordinary world.  Melman collaborated closely with production designer Ben Van Os and costume designer Dien Van Straalen to create a detailed color palette that is woven throughout the film’s entire design and enhanced with primarily natural light.  Dunmore also paid meticulous attention to choosing castles, estates, and locations that were authentic to the era.

Dunmore’s visionary approach challenges the established conventions of filmmaking and reflects the innovative approach of a new generation of filmmaker.  His ingenuous camera work, unique stylistic choices, and bold lighting and production design create a look and ambiance that draw upon his strong graphic design background to reveal the widely shifting moods of Rochester’s times, the elaborate decadence, and the seedier aspects of the Restoration.  The dark, candlelit cinematography gives the film its voice and soul, infuses the action with extraordinary emotional depth, and captures eloquently the mood and spirit of its central character and his times. These are breathtaking, seductive images that make no apology for the film’s unremittingly dark subject matter or raunchy, pornographic irreverence, and they leave deep and lasting impressions in the minds of the audience.  The layered, smoky interiors, especially those shot in the noisy, crowded theater with candlelight alone, imbue the dark scenes with a grainy, softly persistent flicker reminiscent of early silent cinema and diametrically opposed to the beautiful, glossy, overly art-directed look of Kubrick’s period piece, “Barry Lyndon.”  Some scenes are so underlit that the action is just barely discernable.  Yet the film’s dark look does not distract from its compelling story.  Instead, it infuses the film with a stark, absolute power and raw energy through which the performances shine brightly.

The hair and make-up design by Peter Owen is superb.  The combination of prosthetic nose, enormous poodle wig, pale make-up, and reddened eyes transform Malkovich into King Charles II and give him a convincing, care-worn look. Owen takes Depp through an astonishing transformation in a carefully controlled sequence of progressive physical deterioration as his character succumbs to the ravages of syphilis and alcoholism.  Michael Nyman’s insistent and haunting musical score captures eloquently the spirit of the times.  Framestore CFC provides the film’s digital visual effects.

“The Libertine” is an extraordinary film that is not to be missed.  Depp’s deep and well reasoned performance confirms once again his stature as one of the great actors of his generation.  His portrayal of the fascinating, tormented, and self destructive Rochester is indeed one of the very strongest performances of any actor this year.  And Dunmore’s exceptional direction succeeds in realizing the full cinematic potential of the story based on the play of the same name expertly adapted to screen by Jeffreys.

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There are movies that one recommends for the characterizations and the cleverness in the dialogue rather than the story or plot.  Kiss Kiss Bang Bang strikes me as one of those kinds of movies.  That’s not to say that the story is a dud here, it’s just that while one is watching, it is more of a secondary concern.  The primary reason comes due to the tongue-in-cheek writing by veteran Shane Black (Lethal Weapon, The Long Kiss Goodnight), a screenwriter that has made a career mixing action with cheeky humor and kooky characters.  His films have often toyed with the conventions of formula Hollywood fare, and now he finally has the freedom to cut completely loose, in his debut as director.  

Robert Downey Jr. (Gothika, Wonder Boys) plays a two-bit New York thief named Harry Lockhart, finding himself in Los Angeles when, in an attempt to get away from the police, he crashes a casting call and wins the judges over.  Now an aspiring actor, Harry is told to hang out with an actual private investigator, "Gay" Perry Shrike (Kilmer, Mindhunters), to learn the ropes as an actual private dick to have a field of reference for his acting.  He finds his acting skills are to come into play off screen first, as he runs into an old high school friend in the form of Harmony (Monaghan, it Runs in the Family), an attractive struggling actress that may be connected in some way to two seemingly separate incidents that turn up dead beauties.

Borrowing inspiration from old pulp detective novels, including Chandler, with a special nod to "Bodies Are Where You Find Them" by Brett Halliday, Shane Black takes the standard detective story and makes it his own.  His story is told by a self-aware narrator in Harry, who not only helps with the segues, but also is aware that he is presenting the story to a movie audience, savvy about the reactions the film will receive among the audience.  In this way, the film becomes a hoot, talking to us in a way we not only can relate to, but with panache and keen wit, Black crafts hilarious situations and some highly quotable lines about Hollywood movies.  It’s this decade’s Get Shorty.

The tongue-in-cheek nature of the film helps immensely to keep the more outlandish concepts into perspective, as this is a movie meant purely for entertainment, and we are willing to accept every farfetched contrivance just to be rewarded by more in-jokes, asides, and good bits of over-the-top action.  Although both are meant to be contemporaries, there is an 11-year difference in age between Downey Jr. and Monaghan, but we gladly accept the premise to stay on the wild ride.  This is Downey’s strongest role in many a year, but as good as he is, Kilmer steals the show with another offbeat performance that fully utilizes the straight-faced humor that made him a star when he broke into the film industry. 

Kiss Kiss Bang Kang is all in fun, meant not only for people tired of the same-old derivative formula fare, but perhaps even more, those that absolutely adore pulpy detective stories, as it is clear that Black loves them just as much.  If you value witty banter over gunfights, Kiss Kiss has lots of bang for your buck.

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DOWNLOAD MOVIE Igby Goes Down 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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Igby Goes Down – ** (out of 5)   (2002)

Cast: Kieran Culkin, Claire Danes, Jeff Goldblum, Jared Harris, Amanda Peet, Ryan Phillippe

Directed By Burr Steers

Black comedy is a tricky form of comedy to pull off, as some people will get it, and some people won’t.  Usually I’m in the minority when it comes to black comedies, and quite frequently I feel like I’m the only one who truly enjoyed a certain film because it was on the same wavelength as my twisted sense of humor.  I’m not exactly sure what wavelength IGBY GOES DOWN was transmitting, but I certainly was not tuned to it.  While I can recognize the attempts at humor, and even some of the attempts at seriousness below the surface, that doesn’t necessarily mean I found them entertaining or even particularly interesting.  For most of the running time of IGBY GOES DOWN, I was waiting for the tone to stop being so uneven and finally get into a groove.  It never did for me.   Like a vehicle being driven by a teenager for the first time, IGBY DOWN UNDER starts with a lurch, then halts, then sputters, grinds when in the wrong gear, and sometimes stalls out altogether.  Like the passenger in the same vehicle, the result of watching it is a mixture of anticipation, apprehension, annoyance, and ultimately, aggravation.  The only solace is knowing that at some point it will eventually end.

Jason "Igby" Slocumb is a teenage boy who desperately rejects all that his family and society wants him to be or do.  Born into a well-to-do family, he is a nihilistic malcontent, despising his mother, military school, and is willing to piss away his future just to annoy those who push him.  His father is a schizophrenic, his mother a hateful drunk, his brother an uppity Republican, and no one in his life understands him, or is even interested in listening.  One day he runs away from his prep school to loaf around New York City, living in the apartment of his godfather’s mistress, and leads a meaningless existence which will either suck him in or spur him on to try to find something more substantial to do with his life, and finds others just as vacuous as he is.

On a certain level, I’m sure there must be people out there that can relate to this film, depending on their upbringing, where they reside, or the types of people they may meet on a day-to-day basis.  At least I should hope so, because there is too much talent involved to think it had no resonance.  It’s a bit of a paradoxical film, with themes and tones that seem at odds with each other.  The characters are well-drawn, yet not very realistic.  The writing is good, but not very interesting.  The actors give terrific performances, but have little appeal.  There is a great deal of humor, but little that’s very funny. 

By the time the credits rolled, I felt a bit empty and a bit cheated that I wasted my time and energy trying to find something to be interested in or entertained by.  Somehow, I feel a bit inferior because I didn’t find a connection to the story or message of the film.  On the other hand, I also feel the film didn’t exactly do a decent job in formulating its tale in a cohesive or adept fashion and find it lacking.  Based on some comments I have read on other movie sites, it would appear that the film has a following and some decent reviews, so there must be an audience out there for it after all.  We’re obviously not all on the same wavelength.

Back to Qwipster’s Movie Reviews            

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DOWNLOAD MOVIE Another Stakeout 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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Another Stakeout (1993) / Comedy-Thriller

MPAA Rated: PG-13 for violence, language and some sexualityRunning Time: 105 min.

Cast: Eichard Dreyfuss, Emilio Estevez, Rosie O’Donnell, Dennis Farina, Marcia Strassman, Cathy Moriarty, Miguel Ferrer, John Rubinstein Director: John Badham Screenplay: Jim Kouf

Another Stakeout is the sequel to the hit 1987 flick Stakeout, a buddy cop movie that had a good theatrical run, and an even better one on home video.  Although it would seem inevitable, it took six years for a sequel to finally be made, and judging by some of the changes, it seems that the creative minds at work decided to ditch much of the formula of the first film and change it into more of a Lethal Weapon knock-off.  Like Joe Pesci in Lethal Weapon 2, Another Stakeout introduces the "third wheel" comic relief character played by Rosie O’Donnell (A League of Their Own, Sleepless in Seattle) in an attempt to mix things up, and hopefully, produce even funnier results than the first time out.  Unfortunately for Badham (Saturday Night Fever, WarGames) and crew, after two recent Lethal Weapon sequels, the shtick was already wearing very thin, with this latest attempt at a cartoonish cop vehicle is already a few years late to the party.

Seattle detectives Chris Lecce and Bill Reimers are back with another stakeout assignment, this time traveling to a lakeside home to keep an eye on some neighbors that may be a location where an endangered federal witness who is to testify against the mafia might choose to hide.  Tagging along is an assistant in the D.A.’s office, who pretends to be Chris’s wife as their cover, and stepmother to Bill.  Through a series of bumbling circumstances, the trio are obligated to interact with the couple they were sent to monitor, keeping them within a hair’s breadth of blowing their cover at all times.

It’s usually a bad sign for a comedy when things are desperate enough for the director to go to a dog for a funny reaction shot, and Another Stakeout does this more than once.  The comic situations here, while having their moments of fun, are very forced at times, with antics that are rarely found outside of sitcoms or children’s fare.  The witty banter of the first film is still here, and it is performed quite well, but the attempts at cuteness that were mostly absent in  Stakeout run rampant here.  Perhaps it’s the Rosie O’Donnell factor, whose delivery consists of gasping in astonishment at the boorish male pigs, while doing her usual bit of singing a theme song or show tune now and then to give the semblance of a bubbly personality.  Whereas the R-rated Stakeout had the men leering in lust at a nude woman, or playing sick pranks on one another, this PG-13 sequel employs a more dilute approach, with O’Donnell playing to the ladies, and introducing a loveable pooch for the kids to enjoy.  Only some intense violence at the beginning and end keeps this from being family fare.

Even with the broad-based approach at comedy, for most of the film’s running length, the characters are likeable and situations do amuse enough to entertain modestly.  There are occasional lulls, such as the wholly contrived Chris/Maria relationship, which is depicted as being on the rocks, probably as an excuse to deliver a payoff in the end, as well as to have a reason to keep Stowe’s face onscreen from time to time.  Any entertainment value is pretty much gone in the last half hour, when the action takes center stage.  Like the comedy, there’s a tendency here to try too hard to deliver better action than you’ve seen before, ramping up the shootouts, crashes and explosions, until whatever’s going on in the plot feels almost meaningless.  Kouf’s screenplay squeezes in a scant amount of lighthearted gags amid the heavily violent final scenes, but even these aren’t very funny, especially when juxtaposed between shots of people dying.

Another Stakeout has some entertainment value if you seek a few good laughs and over-the-top, mostly senseless action, and don’t really give a damn as to how it’s presented.  A high tolerance for Rosie O’Donnell is a must, as she is clearly at her most Rosie-like here, which can be either entertaining or annoying, depending on your personal take on her sense of humor.  If only Hollywood would realize that when it comes to a successful formula, the sequel should at least try to keep the same balance of elements for it to have any chance of repeat success.  By cranking up the humor and action quotients, all subtlety is lost, and the first Stakeout was successful primarily for those delightfully subtle touches.  As sequels go, it isn’t terrible, but it’s probably fortunate for us that it only made a third of the original’s gross, as any more films in this series would probably have proved too painful to endure.

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DOWNLOAD MOVIE Life Stinks 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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"As does this movie." (Total Crap)

Mel Brooks tries to be Chaplin, both as actor and as writer-director, and the result is bad Mel Brooks.Brooks’ only good moments here come early, when ? as the rotten billionaire Goddard Bolt ? he’s amusingly lofty and disdainful, with his dinky mustache and predator hairpiece; we almost expect him to reprise his line "It’s good to be the king." After Brooks is stripped of these accoutrements as part of a bet (he has to survive on the streets without money for a month), the movie slackens, and not much later it dies; you hardly sense its passing.The newly scraggly Brooks falls in love with a beautiful bag lady (Lesley Ann Warren, in an awful performance), who seems to have mood teeth ? they sometimes alternate between yellow and white within the same scene. In the film’s masterstroke of fatuity, the lovers twirl in an elaborate song-and-dance number ? and it isn’t played as parody. Nothing is, really.Life Stinks was part of the ceaseless summer-of-1991 glut of redemption movies (see also Regarding Henry and The Doctor), and those of us who had faith in Brooks’ irreverent sensibility and hoped he would turn this stupid subgenre on its head were profoundly disappointed ? it’s pretty much a straight redemption movie. What’s worse, Brooks seemed to have lost even a basic grasp of comedy. About 90% of the jokes elicit blank, polite stares, not laughs. The film is as raggedy and forlorn as its hero.Perhaps because of its suicidally unappealing ad campaign (and its title), the movie bombed. A solid cast of back-up comedians (Stuart Pankin, Howard Morris, Billy Barty, the mighty Jeffrey Tambor) do what they can.
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