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The Movie Report
Volume 2

#17 - 22
November 9, 1995 - December 14, 1995

all movies are graded out of four stars (****)

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#22 December 14, 1995 by Michael Dequina

In Brief

Cry, the Beloved Country poster Cry, the Beloved Country (PG-13) *** 1/2
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James Earl Jones delivers a powerhouse performance as a black minister whose life becomes intertwined that of a wealthy, racist white landowner (Richard Harris) when his son is accused of murdering the landowner's son in 1940s South Africa. This adaptation of Alan Paton's 1948 novel is powerful drama, buoyed by the strong work of Oscar-worthy Jones (despite a sometimes wavering accent) and Harris. However, director Darrell James Roodt (Sarafina!) too often resorts to unnecessary, manipulative slow motion to drive home crucial emotional scenes; he should have let the intrinsic raw emotional honesty of the scenes speak for themselves. Nonetheless, a beautiful and haunting piece of work.


Clueless poster Clueless (PG-13) *** 1/2
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The sultry Alicia Silverstone gives a hilarious, star-making performance in writer-director Amy Heckerling's sly, witty comedy about the vacuous teens in Beverly Hills. (Paramount Home Video)

First Knight poster First Knight (PG-13) **
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Bland reworking of the Camelot legend, with the perfectly cast Sean Connery and Julia Ormond as King Arthur and Lady Guinevere, respectively, and the horribly miscast Richard Gere as Sir Lancelot. The out-of-place Gere doesn't do justice to the fine performance of Ormond, who does a great job of conveying Guinevere's conflicting love for both men; you wonder why she would be torn with Gere in Lancelot's shoes and the much more appealing Connery as Arthur. Ghost's Jerry Zucker directed. (Columbia TriStar Home Video)

Judge Dredd poster Judge Dredd (R) * 1/2
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Campy, hilarious big screen treatment of the cult comic book hero. Sylvester Stallone and Armand Assante, hammier than ever, are a hoot as the title hero and the villainous Rico, respectively--watch out for their uproarious scenery-chewing contest at the climax (it's a tie). To its credit, the film has great production design, but that's about it. For a good laugh, check it out; for good action, look elsewhere. (Hollywood Pictures Home Video)

Not New

Sabrina poster Sabrina ****
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Before you go to see Sydney Pollack's new version, check out Billy Wilder's 1954 original, in which the luminous Audrey Hepburn casts a spell on brothers William Holden and the miscast Humphrey Bogart. Feels a little dated in this day and age, but still a frothy delight. (Paramount Home Video)

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#21 December 7, 1995 by Michael Dequina


Sabrina poster Sabrina (PG) ****
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Remakes are always a huge gamble; to take a beloved film and try to recapture its magic years later is one of the riskiest of cinematic ventures. Sometimes the gamble pays off (Cape Fear); often the efforts fall flat (Love Affair). When Paramount announced that it would remake the charming Humphrey Bogart-Audrey Hepburn-William Holden classic Sabrina, it appeared to be a rather unpromising recipe for disaster. Even with the great Harrison Ford stepping in Bogie's shoes and the gifted Sydney Pollack assuming the directing reins from Billy Wilder, two curious casting choices lowered expectations: the competent but relatively untested ingenue Julia Ormond was assigned the Herculean task of following Hepburn, and, most curious of all, talk show host Greg Kinnear was tapped for the Holden role. So going into the screening for this one, I was hoping for, at best, a passable remake. Was I in for a surprise. The 1995 Sabrina retains all the wit and charm that made the original such a winner, and actually (dare I say it?) is superior in a few respects.

For the most part, the new Sabrina is very faithful to the original, and follows the basic outline of its predecessor. Sabrina Fairchild (Ormond), the awkward, gawky daughter of the chauffeur of the wealthy Larrabee family, longs for youngest Larrabee son David (Kinnear), but the playboy pays no attention to her. When Sabrina is sent off to Paris, David becomes somewhat reluctantly engaged to Elizabeth Tyson (Lauren Holly), whose wealthy family's company is targeted for buyout by David's no-nonsense, business-minded older brother Linus (Ford). Time passes, and Sabrina returns to the Larrabee estate a changed woman--confident, fashionable, refined, stunning--and quickly catches the roving eye of David. Seeing Sabrina as a potential snag in the pending corporate merger with the Tyson company, Linus decides to woo her himselff purely as a business maneuver, only to have his cold heart warmed by her charm. And Sabrina herself, while still carrying a torch for David, finds herself drawn to Linus as well.

Barbara Benedek and David Rayfiel's screenplay effectively fleshes out what felt somewhat rushed in the original--the budding romance between Sabrina and Linus. They share some wonderfully romantic new scenes together, particularly one in a Moroccan restaurant. The script also increases the humor in the piece to great effect. There are some great one-liners, especially from the character of Linus and David's mother Maude (Nancy Marchand), who has a larger role and is much more feisty in this version. The best alteration they made is with the character of Linus. In this version, the inherent sadness and loneliness of the character, which was pretty much glazed over in the original, is much more fully explored, adding more resonance to his redemptive relationship with Sabrina.

The already-strong material really comes to life in the hands of the actors. Ford is nothing short of remarkable as Linus, and he deserves an Oscar nod. He makes a much more believable and effective romantic lead than Bogart. While Bogart was appropriately stoic, he was perhaps a bit too much so, and thus one never really felt the change in him when Sabrina wins him over, for he still carried that opaque tough guy inexpressiveness; as a result, one couldn't really feel sparks between him and Hepburn. Ford captures the nuances of the character; one really feels the inner sadness beneath the cold facade. When Linus tries to fight his feelings for Sabrina by assuming his business guise, one can really feel Ford's desperation, his "need" to wear a suit of armor, to retreat to a world where he has control to protect himself from a force he, somewhat to his dismay, can't control. He also has a great sense of irony, perfect since so much of the humor is made at his character's expense. While he is no William Holden, Kinnear is actually well-cast here, making a surprisingly assured screen debut. David is even more of a self-absorbed cad in this version, and Kinnear's cool, laid-back presence and delivery is a perfect fit. Likely to get the short end of the stick is the likeable Ormond. Granted, she lacks the ethereal presence and grace of the majestic Hepburn (then again, who else has it?), but she more than makes up for it with her own brand of class and charm, giving a more down-to-earth take on Sabrina. Playing a woman torn between multiple suitors has become her specialty (witness her exceptional work in the otherwise unexceptional Legends of the Fall and First Knight), and, as always, she is quite convincing at conveying that sense of confusion and indecisiveness. A good choice on her part is to make Sabrina slightly less confident than in the original, giving her character added complexity.

Sydney Pollack has not only made a very satisfying romantic comedy, but a great romance, period. Funny, immensely charming, and completely irresistable, the new Sabrina is a very pleasant surprise.

In Brief

White Man's Burden poster White Man's Burden (R) **
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Writer-director Desmond Nakano's drama has a very intriguing, promising premise: it takes place in a world where the roles of blacks and whites are reversed--the crime-infested ghettos are populated by whites; the richer, more respectable neighborhoods and jobs are held by blacks. The problem is, though, it doesn't go too far beyond the basic set-up. John Travolta, sporting rusty red locks and a distracting white trash accent, plays a disgruntled unemployed white man who takes hostage the rich, racist black CEO (a too-likable Harry Belafonte) indirectly responsible for his firing; their predictable journey toward understanding is the center of the film. The little details, such as virtually every person on TV being black, and Travolta's son (Andrew Lawrence, brother of Joey and Matthew--another strike against the film) choosing a black action figure over a white one, are more effective at conveying a point than the central tête-à-tête.

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#20 December 1, 1995 by Michael Dequina


Money Train poster Money Train (R) ** event pix
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An action comedy that is curiously light in the departments of both action and comedy, Money Train is one of those sloppily put-together projects that you actually end up liking a bit more than you should because of the charm of its stars--in this case, the winning duo of Wesley Snipes and Woody Harrelson. However, charm can only go so far, and this Train still goes nowhere fast.

Those who have seen the trailers and the other advertising will know that the "main" plot revolves around two foster brothers/New York transit cops (Snipes and Harrelson) plotting to rob a train car full of the transit system's daily revenue from the hard-ass transit chief (Robert Blake). However, this plot doesn't get kicking until the final third of the film. And the other two-thirds? A meandering mishmash of irrelevant chases, comic arguments between the two leads, a pyromaniac psycho (whose antics have apparently inspired recent real-life crimes in New York), and a love triangle between the duo and their tough cookie partner (Jennifer Lopez).

Snipes and Harrelson display more of the dynamic chemistry that was displayed infinitely more effectively in Ron Shelton's White Men Can't Jump, but the material they're given isn't nearly as good as they are. Screenwriters Doug Richardson and David Loughery don't give them nearly enough opportunities to either engage in hilarious schtick or participate in any especially interesting action sequences (and there really aren't any). A good chunk of the time is dismayingly spent on the routine love triangle; while the luminous Lopez, a former In Living Color Fly Girl dancer, holds her own with the two, her character's only apparent purpose is to serve as another complication in the brothers' relationship, for she virtually disappears from the film once the caper plot takes over.

Director Joseph Ruben, known mainly for directing such thrillers as Sleeping with the Enemy and The Good Son, is very out of his element here. Apparently, his idea of effectively making a "gritty" action comedy is to ape the visual style of NYPD Blue in virtually every scene, using the requisite shaky camera and swift pans. For a film that lasts just a little over 100 minutes, Ruben's very languid pacing makes it feel at least a half hour longer. The stars' effortless charm makes it all more easily digestible, but even that can't keep one from looking at one's watch.

Wes and Woody have stated that they would like to make a total seven movies together, but hopefully their next five collaborations will more closely resemble the smart and fun White Men Can't Jump and not the lumbering trip of this Train.

Toy Story poster Toy Story (G) ****
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Disney has always been the leader in animated features, whether it be in the realm of traditional cel animation or in pioneering new breakthrough processes, such as the dazzling stop-motion work in Tim Burton's The Nightmare Before Christmas. They've done it again with the absolutely stunning and immensely enjoyable Toy Story, the first feature-length film to be entirely computer animated.

Toy Story follows the exploits of young Andy's toys, led by Woody (voice of Tom Hanks), a pull-string talking cowboy. However, Woody's status as Andy's favorite and the other toys' leader is challenged by the arrival of one Buzz Lightyear (Tim Allen), an astronaut action figure complete with a karate action arm, laser beam, and retractable flying wings. Woody's jealousy of Buzz indirectly leads to the separation of the two from their owner, and the bulk of the film centers on their arduous journey back home, during which they land in the clutches of the sadistic toy-killing boy Sid and (of course) become good friends.

Quite needless to say, the film's look is absolutely amazing; the animators have meticulously recreated every detail of the toys, such as the loose, uneven peripheral plastic on the toy soldiers, and their environment (there is a great sense of physical texture, from the bedspread on Andy's bed to the surface of the streets). But as incredibly eye-popping as the look of the film is, to ignore the contributions of the six writers would be a crime, for their script, while having the thinnest of plot threads, is very smartly written. Some sophisticated jokes will go over the heads of young 'uns (such as lines about plastic corrosion), and the characterizations are just as well-drawn. A great idea on the writers' part is to make Buzz believe that he is an actual "Space Ranger" and not a toy; while obviously deluded, his adhesion to his beliefs is charming, and when the moment comes where he finally realizes what he is, it is heartbreaking. He and Woody make a hilariously odd couple, for Woody has a firm grasp on reality, and his hysterical attempts to convince Buzz of what he actually is make for some of the funniest moments in the film.

Casting big stars in voice parts sometimes reeks of shameless publicity stunt, for the marquee names often really add nothing to the movie (think The Lion King, with the exception of James Earl Jones and Jeremy Irons), but Hanks and Allen are perfectly cast. Allen has made a career of playing characters who think they are more macho, more heroic than they actually are, and he is a perfect fit for Buzz. Hanks gives a more interesting performance here than he did in Apollo 13, perfectly capturing Woody's hysterics and neuroses. Don Rickles, Annie Potts, and John Ratzenberger also fare well as Mr. Potato Head (whom Rickles actually somewhat resembles), Bo Peep, and Hamm the piggy bank, respectively.

If there is a misstep in Toy Story, it is the inclusion of some perfectly dreadful songs written and performed by Randy Newman. I guess Disney was of the opinion that every animated feature of theirs must include songs of some sort, but the songs serve no logical purpose and add nothing to the overall effect of the film. They only seem to be there to plug the soundtrack, but in this critic's opinion, their inclusion serves as a warning not to buy the soundtrack.

Toy Story is an exciting glimpse into the future of animated features. If this is just the beginning, then some truly amazing stuff will be coming to the big screen in the future.

In Brief

Nick of Time poster Nick of Time (R) **
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Everyone knows the gimmick: The action in this film takes place in "real time," over a single 90-minute time block during which an accountant (Johnny Depp) must assassinate the California governor (Marsha Mason) or his daughter (Courtney Chase) will be killed. The gimmick would theoretically increase the suspense, but that would only be the case if something interesting happens during those 90 minutes, and in the case of Nick of Time, nothing does. The audience is a bit too painfully aware of how long is left in the film, thanks to director John Badham's incessant shots of clocks ticking away, and should know that whenever Depp has an opportunity to kill Mason early in the film, he won't go through with it--in that case, the film would be over. Christopher Walken and Roma Maffia (Disclosure) provide adequate villainy, but Depp, known for his avant-garde taste in roles, is very visibly bored with this blatant bid for mainstream action stardom. He is so passive, sluggish, and obviously distracted you just want to give him a shot of adrenaline. Come to think of it, director Badham (who made the underrated La Femme Nikita remake Point of No Return) and screenwriter Patrick Sheane Duncan could have used one too.

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#19 November 22, 1995 by Michael Dequina


Casino poster Casino (R) **** Sharon Stone Hollywood Walk of Fame ceremony photos
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"Directed by..." Everyone sees this credit as either the opening credits finish unrolling or the closing credits begin to unspool. While anyone can theoretically "direct" a movie, it takes someone really special, really talented to truly be a "director"--to so adeptly manipulate all the cinematic elements to create a unique, distinctive vision; to create a truly exciting work of art. Martin Scorsese has done so many times during his long, illustrious career, and he has done so again with his latest, Casino.

With this film, Scorsese returns to his trademark mobster/crime films after taking a detour with his excellent but rather coolly received period costume epic, The Age of Innocence. Set in Las Vegas in the 1970s and early 1980s, Casino is told through the eyes of Sam "Ace" Rothstein (Robert DeNiro), a hotshot professional gambler who is hired by a Midwest crime syndicate to head its Las Vegas hotel/casino, the Tangiers. Joining Ace in Vegas is boyhood friend and mob muscle Nicky Santoro (Joe Pesci), whom the mob appoints Ace's enforcer. The cool, reserved Ace could not be more different than the hot-tempered, violent Nicky, and the two are often at odds. Tensions escalate when former hooker and con artist Ginger McKenna (Sharon Stone) enters the picture, marrying Ace and ultimately becoming a major catalyst in everyone's fall from grace.

Even at three hours and two minutes, Casino never tries the viewer's patience; it never fails to be diverting. Scorsese and Nicholas Pileggi's (whose nonfiction book of the same name provided the basis of the story) script keeps the action moving quickly, condensing a lot of the basic exposition through the voiceover provided by both Nicky and Ace. And the performances are uniformly excellent. DeNiro exudes calm dignity in his admirably restrained portrayal of Ace. Restraint is a word I would not use in reference to the work of his two co-stars. Pesci basically does a reprise of his Oscar-winning Tommy DeVito character in GoodFellas, but he is no less effective here. Calm and almost gentle one minute and explosively violent the next, his volatility is fascinating. Stone should silence her critics with her outstanding work here. Although it's hard for the audience to really sympathize with Ginger, Stone tempers her raw intensity with a good dose of vulnerability, never relinquishing her humanity. Although I have been a fan of hers for a while, her work here is a true revelation.

Stone's career-best work and the impressive efforts of everyone involved is due in no small part to Martin Scorsese. As strong as the actors are, Casino is unmistakably Scorsese's movie. From the opening explosion to the quiet final shot of a man at his desk, Scorsese leaves his indelible signature on every frame. He shows off a bit more visual style in this film than in others, often going into slow motion and freeze frames to hit home certain points, and the technique is perfectly at home in this picture; while not being excessive, its extravagance matches the flamboyance of Vegas. A great move on his part was to score the film not with a traditional orchestral score but with pop songs of the era; this detail adds so much in terms of evoking a certain atmosphere. Also, the constant shifts in the soundtrack creates a jarring effect on the audience, creating within it a feeling of confusion and chaos that mirrors that which occurs onscreen. And even at three-hours-plus, Scorsese directs with such an urgency and energy that the film, while, relatively speaking, having its slower moments, it is always engrossing.

Casino is yet another artistic triumph for the director who is often referred to as "The Master." Expect many Oscar nominations come February, and, hopefully, come March, a long overdue Best Director Oscar for Scorsese.

In Brief

The American President poster The American President (PG-13) *** 1/2 event pix
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Michael Douglas and Annette Bening are in prime form in this glorious romantic comedy about a widowed pres (Douglas) who falls for a lobbyist (Bening), creating national controversy. The film is funny, touching, and has its share of memorable romantic moments, in particular Douglas and Bening's first dance, staged to the strains of "I Have Dreamed" from The King and I. Douglas and Bening have great chemistry, and they lead a uniformly strong cast, which also includes Michael J. Fox (excellent as the domestic policy adviser), Martin Sheen (as Douglas's best friend and Chief of Staff), and Richard Dreyfuss (as Douglas's Republican rival). Director Rob Reiner (rebounding after the disaster that was North) and screenwriter Aaron Sorkin's (with whom Reiner collaborated on A Few Good Men) only misstep is a force-fed dose of liberal politics at the conclusion, but the film is so well done that it is easy to forgive.

GoldenEye poster GoldenEye (PG-13) ***
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Execs at MGM/UA can rest easy: if the reaction of the audience with which I saw the latest James Bond vehicle mirrors that of audiences nationwide, the Bond franchise has been successfully salvaged, due in large part to one Pierce Brosnan, who, in stepping into the shoes last worn by the terminally earnest Timothy Dalton, is a natural for the role of the supersuave secret agent 007. As for the film itself, it is what can be expected from a Bond film: spectacular and sometimes outrageous stunts, exotic locales, equally exotic women (in the form of Swedish actress Izabella Scorupco and Dutch actress Famke Janssen), and a megalomaniac (Sean Bean) bent on conquering the world with a powerful weapon (in this case, the armed satellite GoldenEye). The film does have to overcome some slow moments and some unnecessarily murky early exposition, but the end result is undeniably fun. Janssen steals the show as the sadomasochistic femme fatale Xenia Onatopp, who practically has an orgasm every time she kills.


Apollo 13 poster Apollo 13 (PG) ***
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Slightly overrated yet nonetheless well done recreation of the almost-disastrous 1970 space mission. Tom Hanks leads a solid cast that includes Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris. Directed by Ron Howard. (MCA/Universal Home Video)

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#17 November 9, 1995 by Michael Dequina


Fair Game poster Fair Game (R) 1/2*
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To answer your first question: Cindy Crawford's acting is perfectly adequate, as is the performance of co-star Billy "refer to me as William" Baldwin. What is far from adequate, however, is the dreary, murky, and senseless action vehicle they're stranded in, Fair Game.

Crawford plays civil attorney Kate McQuean, who, for reasons never fully explained, if at all, is targeted by a renegade group of ex-KGB agents. Baldwin plays Max Kirkpatrick, the detective assigned to protect her. The movie is essentially one long chase, with the KGB agents managing to locate wherever Max and Kate decide to hide, be it a hotel room or a moving train car, where they decide to engage in some rather awkwardly staged sex.

By far the best asset of this movie is its two stars. On an acting scale, Crawford lands squarely between the two extremes of Meryl Streep and Elizabeth Berkley; she is neither very exceptional nor incredibly bad. At times, her line delivery is awkward, and she tends to suffer from what I call "Susan Lucci syndrome"--that is, the tendency to shake one's head a lot while speaking. In a sense, Baldwin fares somewhat worse than Crawford. While, as a whole, he makes a believable action hero, he often overdoes the tough act, making his eyes bulge and gritting his teeth, particularly when firing a weapon. Instead of coming off as tough, he comes off as ridiculous.

What really does the picture in is the incompetence of the two people at the head of the project, director Andrew Sipes and screenwriter Charlie Fletcher, both first-timers. Sipes is a bit too painfully aware of how attractive his two leads are, getting them soaking wet at every possible juncture--a couple of shower scenes, a rainstorm, setting off parking garage sprinklers, breaking water pipes, jumping into the ocean, etc. While a couple of wet scenes are par for the course in a movie with attractive stars, it gets pretty ridiculous after the fifth or sixth time they get wet. Sipes to be of the opinion that by keeping the action nonstop that no one will notice that nothing actually goes on nor makes sense in Fletcher's incredibly shallow, undeveloped script, which, quite surprisingly, was based on a novel (by Paula Gosling); one would never guess the film's literary roots. Sipes does stage an impressive highway chase, but on the whole he does nothing really new with the action sequences; he appears to come from the "swish pan/slow-mo" school of filmmaking, throwing in either element at various points to very little or no effect nor reason. The badly incorporated sex scene--which feels like it was thrown in for the hell of it--plays like a bad episode of Red Shoe Diaries, with Baldwin and Crawford coupling in the dark while slivers of light peer through cracks and gratings.

Fair Game is a true folly, and it is a shame that this project is what Crawford chose to serve as her maiden voyage in feature films. Through it all, she manages to look fabulous and maintain her dignity, but it remains to be seen if other filmmakers will be willing to gamble on her after this flaccid film.

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