Tag: larry king

Contact (1997)

by julienhoule, posted in Uncategorized

Given the pedigree behind this big-budget studio adaptation of Carl Sagan’s source novel, you’d expect… well, I’m not sure exactly what went wrong but you’d expect something more than what ends up on the screen here. The first and most glaring problem the movie has is its main protagonist: As played by Jodie Foster, she’s imbued with a sturdy awareness and steely resolve that’s completely at odds with her character’s dialogue, behavior and goals. In one scene, she’s unreasonable and out-of-line, and five minutes later she’s weak and easily steamrolled over, with no reason or discernable motivation for the inconsistent gap between the two states. Additionally, the screenplay saddles her with a barely-developed romantic interest in the form of Matthew McConaughey, who only functions to show up once in a while to publicly undermine her then condescendingly explain to her that his repeated betrayals are in her best interest. After seeing that play out a number of times, it becomes downright impossible to have any respect for either of them… which isn’t really what you want from your main characters. It’s such a damn shame too, because the storyline and its implications are so fascinating, so thematically potent and rich, so full of potential that it’s impossible to not get frustrated with director Robert Zemeckis and his repeated insistence on focusing on extraneous plot points that either only exist to show off the special effects, or to add unnecessary (and largely unresolved) personal conflicts among its many petty characters. Also, allowing McConaughey to have the last word despite serving no organic narrative purpose ends the movie on a sour note that only highlights how many mistakes are made by focusing on anything other than what made the narrative interesting in the first place. The story , special effects and Foster’s own magnetic sincerity manage to rescue the movie from being a complete misfire and make it at least watchable, but it’s a really, really close call.

Rating: ★★★ (out of 5)

The Long Kiss Goodnight (1996)

by julienhoule, posted in Uncategorized

There are few movies as gloriously over-the-top and entertaining as Renny Harlin’s “The Long Kiss Goodnight.” Ignore the underwhelming trailer or the lame cover art: This is an A-list fever dream of an action movie, filled with the sort of grandiose set pieces that made “Die Hard” a rolicking genre classic, not to mention some great comedic repartee among leads Geena Davis and Samuel L. Jackson to keep things moving along briskly. Speaking of Davis, this is perhaps her finest hour as a leading lady: She’s comfortable with the dramatic and comedic aspects of her role (which is no surprise given her pedigree), but her greatest accomplishment as Samantha Kane is how effortlessly she’s able to slip into Bruce Willis / ass-kicker territory. She spends a chunk of the movie kicking everyone’s teeth in while dropping one-liners like nothing could be more fun, and she’s a thrill to watch from beginning to end. Jackson seems to be having a great time as her sidekick too, and they share impressively warm chemistry which goes a long way towards selling the deliriously, enjoyably ludicrous plot. The climax is enough to leave adrenaline junkies with their knees knocking, and by the time the end credits roll, you’ll want to watch it again immediately.

Rating: ★★★★ (out of 5)

Ghostbusters (1984)

by julienhoule, posted in Uncategorized

It’s hard to find anything new to write about “Ghostbusters,” when most everyone already has a fully formed opinion about it. That being said, it’s always a delight to revisit it once every few years, like seeing an old friend you haven’t seen in a while and picking up right where you left off. Everything here is just about perfect, beginning with the concept: It seems inspired by 1940s ghost comedies like “The Ghost Breakers” and the “Golfer’s Story” segment of 1945’s “Dead of Night,” and that retro charm translates extraordinarily well to 1980s big studio filmmaking standards. Additionally, Elmer Bertstein’s omnipresent musical score is unmistakable, while the screenplay (by Dan Aykroyd and Harold Ramis) and Ivan Reitman’s direction are pitch perfect, perfectly balancing laughs and scares (indeed, this is the movie that introduced an entire generation to horror) and not wasting a single line or moment on unnecessary details or tiresome filler. The movie is filled with memorable scenes, like the first encounter with Slimer inside the Millenium Biltmore Hotel and the ghosts invading New York City after being released from the firehouse, all of which magnificently blend staging, music and editing. Finally, of course, there’s the first-rate cast, each of whom is totally at ease with the movie’s material and tone, and you’re left with a justifiably beloved, immortal comedy classic that continues to entertain people of all generations.

Rating: ★★★★★ (out of 5)

The Stepford Wives (2004)

by julienhoule, posted in Uncategorized

It’s easy to see why the filmmakers for this remake of the 1975 sci-fi/horror hybrid would change the tone towards broad comedy, given how the themes of the original have become a little antiquated while the movie’s secrets have long been pop culture lore. It’s also easy to see why this Franz Oz remake was panned as it was, given that it’s, well, not very funny, has a number of plot holes and story problems, and is cursed with a stiff Nicole Kidman who seems to have wandered in from a different movie altogether. However, the concept itself is fascinating, and Frank Oz’s all-American direction is the perfect touch for the film’s visual look which goes a long way to sell some of the weaker moments. Bette Midler provides a spark of life whenever on screen, and there’s a neat, satisfying little twist at the end. In no way is this a particularly good movie, but fans of famous flops and troubled productions will probably find plenty to enjoy here as I did.

Rating: ★★★ (out of 5)