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DOWNLOAD MOVIE Gattaca 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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Gattaca Reviewed By Zarathustra Posted 07/07/00 16:53:47

"Visually striking, but often dramatically inert" (Worth A Look)

Dystopian visions of the future have become so commonplace at the movies that I can’t recall the last time I saw an optimistic piece of science fiction prophecy.GATTACA, written and directed by Andrew Nichols (THE TRUMAN SHOW), imagines a BRAVE NEW WORLD-ish society governed by the doctrine of DNA. For the genetic engineer legatees of the Human Genome Project, DNA is destiny, and anyone conceived "au naturel" is a failure and an outcast. Bigotry is now an exact science. (Hence the title GATTACA, like a DNA string: G = guanine, A = adenine, T = thymine, C = cytosine.) Vincent Freeman (Ethan Hawke) is a natural birth whose heart defect keeps him out of all but the most menial jobs. In order to infiltrate the Gattaca corporation (where space flights leave regularly), Jerome "borrows" the genetic identity of one of the elite, now a paraplegic crippled by a car accident and alcoholism, Jerome Eugene Morrow (Jude Law). Once inside, Vincent manages to blend in by passing off Jerome’s tissue–secret blood packets, urine packets, hair follicles, skin particles–as his own during the regular genetic tests used to screen out "invalids". He meets and falls in love with the beautiful Irene (Uma Thurman). All goes swimmingly until a murder inside GATTACA brings in the cops, and Vincent is in danger of being discovered.Though the concept is timely, and the look of the film is sleak, crisp, and beautiful (much of it was shot inside a Frank Lloyd Wright designed building), the movie never makes much of the cop thriller interlude. The murder mystery just never engages our attention: we’re never WORRIED enough about Vincent, partly because Hawke doesn’t have enough presence here to engage us. Supposedly he’s the "natural man" whose spirit is strong, as opposed to the artificial genetically-enhanced lab-births whose spirits and imaginations have become impoverished by technology. Yet the crippled ubermensch, as played by the gifted Jude Law, is so much more charismatic, witty, clever, and sympathetic than Hawke’s everyman hero that the filmmaker’s thesis becomes muddled, even overturned. At one point Law tells Hawke, "I only lent you my body; you lent me your dream," but what dream was that? It’s *Law* who has the look of a wild dreamer in his eyes, not Hawke. The movie’s best moments are the quiet ones in which Hawke’s friendship with Law (the "body fluids" exchange, Hawke’s frequent nudity, and Law’s pretty boy pulchritude, have led some viewers to read this relationship as homoerotic), and his heterosexual romantic one with Thurman, are allowed to develop. In the end, GATTACA is more compelling as small-scale human drama than either detective story or science fiction.GATTACA failed at the box office, but I think it’ll generate more interest as time goes by (despite its flaws). For one thing, the Human Genome Project is now completely mapped, so all the attendant anxieties and dilemmas are once again very much in the public eye. For another, Jude Law made THE TALENTED MR. RIPLEY, got an Oscar nomination, and is now a full-fledged star.
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DOWNLOAD MOVIE House on Haunted Hill 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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The House on Haunted Hill (1999)

FILM REVIEW; Some Haunted Houses Never Change

If the ever vigilant Federal Reserve chairman, Alan Greenspan, is truly determined to snuff out inflation aborning, then he can do no better than to take sharpened pencil in hand, make his way to the nearest theater showing ‘House on Haunted Hill‘’ and strike fearlessly until the film’s feeble pulse beats no more.

‘’House on Haunted Hill‘’ is a sorry reincarnation of the 1950’s William Castle horror film in which an eccentric millionaire played by Vincent Price offered five strangers $10,000 each to spend the night in a spooky old mansion.

In the new version, the ante has been raised to $1 million apiece, which is why Mr. Greenspan may choose to become involved. Even allowing for inflation of roughly 570 percent in the 40 years since the original opened in New York on March 12, 1959, the reward for foolhardy courage in 1999 should come to only $57,113.47, the Federal Reserve Bank in Minneapolis calculated yesterday.

But some things have not become devalued over the years — words like junk, for example. ‘’House on Haunted Hill‘’ was pronounced junk in these pages in 1959. And it is still junk.

All the special effects in the world cannot compensate for an inability to generate tension, establish and sustain pace or create any character whose survival is worth rooting for.

Directed by William Malone from a screenplay by Dick Beebe and bearing such well-established names as Robert Zemeckis and Joel Silver among its producers, ‘’House on Haunted Hill‘’ is dead on arrival. This film wastes the talents of actors like Geoffrey Rush and Peter Gallagher in hollow roles and relies heavily on its sets and special effects to do the work that should have been accomplished by its director and writer.

The new version harks back to 1931, when the towering cliffside, seaside premises, helpfully described in the film’s publicity as having been designed ‘’in the monolithic style of Albert Speer, the infamous architect of the Third Reich,'’ were home to the Vanacutt Psychiatric Institute for the Criminally Insane.

But one night, when the evil Dr. Vanacutt was performing surgery without benefit of anesthesia, the inmates got loose, fire raged out of control and death ran rampant.

Cut to the present, when the wealthy, nasty, mischievous theme-park magnate Steven Price, played behind a mustache by Mr. Rush in a role tailor-made for James Woods at his malevolent best, arranges to hold the birthday party for his not-very-beloved wife (Famke Janssen) in the old place.

But the guests, invited to compete for a total of $5 million if they survive till daybreak, turn out to be a surprise, all somehow related to the old institute or to each other. It seems that the premises are not at rest.

Mr. and Mrs. Price and their guests are in for a long night. But the real ordeal is reserved for the audience.

‘’House on Haunted Hill‘’ is rated R (under 17 requires accompanying parent or adult guardian). It includes copious amounts of blood, dismemberment, body parts, shootings, stabbings, nudity and language unsuited for the better birthday parties.

HOUSE ON HAUNTED HILL

Directed by William Malone; written by Dick Beebe, based on a story by Robb White; director of photography, Rick Bota; edited by Anthony Adler; music by Don Davis; production designer, David F. Klassen; produced by Robert Zemeckis, Joel Silver and Gilbert Adler; released by Warner Brothers. Running time: 96 minutes. This film is rated R.

WITH: Geoffrey Rush (Stephen Price), Famke Janssen (Evelyn), Taye Diggs (Eddie), Ali Larter (Sara), Bridgette Wilson (Melissa Marr), Peter Gallagher (Blackburn), Chris Kattan (Pritchett) and Peter Graves (himself).

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DOWNLOAD MOVIE Harsh Times 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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“Harsh Times” goes down like the vinegar its protagonist chugs to try to beat a drug test. It’s carefully crafted, exasperating and ugly, a festival of self-destructiveness, in all ways a reflection of its lead as brought to careening, erupting, implosive life by Christian Bale. Bale plays Jim Davis, a recently discharged Army Ranger trying to get his postwar life on track in South Los Angeles. Jim hopes to find some stability by joining the police department, and then bringing over and marrying his adoring sweetheart from rural Mexico. In the meantime, he and lifelong best friend Mike (Freddy Rodríguez of “Six Feet Under̶ are getting high, hammered and into trouble, just as they did in school. The difference between then and now is that today they’re men, not boys, and the trouble they find is appropriately scaled. And Jim, haunted by his grisly war experiences, is not quite the fun-loving scrapper of his youth; Mike has no idea what his friend is capable of, or what he has done. ADVERTISEMENT Writer-director David Ayer, who reportedly grew up in neighborhoods like those in the film, brings an air of authenticity to the proceedings. The slang, the modes of dress, even the styles of fighting all have a high degree of specificity that lifts the movie above most urban crime dramas. Although viewers will be slapping their foreheads as the characters make one horrible choice after another, they won’t be saying, “That could never happen.” The action is well-staged, except for a clumsy opening flashback to the war. “Harsh Times” is a dark, brutal character study of an antihero along the lines of the sociopathic cop in Ayer’s best-known script, “Training Day,” the title rogue in “Bad Lieutenant” or even Alex the droog in “A Clockwork Orange.” Despite the things that make Jim human — his apparent love for the doting Marta, his brotherhood with Mike, his post-traumatic stress disorder — audiences will be constantly conflicted over whether he should get the chance he craves, or a bullet in the head. But there’s something almost naive about him, this arrested adolescent with no attention span and boyish-seeming dreams. In another life he might have been the townie who never went to college, or the big man on campus who didn’t make the NFL. In this life, however, his “I wanna be a policeman” routine fills one with less sympathy than dread. As one sensible character — played by Eva Longoria — says, “My biggest nightmare is you with a badge.” This is not a political film, but there is sickening irony when Jim is deemed psychologically unfit for the LAPD but welcomed into the ranks of Homeland Security. It’s Mike whom viewers will worry about. He’s the one who might have a chance of getting out of this ricocheting world of drugs and violence. Mike is torn between growing up — getting a real job for the sake of his relationship with longtime love Sylvia (Longoria, solid as the voice of reason) — and the irresistible pull of adventure and loyalty. The real story here is that Bale continues to establish himself as one of the most daring and committed actors of his generation. Since his icy, quotation-marked work in “American Psycho,” he has brought dimension to the comic-book hero in “Batman Begins” and reduced himself to a complicated shadow in “The Machinist,” among other memorable and varied performances. In “Harsh Times” he deftly switches register as Jim moves between worlds, from “Yo vato” to “Yes sir” as his environment dictates. Although there are moments when Bale seems less than comfortable channeling his inner homie, he delivers an intense, unpredictable performance that makes even epically awful decisions seem plausible. * ‘Harsh Times‘ MPAA rating: R for strong violence, language and drug use. An MGM release. Writer-director-producer David Ayer. Producer Andrea Sperling. Cinematographer Steve Mason. Editor Conrad Buff. Costume designer Michele Michel. Music Graeme Revell. Production designer Devorah Herbert. Running time: 1 hour, 55 minutes. In general release.
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DOWNLOAD MOVIE City by the Sea 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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City by the Sea Reviewed By EricDSnider Posted 09/07/02 02:50:32

"A parade of well-acted cliches." (Average)

In "City by the Sea," Manhattan police detective Vincent LaMarca (Robert De Niro) is a tough cop who, years ago, walked out on his wife and young son. The movie reminds us of this approximately every 30 seconds."You walked out on us!" someone will yell. "Are you going to walk out on me, the way you walked out on your family all those years ago?" someone else shouts. There is a lot of shouting in this movie. I don’t know how LaMarca puts up with it, especially when it’s all highly accusatory and aimed at him. I wouldn’t yell at Robert De Niro, I know that much. It’s what stops this from being an excellent film, the fact that it chooses one note on the piano and taps it unrelentingly for the entire running time. The movie’s point is that viewers ought not walk out on their wives and sons. One has to wonder what sort of abandonment issues the screenwriter needs to work out. LaMarca is investigating the death of a drug dealer when he discovers the primary suspect is his son Joey (James Franco), from whom he has been estranged since the aforementioned walking-out-on-his-family incident. He would like to help the boy, but Joey, skinny, filthy and strung out, wants nothing to do with the old man. Joey’s mother (Patti LuPone) is at her wit’s end and urges her ex-husband to stop being a cop and start being a father. After going through the Family Crisis Clichés, the film moves on to Cop Movie Clichés. LaMarca gets taken off the case — even slamming his gun down on the sergeant’s desk in protest — but continues to work it anyway. A cop’s failure to wait for backup to arrive leads to dire consequences. Voices from LaMarca’s past swirl around his head nightmarishly. At one point, a low-life says to someone he thinks may have killed his drug-dealer friend, "My associate, seems he ain’t breathin’ too good no more. But you wouldn’t know anything about that, right?" With dialogue like that, you expect Humphrey Bogart to appear, or at least to see a copyright date of 1940 at the end of the film. The acting, without exception, is terrific. De Niro elaborates on his one-dimensional character, giving him more life and depth than he deserves. Frances McDormand, always a pleasure to watch, plays LaMarca’s long-suffering girlfriend with panache. James Franco is startlingly gaunt and sickly as Joey LaMarca, eliciting sympathy for his horrific circumstances. In smaller roles, Eliza Dushku is solid as Joey’s girlfriend, and Patti LuPone tries her best with the generic dialogue she’s saddled with.Director Michael Caton-Jones ("Rob Roy," "This Boy’s Life&quo and cinematographer Karl Walter Lindenlaub give the film a somber, bleak feel. Numerous images of the run-down Long Island community of Long Beach are used as metaphor for LaMarca’s crumbled family life. These are effective as far as they go. The film just needed some better writing to really make it soar.
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DOWNLOAD MOVIE Legend 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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Legend

A very intense movie! I really was on the edge of my seat during the whole film. Unfortunalty the cannibals look a little too “costumed”. Good film music, fits perfectly. It’s defenaltly worth to see it! Two American tourists on a romantic camping trip are brutally murdered. A few days later, during the ancient festival of Samhain, a group of American university students moves into a beautiful cottage, surrounded by a lush forest and a majestic lake.

They are here to learn about the rituals of the ancient Druids and other Celtic legends. But in the remains of an abandoned copper mine, lives the ancestors of an incestuous clan of cannibals. Stalked by a hulking, disfigured mutant, the students and their chaperone are in for the most harrowing time of their young lives. And keeping their heads on their necks will become their main concern…

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DOWNLOAD MOVIE Net 2.0, 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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Net 2.0, The

Probably near the top of the list of sequels that never needed to be made is The Net 2.0, an in-name-only sequel to 1995’s very modest hit, The Net. 

The premise is simple: an attractive American computer systems analyst (Deloach) takes a job in Istanbul, only to find that her identity has been stolen and she can’t prove who she is anymore.  Worse, she is being branded as a criminal, and with the police after her, she will have to find out who is doing this to her and why, before her life is ruined forever.

Mistake #1: No Sandra Bullock.  The only reason most people bothered to watch the first Net film was due to Bullock’s presence, coming off of two popular and appealing movies, Speed and While You Were Sleeping.  This film has Nikki Deloach, coming off of the failed TV series, "North Shore", here in her first starring vehicle. 

Mistake #2: The characters are different.  The Net 2.0 isn’t continuation, or even a spin-off, of The Net, leaving the few fans of the first film with no real identity for this second entry.  Basically, the creators of this one must be assuming that people want to see more "victim of the internet" action, regardless of the characters or actors that portray them.  Calling this The Net 2.0, ironically, is a form of identity theft in and of itself.

Mistake #3: No need for a another one. Hardly anyone really liked the first film, much less loved.  Completist Bullock fans may not have minded picking up a copy of The Net on DVD for a bargain bin price, but practically no one else would.  It only grossed $50 million when it was first released; it’s not exactly a blockbuster.  Making a "sequel" to it a decade later, when nearly everyone has either forgotten the first film or just don’t care, defies any logic or rationale.

Mistake #4: Shooting this movie to digital.  Granted, shooting to film probably wasn’t affordable for the producers of this rather low budget thriller, but the one thing that could have made this bad movie tolerable would be for some nice cinematography in and around Turkey.  There are some aerial shots and scenes inside some exotic locales, but they end up looking murky and ill-defined thanks to the limitations of the equipment this film was shot on.  That the director decides to try to increase dramatic tension through gimmicks like constant freeze frames only makes this less attractive.

Mistake #5: Making this nothing less than a regurgitation of a retread of a Hitchcock staple.  The first Net was already a blatant imitation of standard Hitchcock fare, but this one is an imitation of The Net, which makes it unoriginal a couple times over.  There are consequently no real surprises, making this a very boring movie very quickly.  Despite being under 90 minutes in duration, you’ll feel every single tick of the clock as it slowly crawls by.

If you read this and still plan on seeing it, at least make it a drinking game and take a drink for every time the main character’s name is mentioned, Hope Cassidy.  You’ll be comatose before a half hour passes, if you don’t fall asleep from the monotony first.

With the only correlation between The Net and The Net 2.0 coming from some similar subject matter, as well as the fact that the director of this one (Charles Winkler) is the son of the director of the first one (Irwin Winkler), while the writer (Rob Cowan) produced the first film, there is absolutely no reason anyone to watch this cheapie substandard thriller, even if you liked the first film.  They already followed the first film with a TV series no one cared about, I think it’s time the creative minds at Sony just let it go.  Dull, forgettable, and a waste of time, The Net 2.0 is about as slow and frustrating as surfing the net with a 14.4k modem.

Qwipster’s rating:
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DOWNLOAD MOVIE Twins 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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The Movie:



Growing up in the 80’s and keeping myself in candy money by selling baseball cards (embarassing fact: I actually had a table at a baseball card show once as a kid), I’ll certainly remember the great lineup of the ‘87 Minnesota Twins, lead by Kent Hirbek and the late Kirby Puckett (who would go on to be inducted into the Baseball Hall of Fame in 2001) and the pitching of Frank Viola and Bert Blyleven.



The Twins didn’t have one of the strongest seasons, but despite their road record of 29-52 (the team had the lowest winning percentage ever for a World Series champ), the Twins managed to work their way into the playoffs, first beating the Tigers (who had the best record going into the playoffs) and then faced the St. Louis Cardinals (who were favored by many to win) in the World Series, winning the series 4-3 and nabbing the World Series title for Tom Kelly, who managed the win in his first season. Each team won all the games played on their home turf, the first time that that had occured in baseball history.



Backed by crazed fans at the Metrodome (after Dan Gladden’s grand slam in the first game, noise meters clocked the decibel level in the dome at 118 - in comparison, a jet engine is about 120 decibels), these are exciting games; while the Twins easily take the first two games, the tables turn once the series moves to St. Louis.



What does disappoint me again here - and I’ve mentioned it in every review of a Major League Baseball product on DVD - is that the MLB logo is once again seen throughout the entire program. While the logo is fairly small, it’s sizable enough to be distracting. I was hoping that, for a World Series set, it would be gone, as people who are buying this set have spent a lot to have to view the entire series with the logo in the top corner.



A positive note that must be mentioned is the set’s use of the inserts for each of the discs. Instead of just slapping on some basic graphics, the inserts (both inside and out) provide a scorecard, game highlights, trivia, attendance, number of pitches, game running time and trivia. All the information you need to know about each game has been fit onto the cover.




The DVD



VIDEO: A & E presents the series in its original 1.33:1 full-frame aspect ratio. Image quality does have a few issues but, as a notice states on the box, there are some issues with the original master copy that were not able to be fixed. That said, sharpness and detail are a tad inconsistent, but the picture is mostly crisp and the occasional soft moments don’t look too terribly soft.



Some minor wear is noticed on the source elements, but only infrequently and when it is noticed, it’s not much of a distraction at all. Additionally, some slight shimmering is also spotted on occasion. Colors seemed natural and accurate, with nice saturation and no smearing or other concerns. This presentation looked a little improved over the 1986 Mets World Series DVD set. In both cases, it’s amusing to be reminded of how unslick sports broadcasts looked 20 years ago.



SOUND: The stereo soundtrack of the games sound perfectly fine although, as with the video, there are some minor imperfections in the source material. However, the audio is mostly crisp and clear.



EXTRAS: While not extensive, the few extras that are offered here round out the set fairly well. We get the ‘87 World Series Trophy presentation to the Twins, as well as parade footage, a post-game interview with Puckett and the MVP presentation to Frank Viola. There’s also a look at the Twins‘ history and footage of the Twins Clinching the American League West, Twins 4-run rally in the 8th inning of ALCS game 1, the 1987 ALCS clincher and Harmon Killebrew throwing out the World Series game one 1st pitch. Overall, about 45 minutes of extra footage is included.



Final Thoughts: Twins fans should be pleased with this set that captures this classic World Series match-up. While the fact that the MLB logo remains on-screen is irritating, image and audio quality is otherwise very good and the extras round out the set nicely. Highly recommended for fans.

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DOWNLOAD MOVIE Last Man Standing 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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“Undisputed” was released in 2002, and the picture (which was directed by Walter Hill and starred Wesley Snipes and Ving Rhames) did a light $12m at the box office. Despite the fact that I’m sure few remember the original, someone felt as if a sequel would be a terrifc idea. Hence, “Undisputed II: Last Man Standing” (speaking of direct-to-video sequels, I’d rather have seen a sequel to the Bruce Willis western “Last Man Standing“, but that’s besides the point.)



Directed by Isaac Florentine (”Mighty Morphin Power Rangers”, “US Seals II̶ he second picture stars Michael Jai White as George “Iceman” Chambers (who was apparently played by Ving Rhames in the first picture, which I didn’t see) a top kickboxer who gets sent to jail when he gets framed for drug possession. This also happens to be one of Russias most corrupt, nasty and brutal jails.



It soon becomes apparent that the jail was in on the frame-up, simply because they wanted to pit their best boxer, Uri Boyka (Scott Adkins) against the best the rest of the world has to offer. If Iceman is able to beat Uri, he’ll be set free. If not, he’s in serious trouble. That’s about all there is to the plot of this picture, which essentially is made up of a lot of scenes of White’s character trying to figure a way out while beating the daylights out of anyone who dares challenge him in the prison or in the yard.



The fight scenes (which are really the star of the show here, if we’re being honest) are enjoyable, although the martial arts appears a bit too choreographed and not seamless. The performances are fine enough for the material, which pretty much consists of characters cursing at each other. I’m not trying to put down “Undisputed”, as it is what it is: a martial arts B-movie that offers what it promises: a lot of action and really, not much at all else. In terms of mindless action movies, this one is simply average and takes itself a little too seriously to be as entertaining in a B-movie way as it could have been.




The DVD



VIDEO: “Undisputed II” is presented by New Line in 1.85:1 anamorphic widescreen. New Line certainly gives the majority of their releases top-notch transfers and this is no exception. Sharpness and detaiil were quite fine throughout the show, with small object details often visible, even in the darker sequences. While some minor artifacting was occasionally spotted, no edge enhancement or other issues were seen. Understandably, colors were subdued throughout the movie, although appeared accurately presented, with no concerns. Black level appeared strong, while flesh tones looked accurate.



SOUND: The film’s Dolby Digital 5.1 soundtrack didn’t provide a great deal for the surrounds to do, as the audio was largely spread out across the front speakers. Audio quality was fine, with boomy, bassy effects and clear dialogue.



EXTRAS: Director Isaac Florentine is joined by actors Michael Jai White and Scott Atkins for an audio commentary for the film. The track does have some gaps of silence throughout the movie, but the three do provide a lot of discussion regarding various aspects of the production, including fight choreography, style, locations and working with the other actors. Although the comments aren’t constant, the information the three do offer will be of interest for fans. A 20-minute “making of” is much better than these sort of things usually are, with great location and behind-the-scenes footage, as well as some informative interviews with the actors and filmmakers. Finally, we also get sneak peek trailers for other movies.



Final Thoughts: “Undisputed II” offers moderately good martial arts sequences and not much else. As mindless action goes, the picture is watchable, but takes itself too seriously to be as entertaining a B-movie as it could be. The DVD offers very good video quality, fine audio and a couple of good supplements. A light rental recommendation for fans of the original or of the genre. Others should skip it.



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DOWNLOAD MOVIE Big Bounce, 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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Big Bounce, The

One of the many reasons that people enjoy reading Elmore Leonard is for the observations made by the colorful characters, and the asides they make are just as enjoyable as the overall story itself.  Films based on Leonard’s books have transferred well in recent years — Out of Sight, Get Shorty, Jackie Brown — made by directors who understand that proper use of dialogue will draw the attention of audiences into the characters, and once those characters see action, we know them well enough to be interested in anything they do or say after that point. 

The Big Bounce is the second time the Elmore Leonard novel of the same name has been made, the first in 1969, starring Ryan O’Neal.  That film was a critical failure and this 2004 version doesn’t fare too well either, despite having a very talented cast and nice locale work to bolster it.  The central problem?  Too much filler, not enough substance.  While the more successful Leonard adaptations have had their moments of interesting dialogue, they were always done while ensconced in a forward moving plot.  The Big Bounce, as adapted by Sebastian Gutierrez (Gothika), has almost no story to it at all, finally getting around to some plot developments in the last third.  By that time, it’s too little too late. 

Owen Wilson (Shanghai Noon, Zoolander) plays Jack Ryan, a beach bum who ekes out a living in Hawaii performing small-time jobs like B&E’s (breaking and entering) and getting in and out of trouble with the law.  A local district judge (Freeman, Shawshank Redemption) sees Jack needs a break, offering him a place to stay and some cash to be the handyman for some bungalows he owns.  In the meantime, Ryan gets romantically involved with Nancy (Sara Foster, in her debut), the current trophy girlfriend of Ray Ritchie (Sinise, Of Mice and Men) a dangerous high roller in the area, who has a scheme of her own to snatch $200,000 from her verbally abusive man.

The Big Bounce starts off well, establishing its characters and sense of style early, with Wilson delivering his usual off-the-wall quips aplenty.  It doesn’t take long for us to meet all of the main players, most of them within the first fifteen minutes.  The problem is that once we know who these people are and their respective situations, the film treads water for over an hour, showing us the same people doing the same things over and over.  The plot never moves forward, and in fact, is barely even dealt with, shelved in order to try to gain some meager chuckles with Wilson playing Romeo with Foster, in addition to having some hackneyed confrontations with some of the other would-be suitors.

So, we have a good cast, punchy direction by George Armitage (Grosse Pointe Blank), and the usual funky music punctuating the segue scenes, all typical for a Leonard adapted flick.  With all of the positive attributes, it’s a shame there wasn’t anywhere they could go with the material.  The Big Bounce is a nice looking nothing of a movie, so lackadaisical, you’ll probably zone out before the halfway point is reached.  Not to worry, though.  Since nothing’s going on for most of it, you could probably nap for an hour and still have enough information to know what’s going on during the final scenes, if you even care.  The Big Bounce lives up to its name by falling back to earth every time it looked like it was going to take off.

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Reviewed by Glenn Erickson

Some of Stanley Donen’s films don’t hold up as well as they should but the visual invention of Two for the Road is still refreshing forty years later. Frederic Raphael’s top-drawer romantic comedy drama mixes insightful marital observation with both satire and slapstick and in general comes out ahead; and the film has a surprisingly adult view on infidelity. Albert Finney and Audrey Hepburn are an excellent couple viewed exclusively through four different road trips through France at different stages of their relationship.

Synopsis:

Architect Mark Wallace and his wife Joanna (Albert Finney and Audrey Hepburn) speed toward a party given by Mark’s wealthy benefactor, Maurice Dalbret (Claude Dauphin). As they consider getting a divorce the trip becomes mixed up with other cross-country memories from earlier days: When they met on the road; travelling with an annoying American couple (Eleanor Bron and William Daniels) and their brat of a child; footloose in an unreliable MG roadster; and an unhappy trip traveling with their young daughter.

Two for the Road still makes us sit up and pay attention even if its central time-tripping gag became a clich&eacute even before it started. Mark and Joanna will be sitting in their junky sports car when a fancy Mercedes passes. One hard cut later and we’ve jumped to the future when they are riding in the Mercedes. The loving couple with their fun times and rough spells don’t seem to realize that the road they’re traveling is a time machine to the past and the future … it’s the Road of Life, get it?

Kurt Vonnegut and Joseph Heller surely approved of this storytelling method, which allows for maximum flexibility while keeping the tale from congealing into linear episodes - there is no need for flashbacks to relate to the past as everything in the movie is a flash- something or another.

The device never becomes invisible but it does help us to pay attention, as we never know how long we’ll be in one time frame. Finney and Hepburn make an extremely attractive couple and their meet-cute device of a misplaced passport becomes an (overworked) gag that follows them the rest of their lives.They’re thrown together by the unpredictable chicken-pox virus, which decimates the rest of Joanna’s choir group, including gorgeous “Jackie” Jacqueline Bisset. Soon it’s just Joanna and Wallace hitchiking together, and they quickly become inseparable.

The time-shifting story structure invites dozens of visual comparisons that in another format would have to be handled through dialogue. They start off with one small bag but subsequent trips require more and more luggage. What eventually becomes a predictable air-conditioned traveling arrangement begins with crazy adventures in the rain, and misadventures like sneaking cheap food into a posh hotel only to discover on checking out that gourmet meals were included in the room rates. Everywhere they go they see examples of other marriages - bored couples, newlyweds and the horrible Manchesters, obnoxious Americans imposing their narrow views and their vile daughter on everyone within earshot.

Two for the Road has a lot of well-timed comedy but also a tendency for lame slapstick. Joanna and Mark fall or are pushed into pools and the ocean about 5 times too many, which isn’t bad considering how freshly the actors perform such slapstick duties. Eleanor Bron (Alfie, Donen’s Bedazzled) and William Daniels (The Graduate) are Ugly Americans providing a world-class bad example for marriage, and stop just short of being a bad satirical exaggeration. Unfortunately, people like that are all too real.

Joanna and Mark are far from perfect themselves. Mark is predictably the butt of jokes when he panics over his lost passports and lets his bad temper get them kicked out of hotels. He conducts half his dialogue in a Humphrey Bogart accent. He’s also no saint, as when a silent-movie style flirtation between two cars ends in an extramarital one-night. If there’s something dated about the film it’s that it finds almost no fault with Hepburn’s Joanna - until she causes every female in the audience to hold their breath by admittng that she’s slept with another man. Not our Hepburn … not Sabrina! That revelation disabuses us of the notion that Two for the Road is going to resolve as a light-snack romance.

Perhaps Heburn is the key to this whole thing, as she represents an image of perfect womanhood that goes back at least to 1953’s Roman Holiday. Women have looked up to Hepburn as the pinnacle of grace and charm, the 1950s romantic anti-sex symbol completely opposite the blonde bombshell Monroe image. Here it is thirteen years later and she’s still completely convincing as a college-age woman. Hepburn was seven years older than Finney, as well. She looks good in all the various costumes (the credits list seven or eight designers), even the ridiculous Mod fashions. If there is a fault to the basic framework of Two for the Road it’s that Joanna doesn’t seem to have many flaws. When she strays from Mark, we immediately think of her as the victim of boredom, or of inattention by her (observed) wandering husband. Ethically challenged viewers might take the film as an “it’s inevitable” apologia for poor marriages.

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Fox’s Studio Classics disc of Two for the Road looks splendid. The only time Savant tried to watch this picture was pan-scanned on TV with commercials, and soon gave up. Christopher Challis’ cinematography must have stimulated French tourism, and Henry Mancini’s lush but unobtrusive score is very pleasant.

The disc has a restoration comparison (Fox comparisons are always too technical but unconvincing anyway), a short still gallery, an original trailer and a commentary by Stanley Donen. It quit about a half hour in and I got tired of waiting for it to start again (it comes back after a couple of chapters). We enjoyed his track on Charade and he’s just as charming here. His is an enviable life, working with such pleasant people on such worthwhile projects. I wish Fox would bring out his wonderful Bedazzled so that uninformed college kids could feast on the comic talents of Peter Cook and Dudley Moore at full power.

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On a scale of Excellent, Good, Fair, and Poor,
Two for the Road rates:

Movie: Excellent

Video: Excellent

Sound: Excellent

Supplements: Commentary by Director Stanley Donen, Restoration Comparison, Trailer, Still Gallery

Packaging: Keep case

Reviewed: November 3, 2005

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