P

Pacifier (2005) (*** for adults, **** for children) (10-18-05)

Pallbearer, The (1996) (*, comedy)

Palmetto (1998) (**1/2, noir) (11-13-00)

Panic in the Streets (1950) (***1/2, drama, crime)

Panic Room (2002) (***, thriller) (4-23-02)

Paradine Case, The (1948) (**, drama) (7-2-01)

Parallax View, The (1974) (***, thriller)

Passenger 57 (1992) (**, actioner)

Pathfinder (1988) (***, drama)

Patriots Game (1992) (*** thriller)

Payback (1999) (***, crime, action, comedy) (2-8-99)

Paycheck (2003) (***, sci fi, action) (12-30-03)

Peeping Tom (1960) (**1/2, suspense)

Perfect Murder, A (1998) (***, suspense)

Peter Pan (1953) (***1/2, adult, ****, child, animation, fantasy, musical) (3-11-02)

Pet Sematary II (1992) (*, horror)

Phaedra (1962) (***, drama)

Phantom, The (1996) (**, action)

Phantom of the Opera, The (1925) (****, horror, classic)

Philadelphia Story, The (1940) (**1/2, comedy)

Pi (1998) (3.14*, thriller, drama) (12-14-98)

Picnic at Hanging Rock (1975) (***1/2, drama)

Piano, The (1993) (***, drama)

Picture of Dorian Gray, The  (1945) (***, horror) (11-19-01)

Pink Panther, The (1964) (**, Comedy) (4-15-02)

Pirates Of The Caribbean: The Curse Of The Black Pearl (2003) (***1/2, action, pirate, supernatural) (8-19-03)

Pitch Black (2000) (***, sci fi, horror) (11-13-00)

Plan 9 From Outer Space (1959) (turkey, Science Fiction)

Player, The (1992) (*** black comedy)

Play It Again, Sam (1972) (***1/2, comedy) (12-03-01)

Play Misty for Me (1971) (***, thriller)

Playtime (1967) (****, comedy)  (10-2-99)

Pleasantville (1998) (***, fantasy) (1-4-99)

Plumber, The (1980) (**1/2, drama)

Point Blank (1967) (***, crime)

Point of No Return (1993) (unrated, action, drama)

Point of Order (1964) (documentary, ****) (11-28-05)

Poseidon Adventure, The (1972) (***, drama, action, disaster) (10-2-00)

Postman, The (1995) (***, comedy, drama)

Potemkin (1925) (****, war, history)

Pousse Cafe (1997) (unrated, comedy)

Psycho (1960) (****, classic, horror)

Predator (1987) (*** Sci-Fi Horror)

Predator 2 (1990) (**1/2 Sci-Fi horror)

President's Analyst, The (1967) (**1/2, spy, comedy)

Pretty Poison (1968) (**1/2, crime, drama)

Primal Fear (1996) (**1/2, crime, suspense)

Primary Colors (1998) (****, satire, humor)

Princess Bride, The (1987) (****, fantasy)

The Princess Diaries (2001) (** adult, **** child, comedy) (10-11-04)

Prizzi's Honor (1985) (****, crime, black humor)

Professional, The (1994) (***, crime, drama)

Proof (1992) (***1/2, drama)

The Proposition (2005) (***1/2, western, drama) (2-20-07)

Public Access (1992) (***, suspense)

Public Enemy, The (1931) (**1/2, crime, classic)

Pulp Fiction (1994) (****, black humored crime drama)

Pulp Fiction, Comments on

Puppet Masters, The (1994) (*1/2, sci fi, horror)

Purple Noon AKA Plein Soleil (1960)  (2-14-00)

Pursued (1947) (***, noir, western, classic) (7-2-01)

Pacifier (2005) (*** for adults, **** for children) (10-18-05) (D.-Adam Shankman; W.-Thomas Lennon; Vin Diesel, Lauren Graham, Faith Ford, Brittany Snow, Max Thieriot, Chris Potter, Tate Donovan) This is not an adult movie. But it is a good family movie. The plot and jokes are predictable; however, it does have a certain charm, and it is not insulting to adults who have to watch it. It was a riot to watch with children. My 8 year old granddaughter had seen it before and was a running wealth of information on what was important with “Pay attention to this”, etc. Then, when you picked out what was going to happen next, she was delighted with how perspicacious you were. Not that any adult wouldn’t have seen most of the things coming a mile off even without her commentary.

Shane Wolfe (Diesel) is a navy SEAL who loses a scientist in a failed rescue mission. He then gets stuck babysitting the scientist’s dysfunctional family while the wife goes off to get the husband’s secret codes in a Swiss bank. To call the family maladjusted would be a disservice. Discipline is a word the children don’t even suspect exists. One might say that they have social issues. Needless to say, for a SEAL this does not sit well and he imposes military style discipline on things. Things go less that ideally, and rebellion results. Plus, a small baby in diapers doesn’t take orders. As hours turn into weeks, there is the mandatory bonding and everyone learns and grows from the experience. The humor is in the getting there, and there are lots of chuckles and a few belly laughs as it goes along. The hulking Diesel changing his first dirty diaper comes to mind.

Pallbearer, The (1996) (*, comedy) (D.-Matt Reeves; David Schwimmer, Gwyneth Paltrow, Barbara Hershey, Carol Kane, Michael Vartan, Michael Rapaport, Toni Collette) They didn't bury this one soon enough. Spacey and dysfunctional Thompson (Schwimmer) is named in the will of an ex-school mate but he cannot remember the guy at all. The deceased's mother, Hershey, asks Thompson to deliver the eulogy with predictably disastrous results. Schwimmer is really interested in equally spacey Julie (Paltrow), but starts an affair with Hershey. Sound familiar? If not, check out the superb The Graduate (1967) with Dustin Hoffman about alienated youth. Graduate had humor, style, a moral message, and first-class acting, all pretty much missing here. If you feel Dustin is too distant in time to speak to you (he isn't), then try the passable Reality Bites (1994) (review on Web site). Maybe if you are a fan of Schwimmer's vague style on Friends, you can enjoy this but for me it was a wasted $3.00 rental. (3-31-97) Beginning

Palmetto (1998) (**1/2, noir) (11-13-00) (D.- Volker Schlöndorff; W.-James Hadley Chase (novel), E. Max Frye; Woody Harrelson, Elisabeth Shue, Gina Gershon, Rolf Hoppe, Michael Rapaport, Chloë Sevigny, Tom Wright, Marc Macaulay) A low rent Body Heat wannabee. It uses all the noir conventions including voice over, convoluted plot, dark shadows, and a femme fatale. And ends up being interesting but not great. Harry Baber (Harrleson) is fresh out of jail and doesn’t get treated very well by the locals where he left a lot of enemies when he went up the river. The exception is his girlfriend Nina (Gershon). Enter sultry Rhea Malroux (Shue) with a deal that looks too good to be true. Watch it to see where it goes from here. It’s a talented cast, but Harrelson in particular is not the right person for this part.

We don’t get a lot of noir and Palmetto will satisfy your appetite until the real thing comes along. However, if you think this is good, go back and check out the real thing, Body Heat, where stellar acting, plotting and characterization make for a fabulously black evening. William Hurt and Kathleen Turner incinerate the screen and show how it should be done. Beginning

Panic in the Streets (1950) (***1/2, drama, crime) (D.-Elia Kazan; Richard Widmark, Paul Douglas, Barbara Bel Geddes, Walter Jack Palance, Zero Mostel) Considered a classic film noir. Actually, while the cinematography is noir, the story is neither convoluted enough nor dark enough in its main characters to be true noir. Set in New Orleans. It begins simply enough with a murder. Brutal, sudden. Then for the coroner, just another dumped stiff. Only John Doe carries pneumonic plague, the most virulent and contagious form of the Black Death, and the ticking clock starts. Find the unknown killers of the unknown man in the 48 hours before they become contagious or see New Orleans reduced to a charnel house. Or, worse, spook them so they flee across America. Taut suspense and action. Beautifully filmed. Well acted across the board. Widmark is the Public Health doctor and Douglas is a skeptical police captain. Blackie (Palance --known here as Walter Jack) is a masterfully oily sociopath who charms and kills with the ease that he ties shoes. Mostel is one of his sweaty panicky cohorts who knows he deals with the devil but cannot get loose. Many beautiful scenes such as where Palance and Mostel interrogate their buddy or where Mostel's wife, who does not understand the depth of Palance's psychopathology, argues with her husband over his association with Blackie. The director also had a little in joke on the stairs at the end where there is a reversal of Widmark's wheelchair scene from Kiss of Death. Shot on location in New Orleans, but not the gay, festive one we are so familiar with.

I was reminded again of why one has to be careful of pictures taken from films. I became intrigued by Panic when I saw shots from it in the fascinating The Dark Side of the Screen: Film Noir by Foster Hirsch (Da Capo Press, 1981--available in paperback). One scene in particular of three exhausted men standing in a back-lit alley was absolutely beautiful film noir. Pregnant. Ambiguous. It turns out that that take isn't quite in the film, but was either staged for the shot or was from an unused take. So the questions that kept nagging me as I studied the photo turned out to be irrelevant. Nevertheless, a beautiful shot, and from the action in the scene it is easy to understand why they look exhausted. Edward and Edna Anhalt won an Oscar for their story. (2-19-96) Beginning

Panic Room (2002) (***, thriller) (4-23-02) Jodie Foster, Kristen Stewart, Forest Whitaker, , Jared Leto, Dwight Yoakam, Patrick Bauchau, Ian Buchanan, Ann Magnuson) Panic Room has taken a lot of heat from the critics. Too many coincidences. Not realistic enough. There are very few suspenseful thrillers that hold together completely logically and don’t depend on some unlikely series of events at some point. Even the best of Hitchcock suffers from these problems. So, when I judge a thriller, I always cut it a certain amount of slack. The real questions are, when you accept the premise and the world into which you are thrown, does it hold together and does it give you thrills and chills? Much of this success depends on nuance and style since there are relatively few truly new ideas in suspense. For my wife and myself, Panic Room worked. Meg Altman (Foster) and her daughter Sarah (Stewart) end up in a great brownstone mansion of a recently deceased eccentric multimillionaire. The house is equipped with a safe room (called a panic room here), which is a keep, a secure area where the occupants can retire in the event of an invasion. Without giving anything away, their first night there is disturbed by three criminals. The criminals are Burnham (Whitaker), a bright specialist in security alarms, Junior (Leto), a money grubber, and Raoul (Yoakam), a psychopath. This leads to a sophisticated confrontation of brains and brawn between the resourceful occupants and the well prepared, but mutually antagonistic, team of invaders. The occupants have the panic room and brains, while the invaders have brains, knowledge, and brawn. This is not a contest where conclusions can be predicted with any certainty. The acting is excellent with country singer Yoakam being a particularly chilling villain. Virtuoso camera work, imaginative staging, and a low key disturbing sound track make for a disturbing evening. Fincher is a master of dark disturbing imagery  (7 and Aliens 3). Here I think he manages to marry style and substance beautifully. Even before anything happened, I found myself on edge, which is the mark of a good thriller. So, if you can suspend a certain amount of credibility in your thrillers and want a nail-biting evening, Panic Room will not disappoint. Incidentally, the penultimate scene is a homage to the end of Asphalt Jungle. Beginning

Paradine Case, The (1948) (**, drama) (7-2-01) (D.-Alfred Hitchcock, Gregory Peck, Valli, Ann Todd, Charles Laughton, Charles Coburn, Ethel Barrymore, Louis Jourdan, Leo G. Carroll, John Williams) If you are unfamiliar with Hitchcock’s films, Paradine is everything his good films aren’t. It lacks suspense, tautness, virtuoso editing, and interest. This is the first collaboration between Selznick and Hitchcock and the gifted, but flawed, Selznick was alleged to be very intrusive. Regardless of the reasons, Paradine is a slow paced, totally unrealistic story about a barrister (Peck) defending Paradine’s wife (Valli) for his murder. In my opinion, Paradine is of interest only to Hitchcock fans who want to see all of the master’s work, even his dogs. Beginning

Parallax View, The (1974) (***, thriller) (D.-Alan J. Pakula, Warren Beatty, Paula Prentiss, William Daniels, Walter McGinn, Hume Cronyn, Anthony Zerbe, Kenneth Mars) Slick paranoid's conspiracy thriller. Overly inquisitive investigative reporter Beatty reopens his examination of a senator's assassination when everyone present at the killing suddenly become very poor insurance risks. Unfortunately, every bit of information he digs up puts him deeper into the quicksand. One should never forget the adage about curiosity and the cat. Good sense of paranoia and some truly superb visual set ups to twist your mind, especially the arena ending which must have been a total blow away on the original wide screen. Weaknesses are that you never develop empathy with the principals and the director telegraphs punches way too soon. Same director-photographer-production team was later responsible for the superb, true, paranoic docudrama All the President's Men (****). (1-25-94) Beginning

Passenger 57 (1992) (**, actioner) (D.- Kevin Hooks; Wesley Snipes, Bruce Payne, Tom Sizemore, Alex Datcher, Bruce Greenwood, Robert Hooks, Elizabeth Hurley) Under Siege on an airplane. Flashy but uninspired aircraft highjacking tale. Snipes is a crack antiterrorist who happens to be on same flight with federal agents taking arch-villain Payne to Los Angeles. Payne, who does manage to be delightfully despicable, has other plans with his cohorts on the aircraft. Snipes aided by stewardess Datcher, however, proves their undoing. Snipes, who can do excellent acting, is wasted in this "plot". Besides not grabbing me as a good thriller should, Passenger added an unnecessary and distracting racist element about half way through that weakened the already marginal plot. However, if all you're after is flash and boom and no substance, then 57 might be your cup of tea. Don't expect to be distracted by character development or plot plausibility. (1-3-95) Beginning

Pathfinder (1988) (***, drama) (D.-Nils Gaup; Mikkel Gaup, Nils Utsi, Svein Scharffenberg, Helgi Skulason, Sara Marit Gaup, Sverre Porsanger) A unique experience. The first and possibly the only film ever made in Lapp. Pathfinder is based on an ancient Lapp legend of a young boy who succeeds in destroying a gang of marauders who would pillage and destroy his village. The story is told in a matter of fact fashion, and as with many myths, tends to be simplistic in order to convey its moral lessons and praise its hero. Besides some awesome cinematography, what makes Pathfinder so intriguing are the insights into the day-to-day lives of these resourceful, tenacious people who manage to eke out an existence in an environment of extraordinarily hostile beauty. Their world is one in which the most minor mistake brings brutal, frequently lingering painful, death, yet they still manage all of the things that make us human--love, honor, humor, art, bravery, and history. For an intriguing, unusual evening, check it out. (6-19-95) Beginning

Patriots Game (1992) (*** thriller) (D.-Phillip Noyce; Harrison Ford, Anne Archer, Patrick Bergin, Thora Birch, Sean Bean, James Fox, Samuel L. Jackson, Polly Walker, Richard Harris, James Earl Jones) A taut nasty little thriller based on Thomas Clancy's techno-thriller. Clancy's books are long and complex, and the movie's clarity suffers from collapsing too much into too little. However, in the final analysis the raw human emotions and the action overcome these shortcomings. If you insist on details, read the book, which is different enough so that you can enjoy either. Ex CIA operative and Marine Jack Ryan (Ford) is visiting England with his wife (Archer) and daughter(Birch). He is present when a splinter radical IRA group attempts to kidnap the wife and child of minor royalty. Through sheer adrenal, surprise, and luck he thwarts the attempt but kills the younger brother of one of the terrorists (psychotically well played by Sean Bean) in front of him. Bean swears vengeance on Ryan and his family, and the remainder of the movie involves Old Testament settling of the scores. Hell hath no fury like parents protecting their family. Ford is a superb actor and eminently believable. Archer is good support, and Birch is pure delight. The action is crisp, throat grabbing, and outstandingly choreographed. Although note the error where the night vision glasses don't bloom on the fire place. The high tech satellite view of the assault on the terrorist camp is eerily effective, reducing the life and death on the screen to a video game. I thought the very end chase lost its effectiveness by falling into the standard format. However, I consider the book ending stellar, and our son who had not read the book found the movie riveting to the end. As an interesting aside, the scene where Ford is ordering the scanning and amplification of the satellite image is almost a replay of a scene in the sci-fi Blade Runner. Beginning

Payback (1999) (***, crime, action, comedy) (2-8-99) (D.- Brian Helgeland; Mel Gibson, Gregg Henry, Maria Bello, David Paymer, Deborah Kara Unger, William Devane, Kris Kristofferson, James Coburn, Lucy Alexis Liu, Bill Duke, Jack Conley) Written by Helgeland and Terry Hayes. Helgeland cowrote L.A. Confidential, and it shows. Payback has a 40s, 50s gritty film noir feel and is complete with a good blonde hooker Lynn (Unger). It also has one of the most laconic, ruthless antiheros since Clint Eastwood's Man-With-No-Name spread the landscape with dead bodies in the Spaghetti Westerns. True, he has a name here, Porter (Gibson), but only a last name. Porter is a man out for revenge and for what is rightfully his ($70,000, not a penny more or less). And he is going to get it from old buddy Val (Henry), and if the mob gets in the way that is their problem.

Violent, profane and populated with an assortment of fascinating low lifes from a seedy drug dealer Stegman (Paymer), a pair of bent, but not too swift detectives (Duke and Conley), to a graded assortment of bosses (Devane, Kristofferson, and Coburn). As Porter says about the detective, "If I had been a little more stupid, I could have been one of them." It is also wickedly funny in a very black fashion. Pearl (Liu) is riotous as a sadomasochistic call girl who can wield a riding crop with the best jockey.

The basic plots of films of this class are similar with twists, turns, crosses, and double crosses. Success or failure depends on style, nuances, cleverness of the twists, and acting. Payback manages all in grand style. Gibson's role in particular is masterful. He succeeds in walking the tight rope between campy and too serious. Too far either way and the film falls. He is supported by a collection of over the top actors with numerous memorable lines.

Payback is a remake of the eerily surrealistic Point Blank, and both are based on the novel The Hunter by Richard Stark. However, this is where the similarities end. In Point Blank what you see may not actually exist. Payback makes it clear in the opening scenes that it is not a simple remake of Point Blank.

Payback is action packed, funny, blood soaked, and entertaining. But definitely not for the squeamish. If you like pedicures, you might want to pass. Gibson, incidentally, was responsible for this addition. Also, just remember "If you don't understand it, get rid of it." Enjoy. Beginning

Paycheck (2003) (***, sci fi, action) (12-30-03) (D.-John Woo; Based on a short story by Philip K. Dick; Ben Affleck, Aaron Eckhart, Uma Thurman, Paul Giamatti, Colm Feore Joe Morton, Michael C. Hall,  Peter Friedman) If you go in the door expecting MacBeth, you get what you deserve. If you check your brain at the box office and just go with the flow, you are in for a fun evening. First, don’t let anyone tell you about the film or read any reviews (except this one); too many people spoil the whole film. The year is 2007 and Jennings (Affleck) makes a very good living reverse engineering commercial products. However, the companies don’t want any trail of their activities, so after each job, his memory is wiped clean of all his work. If you begin to see a Hitchcock-style plot being set up, you aren’t too far off. After a particularly intensive job, the world that he returns to is very hostile indeed even though he has no memory of why. How he begins to unravel his past is the plot. You really cannot predict how he will sort things out, so don’t try. Just enjoy the anticipation of discovery much as he experiences it.

Of course, this is a Woo and you expect action. It is solid, but nothing special. The heavies are good with Eckart as a corporate head and Feore as his enforcer. Feore did a stellar job in Stephen  King’s Storm of the Century. Thurman is attractive, physical as required by the part, and a total bust as an actress in this part. The chemistry between Affleck and her is tepid at best. Affleck is going to have to be careful in his part selection that he doesn’t end up being typecast as an action figure, which he does do well.

The story also shows a lot of overlap with The Bourne Identity. However, since they are based on two entirely different stories, I don’t think you can hold this against anyone. Beginning

Peeping Tom (1960) (**1/2, suspense) (D.-Michael Powell, Moira Shearer, Carl Boehm, Anna Massey, Maxine Audley, Esmond Knight) Available at Sneak Review Video. When Peeping Tom first appeared in America, it was banned and aggressively suppressed. It has now achieved something of a cult status and is available on tape. A severely disturbed young man murders women and films their deaths. Overall, the movie is flawed. The young woman's love interest for the killer is unrealistic, and in places unbelievable. However, it is stylishly done, well photographed, and with a few scenes of elemental power, reminiscent of some of Hitchcock's work. Why was it banned? Good question. In spite of the subject, this is not an exploitation film. There is no nudity or sex, and the violence is implied or not very graphic. Psycho came out the same year with nudity, far more and explicit violence, and an equally disturbing subject. Did someone just irritate the wrong censor, or did British films lack the political clout of American ones? (8-16-93) Beginning

Perfect Murder, A (1998) (***, suspense) (D.-Andrew Davis; Michael Douglas, Gwyneth Paltrow, Viggo Mortensen) Taut, well crafted version of the classic Dial M for Murder. Emily (Paltrow) is having an affair with starving artist David (Mortensen). Intelligent financier husband Steven Taylor (Douglas) does not take kindly to this, but not necessarily in the way we might have expected. I will not give any more plot away. The cinematography is dark, edgy and the sound track, much choral, appropriately unsettling. If you are familiar with Dial M..., you will have some of the features; but the rewrite changes enough and actually throws in red herrings for those too familiar with the original. So don't get complacent. Also, don't compare it with the original; think of it as an entirely different movie.

Douglas is masterful. The slight turn of a lip, a verbal intonation, the choice of a single phrase, a raised eyebrow, or a little body English can convey ever so much. Paltrow is good as the young woman who inadvertently gets in over her head. Mortensen has the crude good looks and animal magnetism to have attracted her; he actually did those paintings.

Less contrived and static than the original, which was based on a stage play, Perfect... keep the twists coming satisfactorily until near the end. It then appears hurried and uncertain as though they didn't know to end it. Finally, at the very end, we get the obligatory blood letting. Why do they always have to end these films with such violence? Especially given Paltrow's obvious intelligence, more satisfying versions could be devised. (5-27-98) Beginning

The Perfect Storm may not be a perfect movie, but it will get your adrenaline up. Further, it leaves no doubt that when nature chooses, we are not masters of the world, but merely interlopers whose survival is as capricious as a crap shoot. Finally, we can understand in some small way why men go to sea, even though in Gloucester alone over 10,000 have died at sea since 1623. The monologue by Captain Billy Tyne (Clooney) says it beautifully and ends with "You're a goddamned swordboat captain. Is there anything better in the world?" Beginning

Peter Pan (1953) (***1/2, adult, ****, child, animation, fantasy, musical) (3-11-02) (D.- Clyde Geronimi, Wilfred Jackson; Bobby Driscoll, Kathryn Beaumont, Paul Collins, Tommy Luske, Bill Thompson, Hans Conried, Heather Angel, Candy Candido, Tom Conway) Having grandchildren is a delightful excuse for going back and watching some of the great pleasures of my youth. Disney’s classic Peter Pan is available in a stellar reproduction on DVD. The story is based on the book and then stage play of James Barrie's classic children’s book about growing up and the need to never lose our sense of childhood wonder no matter how old we become. The story is sufficiently well known that I won’t give any details other than it involves Peter Pan taking a group of children to Neverland where they meet pirates, Indians, mermaids, see other wonders, and will never grow old. The DVD has a lot of extras that I haven’t had time yet to view, so this review is only on the movie. My dual rating is based on my opinion and my 4 and a half year old granddaughter as a representative child. The animation is beautifully classic Disney. The articulation of expressions, emotions, and inner thoughts with a few simple strokes is stellar. The story flow is entertaining, suspenseful for children, exciting, and funny. Whenever Captain Hook, his gofer Smee, and the alarm clock ticking-hungry-hard suffering crocodile were on the screen, I was in stitches. What can I say? There are some places I have not lost my childlike sense of wonder. In fact, my wife is reticent to go to children’s movies with me because of the attention I draw by my pleasure in the films.

The voices are provided by excellent actors who bring real depth to the characters. Pan (Driscoll) is perfect as the self-indulgent youth. Hook (Conried) is a gem as the intelligent Machiavellian pirate captain who is always one step behind Pan and is driven by the need for revenge for the loss of his hand. Mr. Smee (Thompson) is a hoot as the not-too-bright aide who is always trying to influence Hook positively in his obsession. Incidentally, Thompson also did all of the pirate voices. There are certain striking similarities in the personalities of the childrens’ father, George Darling, and Hook. They represented the flip sides of becoming too adult in either a good or an evil way. I realize now that this similarity was augmented by both the graphics, mannerisms, and use of Conried for the voices of both characters.

In summary, a delightful evening for children of all ages. Beginning

Pet Sematary II (1992) (*, horror) (D.-Mary Lambert; Edward Furlong, Anthony Edwards, Clancy Brown, Jared Rushton, Darlanne Fluegel) At the Movie Palace. Ignore the *** rating in the Daily Progress. This is a real dog in more ways than one. A family moves to a Maine town and finds that an ancient indian burial ground is a good way to put new life into the recently deceased. Only the process leaves a few things to be desired--like conscience, morals, and good manners. And that is with the people who are normal to begin with. There are a few tense moments, and some black humor. Unfortunately, on the balance it gets played too straight and belongs more in the blood, gore, and bore (pun intended) category than in good horror. A lot of small children were in the audience and they must surely be having severe nightmares from this. As my son said, " the parents deserve it". Furlong, the kid from T2, is reasonably effective as an obsessive young man who will do anything to get his dead mother reunited with his divorced father. The one redeeming point (*) is the "comic" role played by Clancey Brown, a pre unhinged sheriff, who really gets nasty after an untimely meeting with a set of canines. He couldn't ham it up anymore if he were a porker, and he clearly revels in the part. (11-9-92) Beginning

Phaedra (1962) (***, drama) (D.-Jules Dassin, Melina Mercouri, Anthony Perkins, Raf Vallone) A returning stepson, a busy tycoon, his neglected new young wife form the age old triangle for a modern implementation of Euripides' classic Greek Tragedy "Hippolytus". The chemistry between the young volatile Perkins and the beautiful tragic Mercouri is completely believable. Superbly haunting sound track brought to you in parts by a swing band, Bach, and Mercouri who has a voice that would make Helen of Troy weep. The end has a nice twist on the original instrument of the Gods, which was a sea monster. Unfortunately, apparently not available on video, but well worth the effort to see when you get a chance. (4-5-93) Beginning

Phantom, The (1996) (**, action) (D.-Jeffrey Boam; Billy Zane, Krisiti Swanson, Treat Williams, James Remar, Patrick McGoohan, Catherine Zeta Jones) At the Jefferson this week. Another film version of a classic comic strip, The Phantom (created by Lee Falk). As memory serves me, they capture the mood and style of the strip perfectly. Many of the action film images are dead ringers for the original. Played with a light touch, lots of humor, pure black villains, the noblest (but not always too bright) Phantom, and beautiful (but very self assured and not dainty) women. Some of the action sequences are so unbelievable as to bring chuckles of pleasure (e.g., the plane/horse), and the suspension bridge sequence was marvelous (see Sorcerer for the ultimate truck/suspension bridge scene). A major weakness in my opinion was Zane as the Phantom--nowhere near enough presence. Williams clearly enjoyed playing the villain and had a number of great lines. His body English was perfect in the boardroom scene; you just knew what he was going to do with the wood panelling. However, even he didn't manage the great villainy necessary for the part. Only the two women lived up to comic book expectations.

Two thoughts that occurred to me were: The director has stolen shamelessly from other films, especially Raiders of the Lost Ark. Then, I wondered how much Spielberg stole from the old comic books in Raiders (he freely admits to using the Saturday matinee cliff hangers). Maybe Phantom is just very true to its roots.

In summary, not a great film, but for comic lovers it is true to the genre with many enjoyable moments. There were more than enough laughs and adrenaline rushes to justify my $2.00. Beginning

Phantom of the Opera, The (1925) (****, horror, classic) (D.-Rupert Julian; Lon Chaney, Mary Philbin, Norman Kerry, Snitz Edwards, Gibson Gowland) A magnificent piece of silent film making. As with many silent films, it is not black and white. Most scenes are tinted. Plus, the masked ball is done in the rare two-color technicolor. The story is the familiar one of the horribly disfigured phantom of the opera who nurtures career of understudy Philbin, but ultimately wants what he perceives as his. The climactic end comes with her being kidnapped and dragged into the dank catacombs of the opera house.

The story still works. There are scenes that carry genuine suspense and shock even today. The phantom's unmasking to Lon Chaney's custom-designed make up is still a jolt. Chaney's performance and make up are perfect. The film has an unnerving surrealism throughout that starts with ballerina's reactions in the beginning. The cinematography is just plain awesome. I found the use of moving shadows breathtaking. For those unfamiliar with silent films, the rate of projection is as integral a part of the cinematography as the lighting. An accelerated scene is not an error, but a very deliberate action.

Review based on the beautifully restored print (1992 produced by Cinematheque Quebecoise), which showed recently on TCM. This is complete with full orchestral accompaniment and suitable operatic additions. (7-28-97) Beginning

Philadelphia Story, The (1940) (**1/2, comedy) (D.- George Cukor, Katharine Hepburn, James Stewart, Cary Grant, Ruth Hussey, John Howard, Roland Young) Dated but entertaining. A Philadelphia socialite's (Hepburn) impending second wedding is complicated by the reappearance of her ex-husband (Grant), her divorced father, and a tabloid news crew (Stewart and Hussey). I find the first half quite delightful with the rather hard edged interplay between all the principals spirited and witty. However,in the second half the movie becomes rather maudlin for a feel good ending, the plot is unrealistic, and the moralizing either overdrawn or offensive. The father's cavalier blaming his womanizing on his daughter's aloof nature is downright offensive. Academy Award Winner for Best Actor (Stewart) and Screenplay. Grant, whose role is secondary, accepted it only when given top billing and the then princely fee of $137,000which he donated in entirety to the British War Relief Fund. (4-12-94) Beginning

Pi (1998) (3.14*, thriller, drama) (12-14-98) (D.-Darren Aronofsky; Sean Gullette, Mark Margolis, Ben Shenkman, Pamela Hart, Stephen Pearlman) Also written by Aronofsky. Given the film, what other rating could I give it? I was going to give it ***, but my son pointed out the correct rating. Apparently financed by family and friends for about $60,000, Pi was the surprising star of the Sundance Film Festival and has taken off like a sky rocket.

So if you are interested in a totally off the wall evening and post film discussion (I highly recommend seeing it with others), then you may wish to give Pi a look. However, absolutely don't expect a mainstream film. One group got up and walked out relatively early in our showing. Beginning

Picnic at Hanging Rock (1975) (***1/2, drama) (D-Peter Weir, Rachel Roberts, Dominic Guard, Anne Lambert) This is one of the movies that helped crack the American market for Australian film makers, and gave Weir considerable clout. The movie is based on the true story of the disappearance of three school girls on a picnic in turn-of-the century Australia. Lushly photographed with absolutely haunting images and music. Very little actually happens in the movie, and the ending is as ambiguous as the reality probably was. And yet... We showed it to our children (about 10 and 15 at the time). Both were absolutely thunderstruck by the movie, just as were their parents. A fascinating cerebral evening, although certainly not to everyone's taste. (11-2-92) Beginning

Piano, The (1993) (***, drama) (D.-Jane Campion, Holly Hunter, Harvey Keitel, Sam Neill Anna Paquin) A stunningly photographed drama set in primitive 1850s New Zealand. Clearly in the art house category, but also a fascinating study of human nature. A mute woman (Hunter) with her daughter (Paquin) goes to New Zealand as a mail order bride for a well to do (for 1850s New Zealand) plantation owner. She brings little, but she does bring her one critical possessiona piano, which is her soul and her voice. In the opening the mother, daughter, and possessions are left on the austere New Zealand beach when the groom is held up by weather and is not there to meet them. This first 10 minutes alone makes Piano worth going to see; the theater marquee is an outtake from this sequence. If at all possible see on a big screen or letter boxed. When Neill finally arrives he makes a tragic mistake. Not appreciating the piano's pivotal position in her existence, and being a profoundly practical man, he refuses to have it moved back to town over steep, heavily wooded hills and intractable mud. This is an error for which the spirited, but not completely stable, Hunter can never grant forgiveness. The final corner of this classic triangle is provided by laid back Keitel who has gone native (complete with facial tatoos). He becomes infatuated with this mysterious, strong woman who suddenly invades his domain. To aid in his pursuit, he purchases the piano from Neal and then begins bargaining parts of it for her affection. A classic tale of human nature where everyone has weaknesses and errs, but the three elements of earth, fire and water must all be present simultaneously to precipitate crisis. A beautiful and richly textured view of the hard life and coping mechanism of early settlers and families. The acting is stellar, especially Hunter's, who must convey everything in expressions and body English. Eleven year old Paquin won an Academy Award for best supporting actress. An interesting question on which my wife and I disagree is how culpable is she? Paquin never acted before and tagged along with her sister who was trying out for the part. While there, they screened Paquin. I suspect this made for some fairly tense home dinners. Paquin is a New Zealander and I would be curious to hear from someone with a good ear, to tell me how good her English accent is. In spite of the lack of any mention of the movie's sexual content, Piano is very explicit, deserves a hard R, and will certainly offend some. (6-27-94) Beginning

The acting is good. The variations from the play are solid. However, a major weakness is Holden. He looks great and does a good job, but he is just too old for the part. For it to work he needed to be closer in age to the 19 year old Madge. They needed more common ground, and Hal needs to be young enough so that you can believe that he really still has a future. Beginning

Picture of Dorian Gray, The  (1945) (***, horror) (11-19-01) (D.- Albert Lewin; George Sanders, Hurd Hatfield, Donna Reed, Angela Lansbury, Peter Lawford, Lowell Gilmore) Stark, noirish black and white lighting with flashes of color. Based on the timeless book by Oscar Wilde. There have been at least 5 silent or English versions of this intriguing story. At the beginning, prodded by the suave, cynical, enigmatic Lord Wotton (Sanders), starkly handsome and vain Dorian Gray (Hatfield) makes the wish to his portrait. “If only the picture can change, and I can always be as I am now. I'd give my soul for that.” Be careful what you ask for. As Dorian cuts a swath through Victorian society, he hides the painting from the sight of others. Its visage reflects every debauchery, every evil act committed, in hideous detail. His own appearance remains fine, youthful, untroubled.

Picture is both a commentary on human nature and on society. Picture addresses the question of what would you do if you could do anything and everything that a repressive society prevents you from doing with no fear of consequences. In this regard there is much similarity with Dr. Jekyll and Mr. Hyde. Dorian is judged by his peers by his appearances, a fine upstanding man. How could anyone so cultured, so handsome be part of the dark stories that circulate about him?

The acting is good with the Wotton and the naïve Sibyl (Lansbury, who was a dish) being especially good. The film’s great weakness was Hatfield’s Gray. He had the looks, but was as expressionless as a rock. The part demands someone of great range; he needed to project lust, cunning, narcissism, and debauchery. Unfortunately, he didn’t project any of these. Fortunately, the story has such intrinsic power that it survives in spite of him. The other weakness of the film arose from the censors. One never got more than vague innuendoes of the heinous acts of Gray. Thus, we were never able to get the true picture of his real behavior. 

Wotton was the most interesting character in the film. Cynical. Manipulative. Articulate. Indeed, the film implies he was modeled after Wilde himself. How much responsibility did he bear? We found him quite Mephistophelean, and totally devoid of any feelings of responsibility for the consequences of his actions. But we strongly disagree on whether he should have felt any responsibility.

In summary, an intriguing evening of turning over rocks and seeing what crawls out. Beginning

Pink Panther, The (1964) (**, Comedy) (4-15-02) (D.-Blake Edwards; Peter Sellers, David Niven, Capucine, Robert Wagner, Claudia Cardinale, Brenda DeBanzie, John LeMesurier, Fran Jeffries) The first in the enormously successful long running Pink Panther series. Panther has received rave reviews. Beautiful people, stunning European sites, a delightful pink panther cartoon character, a rousing Henrry Mancini score, and a few strokes of comic genius do not in my opinion make for a great comedy. I didn’t think the film was that great when it came out and it has not aged well. The one exception is the stellar extended revolving door bedroom sequence. Peter Seller’s relatively small part as the bumbling Inspector Clouseau was the highlight of the film and subsequent films used him as the centerpiece with far better results. Incidentally, the  Pink Panther was the name of a priceless jewel, but was used synonymously for Inspector Clouseau in subsequent films. The basic plot consists of Clouseau chasing the master jewel thief, The Phantom, who is actually Sir Charles (Niven). There is a good reason why Sir Charles is so successful, but Clouseau would not see it if it bit him. In my opinion, the film plays it too straight with added comic relief from Sellers. Subsequent films recognized Sellers’ genius for farce and capitalized on it. I think Panther will mainly be of interest to those who want to see the origins of one of the great cinematic characters. If you do watch it and get tired, fast forward to the musical chairs bedroom scene about two-thirds of the way through. If you are interested in what all the hoopla about the series was, A Shot in the Dark is a much better introduction. Beginning

Pirates Of The Caribbean: The Curse Of The Black Pearl (2003) (***1/2, action, pirate, supernatural) (8-19-03) (D.- Gore Verbinski; Johnny Depp, Geoffrey Rush, Jonathan Pryce, Keira Knightley, Orlando Bloom, Jack Davenport, Damian O'Hare, Lee Arenberg, Mackenzie Crook, Giles New) Rollicking good swashbuckler of the old school that never takes itself seriously and as such gets away with murder. One of the most fun films that I have seen this summer. The opening sets up a childhood love interest between Elizabeth Swann, the Govenor's (Pryce) daughter, and Will Turner who is pulled unconscious from the water following a lethal pirate attack. Spring forward to adulthood where Swann (Knightley) and blacksmith Turner (Bloom) are separated physically, but not emotionally, by class. Oh, did I fail to mention that Elizabeth has a gold pirates medallion she pulled from around his neck, and he is unaware of its whereabouts? In a film with this title, you can rest assured that oversight will be corrected in spectacular fashion. Enter Capt. Jack Sparrow (Depp) and the crew of the Black Pearl, the most dreaded pirate ship in the Caribbean. So as not to spoil the surprise of his entry, I will say no more other than it is one of the most comical and tongue-in-cheek heroic entries in film.

Not since Disney's Treasure Island has a film been populated with such a disreputable, seedy collection of the dregs of humanity. And that is before we find out just how bad the pirates actually are.

Depp is masterfully over the top as an articulate, dainty pirate always having an incisive quip, even if it signals his own doom. Behind this quirky exterior is a master swordsman and strategist. Rush would be over the top in any other film (I suspect, he is modeled after Long John Silver in the Disney film), but here he verges on screaming normalcy and is a beautiful foil for Depp. The young lovers are the straight men in this farce and are routinely being manipulated by those around them. Bloom, in particular, holds his own in the action department, and Knightley makes a credible love interest who is under utilized.
The film is filled with droll humor, clever word play, delightful slapstick, memorable characters, and spectacular visuals. The pirates, as they move in and out of the moonlight, will long stick with me. The film has been savaged by some reviewers, but the theater was nearly full at 3:45 on Saturday even though the film has been out for a while. I suspect word of mouth trumps bad reviews. The audience, made up of many adults and children, was highly appreciative. The film has been criticized for being overlong at 134 minutes, and maybe some of the fight scenes could have been shortened, but it didn't seem that long to me.

The film is PG 13 with violence at the Starwars' level. However, it does have some disturbing images, so treat it with some respect for children. Beginning

Pitch Black (2000) (***, sci fi, horror) (11-13-00) (D.- David N. Twohy; W.-Jim Wheat, Ken Wheat; Radha Mitchell, Cole Hauser, Vin Diesel, Keith David, Lewis Fitz-Gerald, Claudia Black, Rhiana Griffith, John Moore, Simon Burke, Les Chantery, Sam Sari, Firass Dirani, Ric Anderson, Vic Wilson, Angela Makin) A space craft crash lands on a stark brutal planet where at least one of the three harsh suns is always in the sky. The few survivors have the misfortune to arrive shortly before an extremely rare nightfall. As hostile as the surface is during the day, the film brings new meaning to parent’s admonition "Don’t go out after dark." The issue of survival is compounded by the escape of a brutal convict Riddick (Diesel) and his ongoing battle with his escort Johns (Hauser). Indeed, ultimately everyone’s survival may hinge on an uneasy alliance between these two mortal enemies and the acting captain Fry (Mitchell).

I know I’ll get heat on my rating as many people disliked this film. However, to enjoy a film of this type, you really have to suspend logic. Even the outstanding Aliens had more holes than a Swiss cheese. Here you have to believe that creatures exist that can come out only every 23 years or so and can find something to eat on the face of a rock—besides our hapless castaways. And one of the survivors just happens to be altered so that he can see in the dark. Forget logic. You judge it on style, tension, atmosphere, and characters. While Black doesn’t add anything new to the genre, it does everything pretty well. The planet is stark, brutal, unforgiving. The surface is fried, burned, bleached and varies only in the harsh color presented by the dominant sun. Fry’s initial behavior is humanly believable as is her search for atonement. Johns has his own agenda and it isn’t always what you think. Riddick is ruthless and amoral, but pragmatic. His philosophy is dictated in part by his view of his god, on which he expounds succinctly at one point. The remaining survivors are deeply religious, very practical, or obnoxious. In short an interesting collection. Diesel does convey a very strong screen presence.

The creatures (most, if not all, computer generated) are Geigereque (Geiger is responsible for the nightmares of Alien)—but imaginative and horrific in their own right. The F/X are good with the nightfall being stunning. Also, I liked the touch of the faintly illuminated horizon during the eclipse—a realistic touch. The build up is good, and the payoff satisfactory.

Black plays it pretty straight with very little humor. The gore is relatively low for a film of this type. So if you are into sci fi horror, Pitch Black delivers a satisfying evening. Review based on excellent letterboxed DVD version. Beginning

Plan 9 From Outer Space (1959) (turkey, Science Fiction) (D.-Edward D. Wood, Jr; Gregory Walcott, Tom Keene, Duke Moore, Mona McKinnon, Dudley Manlove, Joanna Lee, Tor Johnson, Lyle Talbot, Bela Lugosi, Vampira, Criswell) Some of you may have seen the clip from the movie in the original Plan 9 Records TV ad. This is one of the better scenes. It gets worse--much worse. Rated as the worst movie ever made, Plan 9 lives down to expectations. Aliens try to destroy the earth by resurrecting the recently deceased. Everything in this movie is so bad that it is funny. The acting is dismal and wooden; the plot (such as it is) is disastrous and illogical in the extreme. The movie is peppered with some of the most grim lines to ever tickle your ear drums. The special effects would make an 11 year old blush. You have heard of pie tins being used for flying saucers? Check it out. The shower curtain props such as the doorway in the cockpit of the airliner are a hoot. While not certain, it looks like the pilot seats are straight backed chairs. Certainly, this would be a step up from some of the other production values. In one scene they use a 1953 Ford, and I had the irresistible thought that when I bought one of these in about 1960, I paid more than this movie must have cost to make--$125. Of course, the science is a little sloppy. Sun beams are supposed to be made of particles (actually true), but each of these particles is then supposedly made up of atoms. To add insult to injury for the director, Lugosi died before filming ended and the director replaced him with a taller, younger actor who kept his face covered with a cape. The movie cuts back and forth between the two actors, which just emphasizes the substitution. See Beginning of the End and Robot Monster. (Originally reviewed 11-29-93) (1-29-96) Beginning

Player, The (1992) (*** black comedy) (D-Robert Altman; Tim Robbins, and everyone else you have ever heard of in Hollywood, plus a lot you haven't) A savagely satirical look at the operation of the Hollywood Dream Machine by director Altman, who by all indications in the media knows exactly of what he speaks and revels in harpooning the foibles of everyone in sight. Many of the actors and actresses play themselves and appear to delight in a little bit of good natured self-abuse. Indeed, since so many people play themselves, the director throws nifty curves when he has a very well known actor play another character; it takes a while for you to pick up on it and adjust. This is perhaps the hallmark of this movie: What is real? While I think that this would be much more fun if you really knew the inside of Hollywood, there is no doubt these personalities exist and are more than equal to performing as indicated in such a rich, heady, powerful and money driven environment. The people here are not pretty or nice, so don't go into it looking for an uplifting performance. On the other hand they are rarely dull. I won't even try to outline the labyrinthine plot other than to say that it involves wheeling and dealing, death threats, manipulation, murder, deals, lies, back stabbing, deals, corruption, and sex. Rock and roll are conspicuously missing. If you have never seen an Altman, this is probably one of his more approachable movies. (10-19-92) Beginning

Play It Again, Sam (1972) (***1/2, comedy) (12-03-01) (D.- Herbert Ross; W.- Woody Allen; Woody Allen, Diane Keaton, Tony Roberts, Jerry Lacy, Susan Anspach) Classic Allen romp about neurotic, mild-mannered film critic (Allen), who gets dumped by his wife (Anspach) and is restored by imaginary Humphrey Bogart (Lacey). Bogey provides him with critical advice as he moves through his relationship with friends Linda (Keaton) and Dick (Lacey) Christie. Dick is a classic type A and Linda is an under-appreciated romantic. You don’t need to be a Bogey fan to enjoy this, but it will add another level to the lines. The cast is top notch, the humor ranges from droll to near slapstick, and the dialogue is sharp and incisive. One of Allen’s best. A truly enjoyable evening.Beginning

Play Misty for Me (1971) (***, thriller) (D.-Clint Eastwood, Clint Eastwood, Jessica Walter, Donna Mills, Don Siegel, John Larch, Irene Hervey, Jack Ging) Fatal Attractions was by no means the first example of indiscrete males stalked by murderous women. Clintwood's first directoral effort is a terse, taut little thriller showing, even then, his flair. Clint Eastwood is a late night D.J. One of his regular call-ins always requests "Misty". The D.J.'s life is going through some changes and ... Eastwood's frequent director, Siegal, plays bartender. (3-11-96) Beginning

Playtime (1967) (****, comedy) (10-25-99) (D.- Jacques Tati; Jacques Tati, Barbara Dennek, Jacqueline Lecomte, Valerie Camille, Leon Doyen) Watching a film by comic genius Tati is unlike watching any other film. Playtime is in mixed English, French, German, other assorted languages and probably some nonexistent ones. The film was released world wide without subtitles. Amazingly, it doesn't matter. His comedy transcends language and culture. His films are virtually plotless with only the thinnest veneer of storyline. They have been described as "tremendously plotless" or as "Monty Python on downers", where both opinions were meant as compliments. We watch Mr. Hulot (Tati) and several groups of people wander through a modern city. We get to see their interactions with others in the city and with each other as their paths cross in generally unpredictable ways. People appear and reappear in completely different contexts, which actually turn out to make weird sense. Recurrent themes are Mr. Hulot trying to do something nebulous (not very successfully, as usual), American tourists, and the biggest set piece--the grand opening of a not-quite-ready-for-prime-time elegant restaurant.

Playtime could easily be shown as a silent, but Tati makes devastating use of sound to amplify the humor. Tati's humor is low key and pokes fun at the human condition and our foibles. However, he is never nasty. He always shows the greatest love for his people even when you are rolling in the aisles at their antics. One recurrent gag is the tourists who have traveled the world, only to get tour bus views of. things that are virtually indistinguishable from what they have at home.

Unlike some of his other films, this one is unique in design. The screen is alive with people and events. You have no idea of where to look to see the sight gags. Or, many times you need to look everywhere to see all of the sight gags. Every corner, ever person could be part of developing or culminating joke. This is a film that requires multiple viewing to appreciate all of the humor as it is clear that with each viewing you will see new things. My wife, son, and I all picked up on different things. There were also places where some members of the audience laughed, having clearly seen something that we missed.

Tati is also master of the unrealized joke. There are several places where a situation is developing and you keep waiting for it to be culminated. At numerous turns you laugh in gleeful anticipation of what you know is about to happen. It never does. But it doesn't matter. You have still gotten countless laughs out of it.

As an aside, Tati went bankrupt from the post filming costs, which were devoted largely to the sound elements. Also, the city that you see didn't exist, although the reflections are of the real items. The city, complete with movable skyscrapers, was created just for the film since he couldn't get what he wanted in the real Paris.

The version that we saw was clearly missing a major piece, probably a reel. We never saw what happened to the door of the restaurant. Nevertheless, it was still a riot. Sneak Reviews has a copy, but I don't know whether it is intact. If you want a riotously low key item, zip out and rent Playtime. If you have never seen any of Tati's films, you will awed by the experience. Beginning

Pleasantville (1998) (***, fantasy) (1-4-99) (D.-Gary Ross; Tobey Maguire, Reese Witherspoon, Jeff Daniels, Joan Allen, William H. Macy, J. T. Walsh, Don Knotts) A marvelous conceit and implementation that works for about the first half. Suppose two modern teenagers were suddenly thrust back into a 1958 black and white TV sitcom? What would be the impact on them and on the highly idealized society into which they were thrust? David (Maguire) and Jennifer (Witherspoon) answer these questions when they suddenly find themselves as black and white Bud and Mary Sue in Pleasantville, the "perfect" 50's town where it never rains and the ball team has never experienced a loss. The first part of the film is done with droll humor as these modern teenagers bring a touch of the 90s to the 50s. The imagery is beautifully handled as the objects and people become technicolor when they are affected by the changes--a truly marvelous application of the new film technology. The director has a fabulous touch for the look and feel of the early sitcoms and their foibles. Unfortunately, the film becomes a message movie about half way through, and for us it never recovers its light, airy nature. However, I will say that many people liked the message aspect; so that is something that you will have to see for yourself. I grew up on these sitcoms in the 50s. We didn't believe they were real, but we did enjoy the escapism. In fact, the unreality was actually part of their charm (nobody had a family like the Cleavers in "Leave it to Beaver"!), but it does make a beautiful target for films such as Pleasantville. I should add that I rated it higher than other members of my family. I thought the first half more than made up for the second. Beginning

Plumber, The (1980) (**1/2, drama) (D.-Peter Weir, Judy Morris, Ivar Kants) And now for something completely different as the offbeat Australian director Peter Weir strikes again. I cannot warm up to this movie, but it is definitely offbeat and thought provoking. A wife and her less than fully attentive university professor husband need some simple plumbing work done on their apartment. Genghis the Khan would be a better choice than who they get. The plumber, who is one of those people who immediately set off little mental alarm bells, becomes interested in her. A master of psychological and guerrilla warfare, he soon separates the couple from each other and terrorizes them. This is not a mad slasher movie, but a strange study in deviant behavior. While I found the ending unsatisfying, you will certainly be left on the ropes and drained getting there. (9-12-93) Beginning

Point Blank (1967) (***, crime) (D.-:John Boorman; Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner, Michael Strong, John Vernon, James B. Sikking) Taut, brutal, surrealistic, unbalancing. During a heist on Alcatraz, Marvin is blown away at point blank range by his colleagues--his unfaithful wife and best friend. Inexplicably he survives and turns up a couple of years later seeking revenge. Revenge may be best served cold but, as Marvin discovers in this case, it is glacially cold, unsatisfying, and labrynthic. Plus, with each step, past memories have a nasty habit of overwhelming him. In my opinion, if you take the plot at face value the film is weak, unbelievable, and unsatisfying. However, I believe that there is a much darker abyss lurking under the surface that is the true story. I think there is little doubt from the director's hints that the surface story is NOT reality; then, the film is fascinating to watch and discuss afterwards. One of my favorite scenes, which is right out of Dante's Inferno, is the night club. (5-27-95) Beginning

Point of No Return (1993) (unrated, action, drama) (D- John Badham, Bridget Fonda, Gabriel Byrne,) An English version remake of Le Femme Nikita. I could only take about half an hour. As best as I can determine it was an EXACT (scene for scene, word for word) remake. I enjoyed the original, but Badham had absolutely nothing new to say beyond translating it into English. Fonda wasn't bad, but Anne Parillaud was a lot better. From what I saw, save a few bucks and rent the original. (2-28-95) Beginning

Point of Order (1964) (documentary, ****) (11-28-05) (DW-Emile de Antonio; W.-Robert Duncan; the principals as themselves) Available in VHS or DVD at Sneak Reviews in Charlottesville and in UVA’s Clemons Library (VHS0313)  Let’s begin by recognizing that Joseph McCarthy was not totally wrong. There were communists and those with communist sympathies in the entertainment industry, the news media, and the government. There were spies, some very successful. Had McCarthy directed his energies in a more focused, fair, and even-handed fashion, rather than as a way to wield power, he might well now be a national hero. However, that wasn’t his style or his intent. Point of Order is a documentary by far left director Emile de Antonio of the televised Army versus McCarthy senate hearing. This hearing was epic in many regards. It was the first fully televised congressional hearing where the public could really see the workings of some of the more poorly illuminated corners of our government. The hearings ran for 36 days with 187 hours of televised time.  It led to the destruction of the legendary Senator Joseph McCarthy.

 The film condenses the hearings into 97 minutes, but what a fascinating 97 minutes. The film is presented without commentary, so some familiarity with the case is useful; Good Night, and Good Luck and Citizen Cohn work nicely. The Clemons VHS copy has a short historical introduction by Paul Newman, which helps set the stage. McCarthy does make telling points, but he is his own worst enemy. He carried personal destruction to an art form, and his style of badgering, lies, distortions, and misrepresentation worked best when he could do it in secret and when he was not attacking powerful senators in public where they could counter. TV was his undoing.

One sees McCarthy’s fateful revelation of the lawyer who had associated with a communist organization, which turns out to be a violation of a prior verbal agreement with Welch who then uses the opening to shred McCarthy. One sees Cohn shaking his head in disbelief and despair as to what has just happened. You don’t see the shot of Cohn, where he is by pantomime trying to stop McCarthy from self-destructing, but it is replayed in Citizen Cohn.  The “pixie segment” is there in entirety and one can tell from the laughter that many in the audience were well aware or suspected the sexual orientation of some of the principals. The film does raise issues about the conflict of presidential and congressional powers, which continue to be questions that we struggle with as recently as the Valerie Plame investigation. Point of Order is drama of the highest order. One sees the principals of one of the great US political events of the 20th century in action. I was mesmerized with each new and different twist and turn of the proceedings. Why write fiction with proceedings like this at your fingertips? Actually, if you wrote something like this, it might get thrown out as too unrealistic.

The title comes from McCarthy’s frequent cry of “Point of order!”

Poseidon Adventure, The (1972) (***, drama, action, disaster) (10-2-00) (D.-Ronald Neame; Gene Hackman, Ernest Borgnine, Red Buttons, Carol Lynley, Roddy McDowall, Stella Stevens, Shelley Winters, Jack Albertson, Leslie Nielsen, Pamela Sue Martin, Arthur O'Connell, Eric Shea) Mindless, but enjoyable evening. The director always loved Walter Mitty and wanted to pattern a film on the model of normal people rising to heroic levels. The granddaddy of all disaster films. The now hackneyed formula was brand new then, and is still fun. Put a cast of character actors or those on the down hill side of their careers into a catastrophic disaster and see who survives by the end. This was the first and set the standard against which the genre was judged. A title wave capsizes a luxury liner. As the ship fills, a band of survivors must fight their way to the top (bottom) of the ship to be rescued. Ignore the opening introductory sequences and you get into the heart of the film, the action. Interesting characters with a range of backgrounds add interest to the story. These include a priest who believes that God supports those who make their own luck, a coarse cop (Borgnine) and his ex-hooker wife (Stevens), and an ex Olympic swimmer (Winters). Winters did her own swimming stunts and had to learn how some one of her class would actually swim.

Winters gained 35 pounds for the part. The scene where the ship capsized and the people are thrown out of the chairs was accomplished quite simply by lifting one side of the set with a forklift. The Queen Mary was actually used in film. The film was given a special Oscar for special effects and another for the song "The Morning After." Beginning

Postman, The (1995) (***, comedy, drama) (D.-Michael Radford; Phillipe Noiret, Massimo Troisi, Mario Gazia Cucinotta) Charming, bittersweet story of man on small Italian island. In the early 50s, Mario (Troisi) is a true underachiever who appears slow and listless. Enter the exiled charismatic Chilean poet Pablo Neruda. Mario becomes Neruda's postman, and the effect is believably galvanizing--it is amazing how many people will initiate activities for the wrong (or at least less than noble) reasons only to come to love them on their own merits. The pacing follows very much the natural ebb and flow of island life--little happens suddenly. Mario's transformation into a man he can respect is handled beautifully by Troisi; without his adroit touch it would have either been pathetic or unbelievable. Finally, by the end, there are lessons for all, even the mighty.

Postman won an Academy Award for best foreign film. The plot is especially poignant since Troisi was a super type A and died from a heart problem immediately after completing the film. To conserve his ebbing strength, he was replaced by a double where ever possible. Pablo Neruda (pen name) was a real poet who received a Nobel Prize in 1971. (8-12-96) Beginning

Potemkin (1925) (****, war, history) (D.- Sergei Eisenstein; Alexander Antonov, Vladimir Barsky, Grigori Alexandrov, Mikhail Goronorov) aka Bronenosets Potyomkin or The Battleship Potemkin. In Clemons. Voted by international panels of critics as the greatest film of all times in 1950 and again in 1958. (Microsoft Cinemania, 1994) An historical docudrama of the mutiny on the Battleship Potemkin, the most powerful ship in the Russian navy, in 1905 and the aftermath. Coupled with the then on going unrest in Russia, Potemkin nearly precipitated the 1917 revolution in 1905. The Odessa Steps sequence is considered one of the most important film sequences ever.

Potemkin, commissioned by the Soviet Government, was Eisenstein's second film. The movie was intended as, and clearly is, propaganda. In addition, it is silent and black and white and almost 70 years old, but it is also so breathtakingly good that it largely held my intense interest throughout. A number of the visual images are seared onto my brain like a brand onto a steer (e.g., the stone lions, clearly a metaphor for the too late awakening Czarist Russia).

Eisenstein is considered the father of montage and the Odessa Steps sequence is the quintessential example. Montage is an editing style without which modern films and ads would virtually cease to exist. Put in simple terms, it is the cutting (frequently quite rapidly and not necessarily in real time) of different images (frequently fragmentary pieces of a whole and taken from different perspectives). It is the impact of these visuals that is created by the similarities and contrasts between elements that creates a mental-emotional impression that goes far beyond what you would get from a full view of the complete scene taken in real time. It can be like visual aikido, which is a martial arts style where you get your opponent's body and mind flowing in one direction only to suddenly reverse the flow so as to totally overwhelm his defenses and sweep him off his feet. The shower scene in Psycho is an exceptionally powerful montage while a simple single point view of the murder would lose most of its effectiveness. Also, most high impact ads on TV use montage to grab you in the 30 or 60 seconds available.

Given its propaganda intent, just how closely does Potemkin come to the facts? The Potemkin Mutiny by Richard Hough, (Pantheon Books 1961 (c) 1960) is a superb account of the mutiny that conveys the ebb and flow of the movie. As a docudrama the movie is surprisingly accurate with many of the lapses falling into the category of poetic license to maintain dramatic continuity and reduce a very complicated story to essentials. In fact, many of our modern docudramas are far less faithful to reality than Potemkin. The events precipitating the mutiny are fairly accurately portrayed, but there was a very active revolutionary cell on the ship that fueled the crisis. The majority of the crew, conscripted peasants, was both politically naive and ultimately uninterested in revolution. In contrast to the movie, the city was rather in disarray when the Potemkin arrived, although its arrival fueled the events leading to the disasterous slaughter on the steps. In contrast to the movie, the crowd on the steps was not just Sunday strollers but was in a high state of agitation and surging up the steps where they encountered Cossacks at the top. The Cossacks, having been recently routed by a crowd, were eager for revenge. The subsequent firing on the steps was accurate, although the majority of the killing was in the ensuing blood bath over the next few days; countless thousands of civilians were killed. The movies portrayal of the massive display of Potemkin's destructive power unleashed on the city was erroneous. The ship fired only two 6" shells and stopped because of its poor aim without a spotter and possibly because the gunnery officer sabotaged their efforts. However, the encounter with the fleet outside of Odessa is actually quite accurate. Indeed, reality in this case was probably even more dramatic than Eisenstein's portrayal.

Those of you who were impressed by the railroad station steps scene in dePalma's The Untouchables, especially the baby carriage, will be fascinated to see that Potemkin is where dePalma got the image. DePalma, of course, uses montage for maximum impact. (12-5-94) Beginning

Pousse Cafe (1997) (unrated, comedy) (D.-Susan Winter; Dominic Hamilton-Little, Anthony Fife Hamilton, Beatrix Ost) This film was featured at the 10th Virginia Film Festival and was directed, produced and co-written by Virginian Winter. I was unable to see it, but I have it on excellent authority (my wife and son) that it was a quite entertaining story about a father trying to create an anthology of drinks (a Pousse Cafe is an elegant multilayer, multicolored drink) while the family is in the middle of a comically hysterical crisis. I will rush to see it at the first opportunity as the wonderful photography of the cocktails apparently demands a big screen. The driving theme is that the mother has left the father for a new and happier life and the son, who happens to be homosexual, comes home to either repair the marriage or help the father come to terms with its demise. Although the plot would seem to be a setting for a heavy drama, the characters prevent that. The mother is too blithely happy with her new life to be dramatic, the father is more embarrassed than bereft, and the son is long past any family problems with his sexual choices. The preparation of the complicated drink is apparently awesome and, because of the separate layers, tense; it is easy for the viewers to become caught up in the feat and hold their breaths with each addition--will it hold its position, disturb the lower layer, perhaps even make the entire artistic creation totally unstable? It was also quite complex to photograph. With the Pousse Cafe, countless drinks had to be made for each shooting since the layers diffuse together over time. (12-1-97) Beginning

Psycho (1960) (****, classic, horror) (D-Alfred Hitchcock; Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire) Hithchcock at his masterful best. The classic shower scene still shocks; alone it is worth the price of admission. Hitchcock as alway is the master of understatement and never overwhelms his audience with too much, or too explicit, information. It is better to suggest a far greater horror in bits and pieces than to be too explicit--Friday the 13th Part 300 take note. The shower scene, still considered a masterpiece of horror, epitomizes this philosophy. The entire assault, not including the unnerving opening and closing, lasts only 22 seconds, but it seems longer, much longer. In these few breaths, there are an astonishing over 30 plus film cuts (no pun intended).  After Psycho, there were many who gave up showers completely. Anthony Perkins does a stellar job as the savagely psychologically damaged son of a very domineering, and not any too normal herself, mother. Many of the images are truly and delightfully grating and unnerving. By modern standards, this movie is too slow and cerebral, but it is a must see for any serious student of suspense and horror. If by some chance, you don't know the plot I will not spoil the ending. Just remember, other movie makers saw this plot here first. (12-06-92)  [In 2001, Psycho was the AFI number 1 film in their AFI 100 Most Heart-Pounding American Movies.] Beginning

Predator (1987) (*** Sci-Fi Horror) (D.-John McTiernan; Arnold Schwarzenegger, Carl Weathers, Elpidia Carrillo, Jesse Ventura, Bill Duke, Kevin Peter) An elite heavily armed commando squad is sent into Latin America to rescue kidnapped government agents. While elements of the raid are successful, the attempted withdrawal is thwarted by an invisible lethal alien trophy hunter. The best game, of course, is dangerous, and what better specimens than crack troops. As the body count rises, the cat and mouse game is made especially effective by the alien's cloaking device. Like a chameleon, it assumes the appearance of its evironment. The effect has to be seen to be believed. One scene where Schwarzenegger awaits invisible death will positively make your skin crawl. The alien sees only by infrared and many of the scenes are from its perspective. The 1981 thriller Wolfen pioneered this visual cueing as seen and smelled by the wolves very effectively. Predator succeeds in bringing your fear of darkness into the light; your eyes no longer protect from what is lurking out there, even when it is right on top of you. In my opinion, this is one of the best movie monsters to come down the pike in a long time. While the plot is minimal, the monster and the suspense racked finale brings this up to three stars for fans of Sci-Fi and horror. (11-15-92) Beginning

Predator 2 (1990) (**1/2 Sci-Fi horror) (D.-Stephen Hopkins, Danny Glover, Gary Busey, Ruben Blades, Maria Conchita Alonso, Bill Paxton, Kevin Peter Hall) Glover is a police officer in an ultra violent Los Angeles of the very near future. The Vietnam war looks like a Sunday school picnic compared to the drug wars racking LA. Things just couldn't get any worse! Except we get a visitation from the chameleon trophy hunter of Predator. It loves hunting highly armed drug dealers and cops--worthy specimens. The special effects are again excellent with no shortage of action, dynamite and gasoline. However, a sequel has to deliver more than the original just to stay in place. While Glover is a fine actor, Predator 2 lacks a coherent plot, is marred by unnecessary gore and violence (almost an oxymoron for horror movies, but I do have my standards), and just doesn't deliver the tension at the climax of the original. Another problem that I have is that you see too much of the monster; again, the adage of never show too much, too soon. Nevertheless, another opportunity to view an impressively disturbing monster. (11-15-92) Beginning

President's Analyst, The (1967) (**1/2, spy, comedy) (D.- Theodore J. Flicker; James Coburn, Godfrey Cambridge, Severn Darden, Joan Delaney, Pat Harrington, Will Geer) James Coburn is the President's analyst and knows more than is good for his health. The Russians (Darden), the Americans (Cambridge) and, it seems, everyone else want him. Not everyone cares whether he ever enjoys the pleasures of his government pension. Nastily satirical and probably better when it came out. For example, the government agents were all short and dressed exactly alike. This was a jab at J. Edgar Hoover for his slavish standardization and his surrounding himself by men shorter than his own diminutive stature. Paranoids will enjoy it. But do remember you aren't paranoid if they are really are trying to get you. Uneven and a bit heavy handed but not without enjoyable moments, especially with Coburn playing the hapless and clueless focus of everyone's unwanted attention. (4-29-96) Beginning

Pretty Poison (1968) (**1/2, crime, drama) (D.-Noel Black; Anthony Perkins, Tuesday Weld, Beverly Garland, John Randolph, Dick O'Neill) Strange Perkins is a marginally functional young man released from an institution. Weld is a high school girl who enthusiastically, perhaps too enthusiastically, adopts his unorthodox views. Well crafted little film that delivers more than you are expecting. (4-22-96) Beginning

Primal Fear (1996) (**1/2, crime, suspense) (D.-Gregory Hoblit; Richard Gere, Laura Linney, Edward Norton, Rances McDormand, John Mahoney, Alfie Woodward) Based on the novel Illusion of Truth, Fear gives the illusion of a respectable thriller during the set up, but then falls apart during the delivery. Martin Vale (Gere) is a sleaze-ball lawyer who gets rich defending the morally indefensible. When the very powerful local Archbishop gets carved up like a Thanksgiving turkey, it looks like a no brainer. The altar boy Aaron (Norton) flees the scene covered in his Lordship's blood and with his ring in his pocket; all this is covered live from the air by news helicopters. Forever the publicity hound, Vale snaps the boy up like a snapping turtle on a duckling. The boy's claims lead Vale to have him interviewed by a psychiatrist (McDormand). Unfortunately, the resolution of an otherwise promising story turns out to be predictable and hackneyed. The film does have pleasures. Gere as the cocky, self-assured lawyer is very good and enragingly believable. Norton is fabulous as the boy; we will see more of him. Linney is solid as Vale's exflame and prosecutor. McDormand is intelligently controlled. Good dialogue, a nice supporting cast, and some nice scenes and chemistry help make up for some of the weaknesses. (4-29-96) Beginning

Primary Colors (1998) (****, satire, humor) (D.-Mike Nichols; John Travolta, Emma Thompson, Billy Bob Thornton, Kathy Bates, Adrian Lester, Maura Tierney, Larry Hagman) Based on the notorious book by "Anonymous'' (actually Joe Klein) that allegedly conveyed the excesses of the Clinton campaign. crafted film that will be on my list of the best of 1998--although judging by the box Colors is a beautifully office, this is an unpopular view. Gov. Jack Stanton (Travolta) from a Southern state and his wife Susan (Thompson) are making a bid for the presidency. Jack is charismatic, liberal, and a very effective politician. He surrounds himself with people who share his passion for the people. He also has the potentially fatal flaw of being a womanizer. We watch the campaign through the eyes of Henry Burton, (Lester) who gets swept into the team rather than actually joining it. Henry is Everyman. His actions and reactions mirror those of many of us when confronted with the morass of contradictions presented by Stanton. Richard (Thornton) is the outspoken, cynical strategist who is clearly modeled after James Carville. Libby (Bates) is marvelous as a political fixer.

Colors is savagely satirical, funny, sad, dramatic, and insightful. Its characters are complex, and we can both like and despise them. We can follow the inevitable logic of the political process that leads to compromising, bending, and even breaking basic morality. In short, we can relate to these people even if we know, just know, that we could never do some of the things that they do.

Travolta's role is pivotal. From him springs all the action around him. He must deserve his follower's loyalty even as they recognize his character flaws. With the intelligent script, Travolta pulls it off. He does this in the big scenes and in the little ones. One that is so simple and so effective is the donut shop. He plays to no audience. He cares. There is no other interpretation.

The acting is superb throughout. Down to and including the bit players. The brother-in-law at the pool and the man in the nursing home are examples of stellar quality.

Towards the end we are reminded of the human price that modern politics extracts. People will be destroyed for earlier indiscretions or from activities that, had they not been cast into the glare of politics, would never have rippled the surface.

How should we take the film in relationship to Clinton? In my opinion, don't. Colors stands on its own as an indictment of the political process and the behavior of realistically complex characters when cast into this cooking pot. The only thing the current issues provide is a riposte when you are tempted to say that the plot is ridiculous, nothing like this could happen.

The film is long (135 min), but there is no fat. Everything has purpose. Surprisingly, it is also a big screen film. We frequently have a room full of people when something happens that affects them all. We see all of their reactions. (3-30-98) Beginning

Princess Bride, The (1987) (****, fantasy) (D:-Rob Reiner, Cary Elwes, Mandy Patinkin, Chris Sarandon, Christopher Guest, Robin Wright, Andre the Giant) A grandfather, delightfully played by the understated Peter Falk, reads his sick grandson the grandfather's favorite childhood book, The Princess Bride. The child, of course, resists since it is clearly some stodgy, old fairy tale. It isn't. And the child as well as the audience, children of ages 3-110, are drawn irrevocably into a delightful fable of love (lost and eventually regained), villainy, intrigue, adventure, and good versus evil. I won't bother you with the plot, as it is really style and nuances, that makes a child's movie adult fare. Don't let the title fool you. This is one of those rare adult movies that children love (or maybe its the other way). It has humor, action, and suspense all rolled into one delightful ball. It appears that Patinkin did at least some of his own sword workand not badly. Billy Crystal, so made up as to be unrecognizable, does a cameo as an aging magician. The contest with the poisoned wine is a droll gem. The movie won the World SciFi Soc'ty Hugo Award, which again underscores the adult nature of the theme. Enjoy. (3-22-93) Beginning

The Princess Diaries (2001) (** adult, **** child, comedy) (10-11-04) (D.- Garry Marshall; Julie Andrews, Anne Hathaway, Hector Elizondo, Heather Matarazzo, Mandy Moore, Caroline Goodall) I can manage to sit through this with my 7 year old granddaughter who loves it. My daughter isn’t quite as down on it as I am; maybe it is a man thing. An ugly duckling 15 year old Mia (Hathaway) in San Francisco suddenly discovers she is the princess of a small principality between France and Spain. Her grandmother (Andrews) comes to get her to accept the position. Should she fail to accept, it will fall to an evil count. Will this klutzy, shy ugly duckling be transformed into a beautiful confident princess? Will there be countless travails and near misses? A frantic last minute race? Will the sun rise tomorrow? Take the bet.

Predictable for an adult. Satisfying for juveniles, but then that is the audience. Redeemed somewhat by the charming performance of Hathaway. Beginning

Privacy, Invasion of. I will review two films, the older The Anderson Tapes and the current Enemy of the State. Both involve government violation of our privacy. See separate listings. (11-12-98) Beginning

Prizzi's Honor (1985) (****, crime, black humor) (D.-John Huston; Jack Nicholson, Kathleen Turner, Anjelica Huston, Robert Loggia, William Hickey)An absolutely stunning black comedy with Jack Nicholson as a macho mafia enforcer who becomes infatuated with Kathleen Turner. A twist in the plot (and Nicholson's sexist attempts to come to terms with it) are a delight. An example is the great line: "Do I ice her or do I marry her?" They are both at their sexiest, hard headed bests as foils for each other. A must see. I must confess that when I read the book by James Condon, I did not enjoy it as much as my wife had. It was only when I saw the movie that I realized it was a black comedy--I had read it as straight fiction. Beginning

Professional, The (1994) (***, crime, drama) (D.-Luc Besson; Jean Reno, Natalie Portman, Gary Oldman, Danny Aiello) Stylish, brooding, violent, and rather controversial film. The first thing that struck me is that even though most of the actors were American, the film felt overwhelmingly European--there frequently is a very pronounced different flavor.In this case, Besson is also the creator of Le Femme Nikita, which I thought was an interesting but flawed tale. Professional is also interesting but flawed.

Natalie (Portman) is superb as a pubescent young woman whose family is wiped out over drugs. She barely escapes by getting into Leon's (Reno) apartment. Leon, as it turns out, is a fixer (hitman and clean-up specialist) whom we saw in Le Femme Nikita. He is fearsomely good at what he does, but lives an emotionally barren, frightened, reclusive life. Natalie, on recognizing his occupation wants him to take out those responsible for killing her family. When he refuses, she convinces (at least in her mind) him to train her as his partner, and then she can do the dirty work herself. The movie evolves as Natalie, in her child-like way, slowly extracts Leon from his shell. This, in turn, builds to the obligatory blood bath. Remember also that this is a European film where happy endings are not essential.

Reno does a good job with Leon. Brooding, paranoid, emotionally glacial. His warming up to this brassy, foul-mouthed girl is believable, and he never overplays the warmth. Someone with his emotional makeup would never overflow with affection, although you can clearly see it under the surface even when he is totally exasperated with her--parents will recognize the body english.

Tony (Aiello) is Leon's manager who is clearly robbing Leon blind and can justify in his own mind every cent of it. Leon is enough of an innocent to never recognize what's happening to him. Either that or he refuses to accept that his friend of long standing could do such a thing.

Oldman's portrayal of the unhinged, drug popping, classical music quoting enforcer Stanisfield is one of the most sinister portrayals of inherent evil since Nick Nolte in Q&A. The man's every move and word makes you wish you were somewhere, anywhere else (Hell would almost be a relief). Stanisfield doesn't work at evil, it comes as naturally to him as walking does to the rest of us. His monologue in the rest room is one of the purest pieces of evil since Orson Wells took a ferris wheel ride in The Third Man.

The controversy revolves around the use of a young girl as a pivotal element in a very violent film. Such a sweet young thing shouldn't be involved in, and the instigator of, violence--especially in what is basically an action entertainment film. To put this into perspective, however, reality now has similarly aged youths routinely gunning each other down for slights that cannot hold a candle to the slaughter of one's family. So I am not overly offended. My problems are different. The director mixes what is basically a believable story of human interaction and tragedy with a glossy action thriller where the violence is so stylized and unrealistic that one is reminded of the operatic slaughter in a John Woo film (e.g. The Killer). I find mixing these elements too incompatible for a really satisfying film, although I cannot deny it was entertaining.

It is clear that the director used one or more uncredited stunt plants (the green variety). In a day and age where body doubles are demanding recognition in the credits, I now expect to hear similar demands from house plants. (12-18-95) Beginning

Proof (1992) (***1/2, drama) (D.-Jocelyn Moorhouse; Hugo Weaving, Genevieve Picot, Russell Crowe, Heather Mitchell, Jeffrey Walker, Frank Gallacher) This little Australian import really got my attention. Scripted by Moorhouse. Quirky, unbalancing and provocative, Proof will take as much time afterwards trying to sort out what ultimately happened and where it will go next as you spent watching it. The premise is contrived, but accept that and everything else falls into place like a complex jig saw puzzle. Martin (Weaving) is blind, bitter, cynical. He trusts no--one and least of all his maid, Celia (Picot), whom he regularly savages verbally. As we learn Celia lusts (perhaps even loves) after him, but has a very destructive way of showing interest--by leaving furniture where he will fall over it and holding his beloved dog in the park so that he doesn't come when called. Given two sick people perhaps this is her only way of expressing herself and of asserting her individuality. As part of his paranoia, Martin takes pictures of important things going on around him, and then interrogates others as to the validity of what he has been told about the contents of the pictures. His proof of reality and, with multiple viewers, veracity. Enter the third corner of this dark triangle, Andy (Crowe) who is so easy going that he manages to actually befriend Martin. And worse still shows Martin that life holds pleasures. Celia, threatened by this anomaly, plays sexual games with both men to disrupt things, which ultimately brings us to the defining crisis and ending.

Proof plays with reality. What is it? Does our perception and expectations change it? A critical print that runs through the film is Martin's first photo and on which all of his insecurities may rest. However, no one has ever seen it because Martin has lived his life with a personal philosophy based on a truth that the photo could prove or disprove.

The acting is first class. The plot is realistic. Each character is believable and consistent. Their reactions to, and manipulations of, the others ring true. Even Andy, who is a babe in the woods for deceit compared to these people, is a quick study when his own interests are threatened. In many regards, the Celia/Martin interaction is very reminiscent of the Harold Pinter-Joseph Losey The Servant. (1-13-96)

The Proposition (2005) (***1/2, western, drama) (2-20-07) (D.-John Hillcoat; W.-Nick Cave; Guy Pearce, Ray Winstone, Emily Watson, Danny Huston, Richard Wilson, John Hurt, David Gulpilil) The time the 1870s. The place the Australian outback. Except for the location this is as brutal a western as ever came out of the American southwest. A savagely beautiful, brutal and unforgiving land that only an American southwesterner could love. Ruthless gangs, savage aborigines, moral ambiguity. It begins with Captain Stanley (Winstone) and his troops capturing the two lesser members of the brutal, sadistic Arthur Burns' gang, Charlie Burns (Pearce) and his 14 year old brother (Wilson). Captain Stanley is the voice of reason and wants the outback to become civilized. "I will civilize this land." He wants Arthur Burns (Huston) so badly, he is willing to pay virtually any price-a decision he will regret. In spite of the enormity of the crime they had recently been involved in, Stanley is willing to release Charlie. But he gives him less than two weeks to Christmas to kill his older brother or they will hang the boy. In the morally ambiguous quicksand, whether Stanley ever plans to make good on his side of the bargain is as unclear to the audience as it probably is to Stanley himself. This proposition sets in motion a set of events with the moral complexity and body count of a Shakespearean tragedy.

We have the town's people, the vanguard of civilization, who are in some cases only slightly better than some of the hunted. We have the aborigines who are waging a give no quarter struggle with the whites to maintain their freedom and lifestyle coupled with some aborigines who work with the whites. We have the outlaws who have their own warped morality, but strong family loyalty. We have the Captain and his English wife Martha (Watson) who are trying to carve out a corner of civilization in an area that is not only indifferent to civilization, but is positively hostile. The film deals with decisions and consequences, all set against a tapestry of an uncivilized land. Many will find that there are limits to revenge and what ultimately they will accept as human beings. Others will not. Much as Marshall Kane in High Noon, the Captain waits fatalistically for the results of his actions, although Kane could be considered far more proactive. As I watched, I also couldn't help thinking about Unforgiven which was set in exactly the same time period, a period of transition for both countries.

The end comes with uncompromising brutality juxtaposed against a sweltering Christmas with all its trappings of civility. Civilization like birth is born in blood and pain, and the Australian outback was no exception. The final line is a gem.

The film is brutal. The violence is unsparing, but probably very realistic, and not out of keeping with the characters. The acting is first rate with Winstone and Watson being excellent. Pearce is believable as a man torn between family and morality such as his personality allows him to see morality. The film opens with a series of striking thought-provoking archival photographs, much like the magnificent work of Edward S. Curtis on our Southwest. A window into a time now long gone, but made up of humans just as ourselves. I believe that at least some of the photos were also used in the film 10 Canoes. Reviewed based on the DVD which has several excellent interview and making of shorts. These are especially insightful as to the Australians view of the film.

Public Access (1992) (***, suspense) (D.-Bryan Singer; Ron Marquette, Dina Brooks, Burt Williams, Larry Maxwell, Charles Kavanaugh, Brandon Boyce) The first film by that writer-director team of Christopher McQuirrie and Singer who brought us the fabulous The Uusual Suspects. Nothing is simple about Access. We even argued over category. Suspense seemed an inadequate best. I won't give much plot. With his two suitcases and nothing else, Willy Pritcher (Marquette) hikes out of nowhere into Brewster, USA. Brewster is the quintessential Heartland city complete with kids in the streets, beautifully manicured lawns, white picket fences, and an eccentric ex-mayor. Pritcher rents his room by the week and buys an hour of time every Sunday evening on the sleepy public access cable channel for his call-in talk show "Our Town".

I am very much an aural-visual person, and the director really knows how to slip his blade past my intellectual defenses. Access was one of the most disorienting and disturbing films that I have seen in a while. The combination of acting, cutting, imagery, sounds and music are totally unbalancing. In short, creepy. In spite of a fabulous set up, I don't think the story worked; but we are still sorting that out. I think the problem was that they just couldn't figure out how to tie it all together. Ultimately, the motives and behavior have no logical explanation. So for Singer and McQuirrie I would have to say a promising start, but no home run. As an aside I do wish they had made the sound track clearer. Remember "Don't talk to strangers". (4-22-96) Beginning

Public Enemy, The (1931) (**1/2, crime, classic) (D.-William A. Wellman; James Cagney, Jean Harlow, Eddie Woods, Beryl Mercer, Donald Cook, Joan Blondell, Mae Clarke) While it shows its age, Enemy is still taut and brutal. A classic for its unflinching portrayal of the rise and fall of a gangster (Cagney) and his friend (Woods). It was a groundbreaking film that made Cagney a star and the gangster film a staple of the 30s. Its violence and sex were so explicit at the time that it helped lead the Hays Office to establish the rigid code of film censorship.

Cagney is Tom Powers, a juvenile delinquent who moves from shoplifting to killing as effortlessly as most of us cross the room. Strutting, cocky, totally amoral except for a desire to give his poor mother money and that was more for his own ego.

The Clarke-grapefruit scene is a classic. The ultimate way to terminate a relationship. There are more versions on how this really happened than people involved in it. They range from carefully rehearsed to no warning for Clarke whatsoever. Clarke's version seems most likely. She indicated that they shot the scene a different way and then they were just horsing around with the grapefruit. It came as a complete surprise to her to see it on the screen.

Cagney's tough guy image was based in fact. He was extremely athletic and a superb dancer. That is real machine gun fire riddling the wall a foot from him. In one of the fight scenes he lost part of a tooth when a punch wasn't pulled. And that had to be him in his final entrance in the film--one of the memorable cinematic entries. Details from Cinebook in Microsoft Cinemania '95. (6-23-97) Beginning

Pulp Fiction (1994) (****, black humored crime drama) (D.-Quentin Tarantino; John Travolta, Samuel Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Bruce Willis, Quentin Tarantino) Since I have seen none of Tarantino's prior works, my review is based solely on this movie. Vicious. Bloody. Profane. Unpredictable. And savagely black-humoredly funny. At well over two hours, I found only a few places where it dragged. Mainly, I couldn't keep my eyes off the screen and kept trying to see where things were going. The movie is made up of a series of vignettes and seemingly unrelated subplots that, after the final crawl, one realizes were actually tightly interlocked. The tone of the film is set by the opening scene. Two love-birds (Plummer and Roth) are cooing at each other across the table in a crowded diner. They also happen to be terminally dumb hold-up artists who, by incredible and carefully reasoned logic, arrive at an unbelievably unsuitable hold-up target. It gets more bizzare after that.

For example, Travolta and Jackson are two cold blooded hit men on a job. The interplay between the two forms the film's central thread. In real life, they either knew each other well earlier or are two of those people whose personalities just mesh like a hand and glove. Their continual patter covers everything from what a Quarter Pounder is called in France and why to what is a miracle. The build up to their first job is beautifully choreographed as this Mutt and Jeff pair argue back and forth up to the front doorand beyond. Both performances are superb. My wife and I were reminded of the cannoli scene in The Godfather. For someone in their horrific business, the bulk of their existence is made up of the common everyday behavior of us all. It is only those aperiodic few seconds that separates us.

Other subplots include Thurman as the gang boss' wife whom Travolta has to escort for the evening, and Willis as an aging boxer whom the gang boss expects to take a dive in the fifth. Harvey Keitel is a Fixer (ala Le Femme Nikita) who cleans up after a botched job. Only, in keeping with Tarantino's warped views, real life is a lot messier than the movies.

Beautifully photographed. Outstandingly paced, and with a bevy of malcontents and misfits worthy of a Sergio Leone "spaghetti western." Fascinatingly put together so that you are never sure what, when, or how something is going to happen even though after the fact everything has its own warped internal logic. Filled with beautiful nuances. A trivial example is Travolta's book.

Is Tarantino trying to say something? Maybe. Regardless, along the way he certainly has a ball poking fun at people and a myriad of other films (apparently including some of his own). One thing that does come across is the banality and stupidity of his criminals. A police officer friend once commented that the only thing that saves us from being overrun by criminals was their abysmal stupidity. If the average criminal ever thought intelligently about their criminal endeavors, we would be history. So maybe that is the message. On the other hand, maybe its just a superb slice of hyper black humour.

Academy Award Nominations Include: Travolta (Best Actor); Jackson (Best supporting actor); Thurman (Best supporting actress), and Best Picture. In my opinion, to the extent that one can assign best and supporting in this ensemble cast, the rankings of Travolta and Jackson should be reversed. (2-14-95)

Continuity Error: In Pulp Fiction, there is a bullet hole in the wall behind Jackson and Travolta before the kid starts shooting. Given the angle of all prior shots, it would not be there. (7-5-95)

TRIVIA QUESTION: What was the combination for the briefcase lock? (6-26-95)

Interesting Point: What was in the briefcase in Pulp Fiction? Reality: A light bulb and a couple of batteries as related by Jackson. Perception: The director's instructions to the actors was that it was the most beautiful thing that they had ever seen in their life-and that was the way they played it. (4-17-95) Beginning

Pulp Fiction, Comments on: The following item has been kicking around on the ethernet. It is entertaining, and the convoluted logic makes sense in Tarantinoesque fashion. However, I consider its authenticity as coming directly from Tarantino as questionable. Nevertheless, enjoy.

If you all are anything like me then you had no idea what was in the briefcase in Pulp Fiction. So, through a friend of a friend of a friend who had a two hour conversation with Quentin Tarantino himself, I now know, and I thought I would pass along the information because it makes the movie even 100 times better than it already is.

Remember the first time you were introduced to Marsellis Wallace. The first shot of him was of the back of his head, complete with band-aid. Then, remember the combination of the lock on the briefcase was 666. Then, remember that whenever anyone opened the briefcase, it glowed, and they were amazed at how beautiful it was; they were speechless. Now, bring in some Bible knowledge, and remember that when the devil takes your soul, he takes it from the back of your head. Yep, you guessed it. And what is the most beautiful thing about a person: his soul. Marsellis Wallace had sold his soul to the devil, and was trying to buy it back. The three kids in the beginning of the movie were the devil's helpers. And remember that when the kid at the end came out of the bathroom with a "hand cannon," Jules and Vincent were not harmed by the bullets. "God came down and stopped the bullets" because they were saving a soul. It was divine intervention.

Jules' quote shown from the e-mail below is clearly an amalgam and draws in part from Ezekiel|25:17

The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he, who in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee."

Ezekiel|25:17 And I will execute great vengeance upon them with furious rebukes; and they shall know that I [am] the LORD, when I shall lay my vengeance upon them. Beginning

Puppet Masters, The (1994) (*1/2, sci fi, horror) (D.-Stuart Orme; Donald Sutherland, Eric Thal, Julie Warner, Yaphet Kotto) Based on Heinlein's classic novel of mind controlling parasites. Unfortunately, Masters doesn't master the rudiments of good horror and suspense. The best part was the opening investigation, which did have great creepiness and sense of impending doom but then degenerated into a typical gore fest. The ending couldn't have been worse. The creatures weren't bad, but in the novel they were much more dangerous because of their mind control not their quick movements. Part of the problems were probably budget and length constraints, but the director and writers missed most of the convoluted suspense and twists of the original. (6-17-96) Beginning

Purple Noon AKA Plein Soleil (1960)  (2-14-00) (***1/2, crime, drama) (D.- Rene Clement; Alain Delon, Maurice Ronet, Marie Laforet, Bill Kearns) The first film version of Patricia Highsmith's novel The Talented Mr. Ripley. It is a nasty piece of work. The time is the 50s. The wealthy Greenleaf family in the US has mistaken Tom Ripley (Delon) for a Yale friend of their son Philippe who is wasting his life in high style in Italy. They offer to pay Tom $1000 to bring their son back to the US. Tom, who is young, poor and ambitious, has leapt at the chance to see Italy at others' expense. Tom is also a charming sociopath who has quickly insinuated his way into the life of Philippe (Ronet) and his fiancee Marge (Laforet). Tom is a quick study who takes a liking to the ways of the rich. A quick footed combination of lies and, where necessary, truth keeps him attached to Marge and Philippe. His position is aided by an unrecognized attraction to Philippe, which manifests itself in unpleasant ways.

As with the typical criminal mentality, Tom wants it all and he wants it now. Niceties such as the need for work to get it are superfluous if there is a simple way. Although the precipitating crisis is not fully Tom's fault, he is sufficiently bright, flexible, and chameleon-like to exploit it fully. But enough of plot. If you have seen the current The Talented Mr. Ripley, you know only part of the plot and will not be disappointed by the way the film develops and the characterizations. The films end very differently--a clever weakness, but a weakness nevertheless of this version.

The acting is good, although Marge has only a peripheral role. The setting is beautiful, but the lifestyle and undercurrents are decadent and unsettling. One can easily see a marginal mind being pushed over the edge. Review based on the VHS version available from Beyond Video or Sneak Reviews. In French with good subtitles. Purple Noon is being re-released in a restored version under the sponsorship of Martin Scorsese. This is probably not the restored print, although it is in good shape. See also The Talented Mr. Ripley.  Beginning

Pursued (1947) (***, noir, western, classic) (7-2-01) (D.-Raoul Walsh; Teresa Wright, Robert Mitchum, Judith Anderson, Dean Jagger, Alan Hale, Harry Carey, Jr., John Rodney) Taut, bleak Western that is considered to be the only Western film noir. Certainly in terms of Mitchum’s haunted character, it satisfies the criteria of a noir; but many other aspects miss my definition of noir. Nevertheless, an interesting study, especially for fans of noir. Beginning