Damage (1993) Review

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(More customer reviews)As is true with the novel, _Damage_ the film is not for everyone. If you are easily offended or prudish in any manner, skip this one. I have talked with a few people who rented the film because they were fans of Jeremy Irons but were upset by the premise of the movie. So, as I said, if you are easily offended, skip _Damage_.
Stephen Fleming (Jeremy Irons) is a prominent MP with a career that continues to blossom. He is married to an attractive, blueblood wife and has two healthy children. His son, Martyn (Rupert Graves), is doing well for himself: he has met a new girlfriend and has been promoted to an important position as political writer for a newspaper. Stephen and Anna (Juliette Binoche) meet at a party or get-together of some sort and discover an instant attraction. Stephen finds out shortly thereafter that Anna is Martyn's girlfriend. Within days, a steamy, destructive sexual relationship begins between Anna and Stephen. It continues, growing increasingly passionate, obsessive and harmful. In an odd (even wacky) twist of fate, their affair is discovered. Anna flees in her usual pattern and Stephen must return to his wife, Ingrid (Miranda Richardson), to see if he can possibly salvage his marriage.
Aside from the plot being centered around a man cheating on his wife with his son's girlfriend, the intense sex scenes in the film will likely turn some people off. I have seen both the R-rated and the Unrated version of the film and I cannot tell any difference between them so whichever one you choose, you are sure to see plenty of skin. After I watched the film, I read the novel by Josephine Hart and felt that I understood the characters much better. Although Stephen does inspire some feelings of repulsion from me, I do feel sympathy for him. He has lived a life of routine and boredom. As Louis Malle discusses in the "One on One" feature found on this DVD, the family life Stephen has experienced is one built on habit, not on strong emotions. When Anna comes along, something snaps. All of the emotions that Stephen has bottled up come rushing out like a floodgate that has burst. I suppose, all explanations and interpretations aside, that in the end, _Damage_ is the kind of film a person with either love or hate, understand or misapprehend. If you enjoy films about forbidden love or love gone wrong, _Damage_ is certainly for you.

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A middle-aged man enters into a self-destructive affair with his son's fiancee. Starring Jeremy Irons, Juliette Binoche, and Academy Award - nominee Miranda Richardson. Directed by Louis Malle.
DVD Features:FeaturetteTheatrical Trailer

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Derailed (Unrated Widescreen) (2005) Review

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(More customer reviews)They are the critics, especially those writing reviews collected online. Part of this is that they want Jennifer Aniston to be cast, as usual, as the wholesome girl next door.
The critics saw all the surprises ahead of time. I really didn't and I enjoyed them. (If you figured out the twists in A Beautiful Mind, you can guess this, too.)
Another possible reason for the tepid reviews is that it is an upsetting movie with several horrific scenes of violence. No doubt about it, it simply isn't a likable movie; if you were to take your kids --dont!-- they'd have nightmares.
Financial advisor Lucinda Harris (Jennifer Aniston) and ad guy Charlie Schine (Clive Owen) have an illict affair after a chance meeting on a commuter train. But it doesn't go smoothly and soon they are victims of an extortion plot.
As usual, the advertising agency scenes are off the mark. What is a "commercial executive?" Even though we see Charlie at work what exactly does he do? (Even What Women Want -- a much better film -- went wrong here.) Even worse, there is no there there to the financial advisor scenes. So both characters' jobs are Hollywood hooey.
Both the main chracters are in a complete bind between family conflicts -- Charlie has a sick child -- high-pressure jobs, their shared secret, and their shared victimhood.
As in all the Hitchcock films, the victims can't go the police. (Remember how threatening the police officer is to Marion Crane -- Janet Leigh -- in Psycho?)
Surely this is no Hitchcock masterpiece, but it is an entertaining and twisty thriller.
The screenwriter Stuart Beattie also wrote the far better Collateral. Maybe the more you liked Collateral, the less you will like Derailed?
Even with two well-known stars, there is zero anticipatory buzz about this movie. We all know Jennifer Aniston from Friends on TV, but Mr. Owen has been in many excellent films: Sin City, Closer, The Bourne Identity, Gosford Park, Croupier.
Rappers RZA and Xzibit are well-cast supporting players. Vincent Cassel captures the essence of the chameleon-like villain. You want to throttle him throughout the picture.
Did the studio that released this picture have little faith in it? The marketing budget and the short marketing time frame -- a few weeks in advance, not months -- suggest that's true. Maybe their dismissive attitude was conveyed to the critics.

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Point Blank (1967) Review

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(More customer reviews)Leave it to John Boorman to combine the stylized storytelling of French New Wave with American film noir in "Point Blank". This fascinating, challenging movie was made in 1967 when the film world was in the embrace of experimental film. Although it's quite different from "Blow Up", the storytelling style is just as stylized and unique. Lee Marvin plays Walker a criminal cheated out of $93,000 from a robbery of a mob like syndicate on Alcatraz by his best friend Reese(John Vernon). Participating in the heist/murder is Walker's young wife who has been having an affair with Reese. After getting the money, Reese shoots his friend, takes his wife and leaves him for dead on Alcatraz.
With the help of a mysterious benefactor (Keenan Wynn), Walker tracks down Reese exacting revenge in pursuit for what he's owed. When his wife commits suicide, Walker seeks out her sister Chris (Angie Dickinson)in hope of luring Reese out of hiding. From there this convoluted mystery spins more threads than director John Boorman knows what to do with but, surprisingly, he keeps the story from getting too tangled up.
Boorman and director Steven Soderbergh ("Ocean's 11", "Solaris", "Sex Lies and Videotape")provide a fascinating commentary track on the making of the movie. Boorman recalls that originally Lee Marvin wanted Peggy Lee for the role that Dickinson plays. While he went with Boorman's decision of Dickinson he wasn't very nice to his co-star which worked particularly during the scene where Dickinson starts hitting Marvin. Dickinson hit Marvin so hard he had bruises the next day but the actor stoically took the hits and the camera kept rolling. Boorman also discusses the stylized approach he uses in shooting the film including a sequence in Walker's deceased wife's apartment that where the body disappears in an almost dream like sequence, the furniture disappears and Marvin's clothes change. The studio was so concerned when it saw the first cut of this sequence it hired a psychologist to come talk to the director.
Featuring a stunning transfer from Warner Home Video and a nearly perfect brand new print of the film, "Point Blank" looks sharp with vivid colors. The mono soundtrack with some of its unusual sound effects (the sound of Walker's feet providing a percussive element to one sequence in particularly)also sounds remarkably clear. There's also a two part promo featurette "The Rock" which focuses on the shooting of the movie on Alcatraz (it was the first movie shot there since the prison closed in 1963 and had been turned into a state park). Using San Francisco, Santa Monica and Los Angeles as a backdrop, the film features stunning cinematography. If Don Siegel had watched the French New Wave prior to making some of his noir laced thrillers, this is what it might have looked like.
Remade with Mel Gibson as a more traditional looking thriller called "Payback", "Point Blank" features Marvin in one of his most stoic, powerful and grim performances. His character of Walker leaves a trail of dead bodies without remorse or regret in pursuit of what is rightfully his. Unlike a lot of films that incorporated the surreal touch of the French New Wave (such as Truffaut's "Shoot the Piano Player" or any of Goddard's films), "Point Blank" has aged remarkably well with Boorman's stylized use of sets, camera set ups, flasbacks, etc. suggesting what's really going on inside of Walker's head. There's also a suggestion that maybe Walker didn't survive (particularly during the last sequence)and that "Point Blank" represents the dying delusion of a man thirsting for revenge. A marvelous film filled with many, many levels, this classic thriller does not have a straight forward narrative so if you're expecting a realistic film noir or story, you should look elsewhere.

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They Live (1988) Review

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(More customer reviews)Produced by Larry Franco and directed by John Carpenter in 1988, THEY LIVE never appears on the list of the best movies of the american master. I don't understand why. The carpenterian theme by excellence, the rebellion against the establishment, is the central theme of THEY LIVE, and, as far as it concerns action, the movie features one of the most impressing bare hand fights ever presented on screen.
Furthermore THEY LIVE presents a good sci-fi cliché à la Philip K. Dick - they're among us and I'm the only one who sees them -, a theme treated with intelligence by John Carpenter who does have a lot of fun to criticize our contemporary society. One will recognize some of the ideas of the movie in another Carpenter opus directed 10 years later : ESCAPE FROM L.A.
If you're a Carpenter fan, this DVD will soon be in your library but be aware that there isn't even a menu and that you're just allowed to surf into a scene access department. Shame on Image for their lack of respect. Great images and sound though.
A DVD zone rebellion.

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The Women (2008) Review

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(More customer reviews)The original version of this story remains a film classic, with memorable writing, direction and legendary performances by Norma Shearer, Roz Russell, Mary Boland, Joan Fontaine, Virginia Weidler (at one point Doris Day's sister-in-law), Paulette Goddard and most notably Joan Crawford. That version was witty, wise, bitchy, mean and sympathetic, fast-paced, fun and sophisticated. This version is appalling. This a story which relies on chemistry among the actors above all in this remake the chemistry is zero. Everyone seems to be reciting the script self-consciously, there is not a moment when there's any sense we are watching real life, everything seems calculated and over-rehearsed. It's like a bad community production. How all this happened given the talents of Diane English and everyone else involved is beyond me. Even foolproof Bette Midler and Candace Bergen seem to be repeating themselves with no spark. Only Cloris Leachman emerges unscathed. Actually, there seems to be no movie here, just a parade of scenes on movie sets. Thank God Hedda Hopper will never see it.

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Mothers, daughters, wives, friends: These are the women of The Women. Based on Clare Boothe Luce's Broadway success and the hit 1939 movie, this sparkling update (from Murphy Brown creator Diane English) set in Manhattan and featuring an all-star, all-female cast says a lot about what it means to be today's woman and all of it's funny! The story starts with beautiful, smart, accomplished Mary Haines (Meg Ryan) discovering her husband is cheating on her. It's a time when friends are needed, so Mary's gal pals (Annette Bening, Jada Pinkett Smith and Debra Messing) and mother (Candice Bergen) rally round with advice, cocktails and shopping. The Wife vs. the Other Woman (Eva Mendes): Sharpen your claws for a timeless and wonderfully witty battle.

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The Mechanic (1972) Review

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(More customer reviews)Charles Bronson (1921-2003) left us a legacy that spanned nearly five decades of acting, in many different styles. Though good at comedy as well as drama, he will mostly be remembered as a tough and gritty man of action, remaining very macho and attractive way into his gnarled, craggy later years, never losing that perspicacious glint in his eyes, or his masculine appeal.
"The Mechanic" is one of his best; a unique film with a taut script by John Lewis Carlino, that remains interesting after many years and many viewings.
The first memorable 15 minutes of this film are silent except for the tense, eerie score by Jerry Fielding, and set up the character of Arthur Bishop, who is a hit man with expensive tastes and a heart of steel. It is a part that fits Bronson like a velvet glove, with its complexity, bravado, and action sequences, which are well paced by director Winner, and photographed by Richard Kline. Jan-Michael Vincent is excellent as the cocky, cold-as-ice young man Bishop takes on to teach his "trade", and Jill Ireland (who was married to Bronson for many years) does well in a miniscule part.
Michael Winner made several films with Bronson, another favorite being "Chato's Land", which is an unusual, and very special Western.
The intricacy of the plot will keep you guessing; this is not your typical, predictable action movie, and like most films made in the '70s, it is fun to watch, with its nifty fashions and slightly tacky décor.
A must see for those that like intelligent thrillers, and a great film to celebrate Charles Bronson's life and talent

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Charles Bronsondelivers[in this]action-drenched(Variety) gangster thriller that delves into the dangerous minds of the underworld's most elite killers.Visually alive(Cue) and 'totally engrossing(The Hollywood Reporter), The Mechanic is a movie you won't want to miss!Arthur Bishop (Bronson) is a mob hit man who operates in a world of his own an uncompromising world where conventional rules of morality don't apply and where one wrong move could cost himhis life! He's always worked alone but, as age catches up with him, Bishop takes on a competent andruthless apprentice (Jan-Michael Vincent) and teaches him everything he knows. Together they becomean unmatchable team of globetrotting killers until the pupil's ruthlessness puts him on a collisioncourse with his teacher!

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