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Reviewed by Glenn Erickson

A modern classic that’s grown in stature steadily since its 1968 debut, Once Upon a Time In the West (affectionately known
to Leone fans as OUATITW) is a Western like no other. It’s been described as sagebrush Kabuki, as Grand Opera, and by
detractors as Sergio Leone telling a 40 minute story in 160 minutes.

Few Spaghetti Westerns are particularly good movies, and few besides those of Sergio Leone approach anyone’s idea of Art.
After the
Dollars trilogy, Il Maestro moved from comedic cynicism
to a serious posture that would be pretentious if not held aloft by all the magic cinema can offer - wonderful faces,
beautiful cinematography, rapturous music. Once Upon a Time In the West is like a valentine to the American
Western, made by an outsider who couldn’t speak English. If you’re already a Leone convert, you’ve perhaps seen it too many times
already. For those who haven’t seen it, it will either be a frustrating exercise in
slow cinema, or an opportunity for a revelation.

Paramount’s Special Collector’s Edition has extras produced in England for a recent Region 2 release. The English love
and revere both our Westerns and those of the Italian persuasion, and the disc set presents Once Upon a Time In the West
with as much respect as they would Citzen Kane.

Synopsis:

Jill (Claudia Cardinale) shows up in Flagstone, Arizona to announce her secret marriage to Brett
McBain (Frank Wolff), a landholder with water in the path of the oncoming railroad. But hired killer Frank (Henry Fonda)
has already killed the entire McBain family, to seize the property for railroad tycoon Morton (Gabrielle Ferzetti).
Jill’s survival throws a wrench in the works for Morton when notorious outlaw Cheyenne (Jason Robards) and a mysterious,
nameless gunman known only as Harmonica (Charles Bronson) intercede on her behalf. The opposite sides spar and maneuver,
getting ready for the epic showdown all know is inevitable.

It’s true that Sergio Leone took himself and his movies extremely seriously after the snowballing success of his first
three Clint Eastwood picures, and OUATITW departs from the half-joking rakishness and nonchalant violence of those
films. This time we get a serious saga told with a delicacy one would expect in a Visconti film. Leone still infuses the
proceedings with his visual acumen, but this time he stretches to achieve different effects. This time the picture centers
on a woman, and the gundowns are more mythic and ritualized than ever before. Clint Eastwood strolled through his pictures
like a bulletproof bill collector,
wiping out everyone he met with a wry sense of humor provided by screenwriter Luciano Vincenzoni. Here, there’s almost a
touch of Alain Resnais self-consciousness - all the cowboys and gunmen walk and move as if they were in a dream. Is this a
Zen Western?

Henry Fonda is the most abstract of the exalted gunslingers. He’d previously played a villain in the minor film Firecreek,
but nothing prepared fans for the sight of his blue eyes staring over a sneering mouth here. He’s a villain as black hearted
as they come. He moves carefully, calculating in everything he says and does. He’s tall, dark, sunburned and magnificent
whether riding a horse or just holstering his gun. In the film’s central flashback, Fonda is made to look not only younger but
more feral and wild, like Gian-Maria Volont� in the first two Dollars films - totally different than the calm,
almost angelic Henry of Drums Along the Mohawk or The Grapes of Wrath.

Cast against type, Jason Robards is supposed to be Mexican in the script but comes off as a bandit-philosopher. He’s easily
the most talkative of the bunch, but much of his speechifying doesn’t seem to be addressed exactly to the
person he’s talking to - they’re dream words as well.

As the patented Leone Man With No Name type, Charles Bronson would seem an expressionless brick - until his green-eyed gaze
soaks in. His dry, squinting face looks like an unfinished clay sculpture, a Golem wearing a cowboy hat. Relatively short in
height, he nonetheless convinces as tougher than the rest of the cast put together. Bronson’s the least talkative character
in the Leone canon - he’ll stare for thirty seconds before returning a three-syllable answer.

Modern movies are so afraid of losing their audience they fill in every moment with action and empty ‘activity’. With this
film, Leone began staging his action in terms of drawn-out, ritualized
set pieces. Just the act of handing a person a gun, and that person placing it on a table, becomes a careful 30-second event
that’s less stage business and more like motions rehearsed since the beginning of time. The style emphasizes
staring eyes, constant closeups of faces and eyes that tell stories of their own. It’s a different kind of storytelling.

The plot follows the basic situation of Johnny Guitar, with Spaghetti trappings added. A full twelve minutes passes in
an amusing title sequence that exists for its own sake, a static observance of gunslingers waiting in ‘High Noon’ mode for
Bronson
to arrive at Cattle Corner. Leone cast recognizable American stars to get gunned down, Woody Strode and Jack Elam, and
gave them a third henchman for bad luck, Al Mulock, the fool that Eli Wallach blasts from his bathtub in GBU.�²
Italians Paolo Stoppa and Gabrielle Ferzetti are on hand for serious roles, with Ferzetti playing the complicated
character of a powerful man who grows physically weaker as he gets richer.

Some critics think that Leone’s storytelling style broke down with OUATITW. The Good, The Bad and the Ugly
(GBU) already
ran so long that its continuity suffered in shorter versions; even at full length, OUATITW has some gaping story
holes that can frustrate a simple desire to ‘read’ the plot. Leone will let characters stare at one another for what seems
minutes at a time, but can’t be bothered to clarify major character relationships. How exactly Henry Fonda ends up in bed with
Claudia Cardinale is more than a bit muffled. Is it an all-out rape, or what? The scene at the cave dwelling, and the one
where Bronson and Robards start building the Sweetwater station appear to be radically out of sequence.

We’re looking at a style that can be economical one moment but opaque the next, as a great deal of relevant action happens
off screen. Jason Robards is constantly being caught and rescued, and we frequently wonder if something was left out because
we see almost none of it. Ellipsis is a good thing, as when Henry Fonda discovers the remains of a couple dozen gunmen
next to Morton’s idle train. Are we supposed to divine that Cheyenne’s men had a battle with Morton’s gunfighters? Did everyone
get killed or mortally shot, down to the last man? That Cheyenne escaped from his train ride to Yuma, organized an attack, had
a big battle, and rode away to the McBain homestead seriously wounded? It’s a lot of content to be skipped over, and we can’t
escape the feeling that more story was intended but the film just got too darn long.�¹

If Robards didn’t clock in so much good character time, we’d think him shortchanged for action scenes. I’m not sure he
ever shoots a gun except in the train-roof scene. What’s mostly missed is the confrontation with Morton that would lead up to
the battle between two outlaw bands. We wouldn’t want to see the actual battle (the reveal of Fonda finding the aftermath is
excellent in itself) but Robards is robbed of a standoff all his own, for us to see how he measures up to the other, more
stoic gunfighter heroes. The odd effect of this
elision is that at the end when Cheyenne prepares to draw his gun, not knowing whether Frank or Harmonica will come through
the door, we’ve practically forgotten that he’s a fancy pistolero and not just a talker.

OUATITW works best in the present tense, in sequences conceived to make men move in the landscape like gods in a
ritualized pageant. The pace is set by the glorious Ennio Morricone score which cues movements and moods with sweep and
majesty. After the frantic cutting at the end of GBU, the showdown here might as well be something out of a Noh play.
Bronson and especially Fonda move and face-off in slow motion, striking poses that look like they belong in an Italian
fashion magazine. Here is Western cool that has more to do with Milanese design than the real West. But it is as powerful as
Dimitri Tiomkin’s ‘Russian’ music for American Westerns.

The final showdown is one of the purest in film. With Fonda no longer on the Morton payroll, he’s reduced from an
arch-villain back down to the level of an honest samurai-like gunfighter. He and Bronson meet as equals, following through
on a pact carved in stone.

The music is organized into leitmotifs, and if any complaint can be legit, it’s that each theme is repeated at least two times
more than it should. It’s easy to understand why Paramount (Bob Evans, I guess) lopped off the ending scene of Cheyenne’s
surprise revelation - it’s slow-paced, seems an extra climax that wasn’t needed, and starts with the meandering Cheyenne theme
starting up for what must be the tenth time. John Carpenter is trying to de-intellectualize when he describes the tone of
the film as Opera, but ends up elevating the film. It is like Opera in that the music drives the visuals more than
anything that was written on paper. Leone’s direction is musically inspired, and in this dreamlike situation that’s not a
bad thing. For Morricone fans, it’s like dying and going to heaven.

Savant saw OUATITW when it was brand new on a double bill with The Green Slime, which might tell you how much
respect it got from distributors. I can’t claim to have been one of the enlightened few who appreciated it on first sight. Even
cut by 20 minutes, it seemed uncontrollably slow and confusing, especially the flashback structure. Most fans now agree that
OUATITW has the best-engineered, most
compelling flashbacks in any Leone film. He started with a tale told by a musical watch in For a Few Dollars More,
and the one here is threaded beautifully into the narrative, wordlessly explaining a huge chunk of the story and making
the final gunfight one of the most unforgettable in Western history.�³

Somewhere about 1980, a restored print surfaced and was showcased in LA at places like the Nuart and the Vista theater, but I was
in a periodic unemployed state and missed it. I didn’t really catch up with it until home video, and a Paramount laser disc
of exceptional quality.

Once Upon a Time In the West’s epic approach to pulp has had a lot of influence; there’s definitely a change in 1970s
Japanese Samurai films (especially the Sword of Vengeance series) that seems touched by Leone, even though
Leone’s architecturally stoic standoffs were originally inspired by Kurosawa. At Cannon we groaned
when Albert Pyun ripped off entire scenes and dialogue for his abominable Cyborg. Real exploitation cognoscenti
may know better, but I saw a lot of the stoic ritualization of OUATITW in Kill Bill, too. It has the same
kind of pulpy seriousness. The tongue’s been in the cheek so long, all has returned to the straight and level.

The western loosening of censorship that occurred between OUATITW and Duck, You Sucker! didn’t help Leone’s
commercial palatabilty. About the roughest thing that happens here is Cheyenne’s patting of Claudia Cardinale’s behind. Leone
apparently decided he was free to get nasty after this, for Duck, You Sucker! is a string of relative crudities. (It
was later interpreted as the second installment of another trilogy - titled in France Once Upon a Time … The
Revolution.) Ants
are urinated on in the first shot, as if commenting on the beginning of The Wild Bunch. Leone’s next and last film
Once Upon a Time in America is a mass of directorial excess that
alienates more people than it impresses.

Paramount’s DVD of Once Upon a Time In the West has been a long time a-comin’, as they say; even Savant used an article
to whine about the
need for this genre staple on DVD back in 1999 or so. The special edition won’t disappoint. With no need to flip laserdiscs
twice to get through the show, it’s a pleasure to watch on DVD. The clean picture looks like a near-perfect transfer that’s
been encoded with a slightly stingy bit rate; every once in a while, backgrounds go softer than they should. Colors are rich,
not Technicolor rich, but far better than any previous video incarnation.

Sir Christopher Frayling provides a commentary that said all the wrong things to me. He’s joined by several
other contributors, but spends far too much time with a play-by-play rundown of what we’re seeing on screen,
going over details we can see for ourselves. I’m not kidding: his eloquent explanations for the significance of every gesture
and event might make his commentary an excellent choice for sightless movie fans (who exist in large numbers). By contrast, Alex
Cox’s comments on the film’s cut scenes and oddball continuity had me at rapt attention.

These English critics are sometimes superior to American commentators, simply because they aren’t afraid to be aesthetes. When
you hear a
top American critic talking about film as cinema, there’s often a folksy, apologetic tone, as if trying to encourage a pact
with the
listener: If we were the types who analyze movies to this degree, this is what we’d have to be thinking about this
scene … Frayling’s comments are all valid and good, but a DVD commentary doesn’t seem to be the best venue for
them. He’s much better on the documentary.

Disc two contains a 3-part docu that would be over an hour long if allowed to run as one piece. It has great interviews with
the few surviving contributors to the film and some name directors put their two cents in as well. Shooting took place
in Los Angeles, New York, London, Paris and Rome on carefully designed settings; it must have been an expensive show.

Sir Christopher is on the money here, economically sketching Leone’s life and the environment of the Italian
film that gave rise to him and his Spaghetti Westerns. Actors Gabrielle Ferzetti and Claudia Cardinale are now the only
surviving stars, and each offers pleasant reminiscences, as do cameraman Tonino Delli Colli and writer/director Bernardo
Bertolucci (who comes off as both likeable and brilliant). Directors John Carpenter, Alex Cox and John Milius are also on
hand to champion the cause of Leone’s reputation.
Each has strengths and weaknesses. Carpenter’s not afraid to call things as he sees them. Milius appears to be
rehearsing for a role as Ernest Hemingway, actually lighting and smoking a cigar during the interview in the interest of
projecting a manly image.

Beyond the docus, the general appeal drops off somewhat. A featurette on the role of the railroad in the West is clumsy and
only partially relevant. A gallery of location comparison stills are rather interesting. The original trailer (calling the film
Once Upon a Time … In the West) is a beaut I’ve never seen before, and there’s an edited sequence of production
stills. All are accompanied by the Morricone score. If the music isn’t overused in the film itself, it definitely is in the extras.

Visually, the extras are a bit fuzzy, possibly because they’re all converted from PAL originals to NTSC. The film clips look
particularly strange, a bit stretched and with odd action because of the 24fps / 25fps / 30fps conversion difference. If I claimed
a full understanding of the conversion process, I still doubt that I could explain it well.

A real thrill is a new 5.1 mix. Morricone fans will flip. There are also alternate tracks with the original English mono
(a thoughtful touch for purists) and a French mono for Leone fans in Quebec, I suppose.

Once Upon a Time In the West is a big must-have. Back in ‘99 DVD addicts were screaming for titles like this and
Indiana Jones, and now they’re finally here. I hope we appreciate them!

On a scale of Excellent, Good, Fair, and Poor,
Once Upon a Time in the West rates:

Movie: Excellent -

Video: Excellent

Sound: Excellent

Supplements: Trailer, Commentary track with John Carpenter, John Milius, Alex Cox, Sir Christopher Frayling,
Dr. Sheldon Hall; docu in 3 parts - An Opera of Violence, The Wages of Sin, Something To Do With Death;
Railroad: Revolutionizing the West featurette;Location & production galleries

Packaging: Keep case

Reviewed: November 9, 2003

Footnotes:

1. A friend sent me a VHS from German television of
a slightly longer version. Were any of these continuity issues addressed? Nope. I don’t know how much longer it was, but all
the extra material
were short extensions on scenes and shots, and extra bits of business here and there that added very little to the
experience. The famous missing scenes, such as the beating of Harmonica mentioned in the docu, wouldn’t seem to flesh out the
continuity gaps either. What really makes Jill auction her house? Why does she allow it, when Frank isn’t even there to
intimidate her? Scenes like this just have to be taken for granted.
^Return

2. I don’t know what the story was, but Mulock reportedly killed himself while the movie was
being shot - at least that’s what the Leone fan web pages say. He can be seen about ten years earlier as a baddie conspiring
with Sean Connery and femme fatale Scilla Gabel in Tarzan’s Greatest Adventure.
^Return

3. There seems to be an odd rivalry between Sergio Leone and Sam Peckinpah: Peckinpah has been quoted
as dismissing Il Maestro by saying, “Gee, he sure likes those closeups.” On the other hand, Warners’ insistence on using ‘ripple
dissolves’ to cue Peckinpah’s flashbacks in The Wild Bunch looks like a throwback to the 1930s, in comparison to Leone’s
effective and modernistic hard cuts to repetitive, dreamlike flashback visuals.
^Return

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A Hollywood Homicide is exactly what many filmgoers may wish to commit upon the makers of this latest Harrison Ford movie after sitting through what is no doubt Mr. Ford’s most unwatchable movie in perhaps his entire career. As a big fan of Harrison’s, I couldn’t help but shake my head in shame as the man who once played Han Solo, Indiana Jones and Dr. Richard Kimble has been reduced to the kind of film role even lesser actors would probably have passed on.

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My Big Fat Greek Wedding Reviewed By Chris Parry Posted 09/13/02 09:30:12

"Not as grand as the hype indicates, but a great way to spend 90 minutes." (Worth A Look)

The amazing thing about My Big Fat Greek Wedding isn�t that it came from out of nowhere to stick around in the box office top ten for twenty weeks before finally hitting number one. The amazing thing about My Big Fat Greek Wedding is that the distributor of the film, IFC Films, is the first company to actually have enough faith to keep a small film in theaters for so long and let positive word of mouth work. To be sure, this isn�t the greatest film you�ll have ever seen, in fact it�s pretty much just an average affair. But in a summer of films so bad you�d almost consider taking up bowling in your spare time, all it takes is some good laughs, an enjoyable cast, and a little time for word to get around and you�ve got yourself a genuine bona fide success on your hands. Congratulations to IFC Films for having the faith in their project to let audiences do the marketing for them, and for picking the perfect time to put out some light-hearted low-budget comedy that doesn�t rely on gross-out humor or the teen market to make its millions.Toula is a dreary 30-something Greek-American woman. She�s not good looking, not surrounded by friends, and her parents seem to have lost faith in her being anything of worth (IE: a wife) a long time ago. And then comes Ian, who sweeps Toula off her feet, brings out her inner beauty and asks her to marry him. Only problem is� he�s not Greek.The beauty of My Big Fat Greek Wedding is in its simplicity and its realism. If you�ve known Greek families in your time, these aren�t imaginary people and situations, they�re very, very real. The smothering father who thinks Windex will cure anything, the moron brother who doesn�t know a good joke from a bad one, the big-haired mother with a PHD in guilt, and the cousins� the millions of cousins. For non-Greek audiences, these people are hysterical. For Greek audiences even more so, because they know these people - they know them all too well.Nia Vardalos, who wrote the film and stars as the lead, deserves a hearty handshake and all the riches she�s now undoubtedly being, as she�s written something that avoids clich� while taking us somewhere we�ve all been before. She hasn�t tried to split the atom here, she�s just put together a fun screenplay and acted it out as naturally as required. John Corbett, who seemed headed for big things with Northern Exposure where he played Philosopher DJ Chris, is a likeable co-star, as is basically everyone else in the cast. It pushes believability at times, but so what, it�s a comedy. My Big Fat Greek Wedding is simple fun aimed at any audience, and you�d be hard pressed not to have a good time with it. At the time of writing, this film was number-one at the box office, even though it had been around for nearly half a year. Why? Big credit has to go to the number-crunchers at IFC Films for releasing it with intelligence. They didn�t just throw it on 200 screens and wait for the audience to die off, they had it on 200 screens in New York, Chicago and LA, then shifted it outwards 200 screens more at a time. When the box office dried up in one city, the word had spread to the next and the audiences would come out to see what the fuss was about. In fact, when the per screen average of this film dropped right off, and it did many times, IFC Films retained faith and doubled the number of screens it was on from 250 to 500 to 1000 and now 1600. Understand, any other distributor, once the per-screen average dips, dumps their film like it�s dipped in cow shit. IFC did the opposite, keeping the flick on screens, knowing full well that people will talk and they�ll bring their friends. In fact, to this date, over half a year of this film being out there, IFC Films has not once significantly reduced the number of screens this film was showing on. Theaters that had shown it three months ago are asking for it to come back. It�s a Blair Witch style phenomenon.And good. Perhaps now Hollywood is looking at this film (as it does with every indie success story) and wondering how they can tap into its success (read: copy it). They can start with a well prepared script, believable and funny dialogue, characters we can relate to (a chunky female lead? When�s the last time you saw one of those?) and a trailer that doesn�t give the ending of the film away.My Big Fat Greek Wedding will be quickly forgotten once we�ve all had a chance to see it (is anyone renting The Full Monty today?), because it�s not particularly unforgettable, but just maybe it will change the way Hollywood operates and change it for the better. For that reason alone, even if you ignore that it�s funny and enjoyable, it�s worth buying a ticket.
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Last Drop, The Reviewed By David Cornelius Posted 04/18/06 07:48:08

"No Maxwell House jokes, please." (Pretty Bad)

Take out the unnecessary humor, ditch a handful of characters, streamline the plot, and �The Last Drop� might just be a solid WWII actioner. As is, however, there�s too much going on and not enough of it working - the result of a screenplay that desperately wants to be an oversized old fashioned war epic, the kind with countless characters and wild changes in tone that help build an overall entertainment experience, but also wants to maintain a budget-sized running time and slimmed down cast.The biggest inspiration here is �A Bridge Too Far,� with its endless supply of big name stars and subplots. Like that film, �The Last Drop� involves Operation Market Garden, the bungled 1944 mission to take control of a series of bridges as a chance to invade Germany. Unlike that film, however, �The Last Drop� actually has very little to do with Operation Market Garden - it�s all a workable backdrop, but at its core, the story could have used any mission, major or otherwise, as its set-up.And what is the story�s core? Well, the script, from Colin Teague (who also directed) and Gary Young (the duo previously gave us the limp Brit-gangster-comedy �Spivs�), prefers to keep us as in the dark as its main characters, a decision which backfires; by the time the secret of the mission is revealed and all the extraneous stories finally fit together, we�ve grown too tired of waiting for the movie to reveal its hand. (A glance at the DVD�s back cover or the film�s trailer gives it all away, but I�ll play nice and not spoil.)The mystery kicks off with the launching of Market Garden, with a squad of British paratroopers getting shredded during an attempted landing. Only a few survive, including the typical grab-bag of war movie characters: the nice guy, the grumpy guy, the nervous newbie, the secret-y secret agent tag-along who�s busy keeping his secrets secret; etc. The brash American pilot who�s stuck with them is played by Billy Zane; although we�re told his character is Canadian, Zane gives us an oddball Elwood Blues accent, and his Zane-sized grin fills the Yankee role.Which is odd, because Michael Madsen also shows up to fill the Yankee role. Here, he plays a greasy thug of a colonel, never without a grimace and a half-done cigarette. Madsen�s role is an extended cameo (hence the creaky �special appearance by� credit), intended to duplicate the joys of big-name cameos in the war epics of yesteryear. But this is Michael Madsen, not John Wayne or Henry Fonda, and the appearance has a distinctive lack of �zazz that not even the purposefully hokey jazz soundtrack can spice things up.Ah, but this cameo is a symptom of a much larger problem: there�s just too much going on here, and none of it has the slightest bit of consistency. In addition to the soldiers� main story and the Madsen bit, we also get tossed subplots involving Dutch sisters who work for the resistance and a handful of Germans - including a gratingly bumbling tubby one - who are looking to steal some pricey Dutch treasures. (Oh, and the gratingly bumbling tubby Nazi? He�s the best comic relief we get. Lucky us.)Yes, it all comes together in the end, but there�s just way too much chaos along the way. Jumping from zany comedy to serious war action to light caper fare becomes tiring rather quickly. Just when we get settled in one mood, the movie shifts its tone (quite clumsily). The result is an ever-increasing lack of interest in what�s to come next.Which is a shame, because aside from a few lousy moments (mostly coming from the tubby Nazi and the dopey Yankees), there�s quite a bit here that just might have otherwise worked. At its center, �The Last Drop� might have been a fun reworking of �Kelly�s Heroes,� but with a heavier emphasis on the action. The opening battle sequence is a stunner, and a few other key set pieces work up a decent thrill or two. �The Last Drop� is a work whose parts are greater than its whole; it�s when you paste everything together that the film refuses to hold up.
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moviegallery — Fri, 11 Jul 2008 12:35:39 +0000

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House of Sand and Fog Reviewed By Scott Weinberg Posted 12/24/03 22:03:20

"It’s like an action movie that uses conversations instead of guns." (Awesome)

Heroes and villains. Good vs. Evil. Black and white. That’s how the story goes in most movies. This is not necessarily a bad thing; we need Darth Vader to be evil and it’s important that James Bond is immortal. But when a movie aims to venture forth into that "grey area" between the clearly righteous and the plainly unpleasant, we could be in for some fascinating lessons. And in the case of Vadim Perelman’s debut movie, that’s absolutely the case. Plus…duh, people…it’s got Jennifer Connelly in it!Prior to your eleventh screening of The Return of the King you see a new trailer. It looks a lot like a thriller in which a beautiful young woman is tossed out of her house and kicked to the curb by a dastardly Iranian businessman. This trailer looks a little bit like those "social thrillers" in the vein of Unlawful Entry or Pacific Heights.House of Sand and Fog is nothing like that. And that’s a good thing. Less of a thriller and more of a fascinating morality play, "House" delivers two distinctly realistic characters, cinematic creations that are both antagonist and protagonist at the same time. That’s a tough balance.The still-achingly-perfect Jennifer Connelly plays Kathy, a morose house-cleaner who doesn’t so much enjoy life as she does withstand it. Kathy’s husband is long-gone and she’s been losing a battle with the bottle. One day a tax collector and some cops pop up on Kathy’s doorstep and explain that she’s been evicted for a tax issue. Evicted, like immediately.The house is put up for auction and snapped up by Behrani, a noble-yet-struggling man who was once a well-respected military officer in his home country…but is now just another working Joe trying to provide for his family. Behrani’s goal is to purchase the house, fix it up with a few coats of paint, and then re-sell it for a tidy profit. Basically the American dream and all that stuff.Were House of Sand and Fog content to exploit the thriller end of this conceit, we’d inevitably see Kathy stalking and eventually slashing her way through the house in an effort to claim what’s hers. Fortunately for all involved, first-time writer/director Vadim Perelman (working from the novel by Andre Dubus III) aims to tell a tale of two people who start out wrapped together by unpleasant circumstance, and end up making things a whole lot worse. Not because one’s right and the other’s wrong, but because they’re just fragile little people desperately trying to keep their heads above water.Just as a horror movie needs solid scares to keep the momentum going, a sincere drama (and lemme tell you, this one is Drama with a capital D) should deliver consistent moments of realistic emotion. I’m not talking about emotion like when the young mother peters out on the operating table; I mean that sad and desperate feeling you share when you realize that neither of these characters is likely to come out of this conflict unscathed. And the movie allows you to realize that if you were in their shoes, well, you’d probably be pretty screwed too.At one point Kathy is the victim. Period. You’re just sure of it. But wait. She’s no more of a victim than the formerly regal, now disgraced Behrani. His biggest crime was what? He bought a house as an investment for his family! He can’t afford to just up and leave! Plus Kathy could have battled through her depression just long enough to open her mail and learn of the impending eviction. But she didn’t! On the other hand, the tax thing ended up being a mistake after all…so she IS the victim after all! But wait…See, this is the sort of stuff you’ll be debating with your friends as you walk out of a "House" screening. It’s a sincere and heartfelt movie that is clearly out to challenge a brain or two. That Perelman was able to elicit two stellar performances from his leads should come as no surprise. His leads are Jennifer Connelly and Sir Ben Kingsley, after all. (I’m not the first to say it, and I won’t be the last: Kingsley is a shoo-in for an Oscar nom. Book it.) Matching up to Kingsley quite capably (not an easy task) is the ethereally beautiful JCon. But don’t dismiss my praise as that of a schoolboy with a crush (although it sorta is), because Jennifer Connelly has, over the years and through many disparate movies, flowered into one of our finest leading ladies. Yep, right up there with your Julianne Moores and your Cate Blanchetts. That’s not just a pretty face, guys. She won an Oscar for a reason and (based on her work here) I wouldn’t be stunned if she did it again someday. Here she’s wounded, scared, vulnerable…and also infuriated, ballsy and kind-hearted. Call me smitten, but Jen’s a perfect marriage of talent and, well, just plain old beautifulness…if that’s even a word.It’s true that James Horner’s musical score intrudes into some of the movie’s most effective moments (as if the audience cannot trust their own emotional barometers, we need a Pavlovian score to up the ante) and that, on the whole, House of Sand and Fog could never be regarded as a ‘fun’ film.But that’s just fine. Sometimes we need the black and white simplicity of the good guys vs. the bad guys. Other times it’s quite invigorating to enjoy a film that casts no judgments on its characters and allows you to fill in the blanks. House of Sand and Fog is the diametric opposite of stuff like Enough and Double Jeopardy, and I mean that as a very large compliment.Perelman’s adapted screenplay is virtually addicting in its depiction of a Bad Situation Turned Worse, and the movie never once feels forced or false or beholden to the need to ‘tidy things up’. It’s a heavy flick made for grown-ups to enjoy, and I for one think it’s a literate and fascinating debut. Plus, like I said…Connelly’s in it. She’s the best.
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moviegallery — Thu, 10 Jul 2008 12:35:49 +0000

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Young Guns – ** (out of 5) (1988)

Cast: Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Jack Palance

Directed By Christopher Cain

Those who think YOUNG GUNS one of the best Westerns ever made must either not have seen many or have incredibly short term memories. I would not even claim that YOUNG GUNS is a good film at all, especially when compared to other Westerns in the last 20 years like SILVERADO, DANCES WITH WOLVES and UNFORGIVEN. The only thing YOUNG GUNS has going for it is star power, although even that has dwindled to almost nothing nowadays when most of these once hot young actors are doing b-movies and television shows to try to make ends meet. Trying to make a rock ‘n roll Western to appeal to the kids who probably can’t stand them would seem like a nifty idea, yet after seeing the results, I’m amazed someone thought we’d need a sequel because people clamored for more.

Most of the action takes place in New Mexico in 1878, where a group of troubles young outlaws have been gathered together by an educated British man to work, and also to learn how to read and write, and hopefully become productive citizens. However, anothe much more powerful rancher names Lawrence G. Murphy (Palance) doesn’t take well to competition, and does everything he can to try to drive him out of the area, eventually finding it better to just kill him in cold blood. The young pupils form themselves into the Regulators, having been deputized by the cowardly local sheriff to fight back against Murphy’s tyranny, including the infamous Billy the Kid, who thinks it better to gun the men down than arrest them for trial.

YOUNG GUNS stars the Frat pack of the Brat pack, and appears mostly like a group of guys getting together to play dress up. Filming a group of young boys playing "cowboys and Indians" would probably deliver a plot just as elaborate, and maybe a higher level of believability. Although the cast seems to be having a good time, they still manage to take their roles with some seriousness, although the terrible accents and dialogue they throw about (like the word "geek") make you realize the level of effort that is mostly lacking throughout most of the movie.

YOUNG GUNS was written by John Fusco, who has done some quality writing with other films like CROSSROADS and THUNDERHEART, and should get credit for much of the reason the film has even a smidge of credibility. Some of the plotline and turns of events within the movie do manage to keep a viewer’s interest even if the level of intellectual stimulation is mostly vacant. Other than the hunky but miscast stars, the main reason why YOUNG GUNS ultimately fails is due to some bland direction by Christopher Cain, director of such cinematic gems as THE PRINCIPAL and THE NEXT KARATE KID. It feels like a rather lackadaisical effort, with a particularly bad finale that defies logic, reason and even a sense of style.

YOUNG GUNS is of interest only to fans of the stars who are nostalgic to see their Eighties faves together having a grand old time yukking it up on horses. Fans of Westerns will probably also have a good time laughing at how dumb it is, and how wussy the cast is compared to the strong presence of The Duke or Clint. Resurrecting the Western is a noble undertaking, and later films like UNFORGIVEN and DANCES WITH WOLVES proved there was still gold to be mined from the long dormant genre. YOUNG GUNS may have gotten to that mine first but didn’t bother bringing the pick-axes or shovels.

Back to Qwipster’s Movie Reviews

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moviegallery — Tue, 08 Jul 2008 12:35:49 +0000

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THE MOVIE

The buddy cop movie has grown into a tired clich� in Hollywood, but it was still pretty fresh when Walter Hill (the man who may have invented the buddy cop idea with 48 Hours) came up with the premise for Red Heat.

Arnold Schwarzenegger stars as Russian Police Captain Ivan Danko who, as the movie begins, is hot on the trail of criminal Viktor Rosta (Ed O’Ross), who is looking to bring the drug trade into the Soviet Union. While in pursuit of Rosta in the movie’s opening moments, Danko’s partner is killed and Rosta escapes to America, where he is picked up in Chicago for a traffic violation.

Danko is then sent to Chicago, where he teams up with cop Art Ridzik (James Belushi) and the two work together to try and hunt down Rosta, who escapes during the extradition proceedings.

Red Heat is one of a string of 1980’s films produced by Mario Kassar and Andrew Vajna for Carolco Pictures, and those familiar with their other efforts like the Rambo and Terminator movies can look forward to that same kind of “feel” from Red Heat. The action, violence and pace are “over the top,” but the movie is always very-watchable, even when it’s not very realistic.

Red Heat proved to be one of Schwarzenegger’s less successful releases in the United States, yet it is one of his better performances and holds up well over 15 years after the film’s theatrical release. It’s a shame it didn’t make enough money to warrant a sequel (seeing Belushi’s character go to Russia would have been a hoot), but it’s a solid film with enough action and humor to satisfy Arnie’s fans.

THE DVD

Video:
The film is presented in anamorphic widescreen at its original aspect ratio of 1.85:1. While the transfer is okay, it isn’t spectacular, and there is a good deal of grain and some dirt evident on the print. The picture has a somewhat soft look to it, and overall I was mildly disappointed with this transfer, although it’s far from horrible.

Audio:
Viewers will have the option of listening to a 5.1 Dolby or 2.0 Dolby track. The 5.1 track is quite nice, with James Horner’s music really bouncing around on the speakers during those occasions when it is prominent in the film.

Extras:
Lion’s Gate has added a nice selection of bonus features on this disc, with the new material being anamorphic.

The new, anamorphic material includes East Meets West, which is not only a look at how Red Heat came about, but it’s also a look at the partnership between Mario Kassar and Andrew Vajna. Then there’s a featurette entitled A Stunt Man For All Seasons - a 12-minute tribute to Stunt Coordinator Bennie Dobbins, who died of a heart attack during the shoot and to whom the film is dedicated at the beginning of the end credits. There’s also I’m Not A Russian, But I Play One On TV, a new interview with actor Ed O’Ross in which he explains how he prepared for the part of Viktor Rosta.

Non-anamorphic features include a 16-minute Making Of TV Special; four 30-second Original TV Spots (which are fun because they include the main characters talking directly to the camera in bits that were created specifically for the TV promos); the original Theatrical Trailer for the movie; plus three other Trailers for Terminator 2: Extreme Edition, Replicant and The Punisher.

THE BOTTOM LINE

This is a nicely made Special Edition, and while I would have preferred a better transfer (then again, I don’t know what kind of source material they had to work with) and a few more extras (a commentary track would have really been nice), I’m still giving this release a recommendation.
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moviegallery — Mon, 07 Jul 2008 12:35:55 +0000

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New Rose Hotel Reviewed By Charles Tatum Posted 11/29/02 15:53:07

"Cancel my reservation" (Total Crap)

Abel Ferrara, the loose cannon director behind such fare as "Ms. .45" and "Bad Lieutenant" finally finds time to make his worst film.Based on a William Gibson short story, X (Willem Dafoe) and Fox (Christopher Walken) are hired to lure scientist Hiroshi (Yoshitaka Amano) from one giant corporation to another. Promised one hundred million dollars, the duo hire Sandii (Asia Argento) to seduce Hiroshi from his wife and job, and take up with the competition. To complicate matters, X and Sandii begin having feelings for one another while the physically handicapped Fox can only look on from the sidelines, perhaps jealous of the both of them. Sandii succeeds in her endeavor, but things go awry when someone murders Hiroshi and his coworkers, and Sandii disappears. X then begins tracing his memories of his time with Sandii to find out what happened, and Fox meets an untimely end.Believe me, the plot summary is the most exciting thing about this dull film. Not many can accuse Ferrara of making something boring, but he does here. The film opens and immediately the viewer will think they came in on the middle of the story. For most of the first third of the film, I had no idea what was going on. I watched, even took notes, but Ferrara refuses to let his audience in on the plot. As I deciphered what was going on, the plot lurches forward until the final quarter of the film. X is now a resident of the title hotel, one of those Japanese hotels where everyone sleeps in tiny cubby holes. Then, and I am not exaggerating, Ferrara then spends at least twenty minutes in flashback to the first hour of the film. If it did not make sense the first time around, it sure won’t with the flashback. Ferrara shows us important clues that X should have caught, knowing Sandii may not be all that she was. Do you know what? The audience sort of figures this out anyway, especially with a cast this small. The flashback is really a padded, tacked on sequence. It is as if Ferrara knew he had nothing here, and wanted to use some smoke and mirrors to boost the comprehension level. It does not work.Walken and Dafoe are okay, they are not given enough characterization. They do improvise plenty, what else can you do with these shallow parts? Asia Argento is simply yummy as the call girl. It is sad, though, that Dafoe tries to ad lib with her, and the Italian-born Argento gamely sticks to the script, trying to say her line as Dafoe plays with his dialogue. Annabella Sciorra has a cameo that makes no sense, as does famed Japanese composer and actor Ryuichi Sakamoto.Usually Ferrara’s work earns a cult following, but I had never heard of this film until I saw it on the video rental shelf. It is so bad, there are no critics’ sound bites on the box, trying to make this sound better than it is. Throw in underwhelmingly cheap special effects, and Ferrara’s silly video camera surveillance shots, and "New Rose Hotel" is one loser of a film.I recommend this to Ferrara fans, and insomniacs.
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moviegallery — Sun, 06 Jul 2008 12:35:57 +0000

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Highwaymen (2003) / Thriller-Action

MPAA Rated: R for violence, some gore and brief language Running Time: 80 min.

Cast: Jim Caviezel, Rhona Mitra, Frankie Faison, Colm Feore Director: Robert Harmon Screenplay: Craig Mitchell, Hans Bauer

At a small motel in the middle of nowhere, Rennie Cray (Caviezel, The Count of Monte Cristo) lost everything that was dear to him, when a hit-and-run driver runs over his wife and speeds away. Fast forward to five years later, and Cray is the one driving around like a maniac, searching for all of his days for the man responsible. Apparently, this man is still out there running innocent people down, and Rennie wants to be the man to finally put him to rest for good. The driver finally makes a mistake, or so it seems, when he allows Molly (Mitra, Get Carter) to stay alive, only furthering the cat-and-mouse game between the men, and just like a real cat, he likes to toy with his prey.

Highwaymen is a dismal excursion into simple-minded car crash pornography, with the only saving grace coming from the mercifully short running time. If the creators of this brainless entertainment really had mercy, they would have spared us this film altogether. I suppose it would be too much to expect greatness from screenwriters whose previous work includes Anaconda and Komodo, but after seeing the finished product, they could have shot this without a script and probably not lost much in the way of quality.

The director is Robert Harmon, who made a very similar film back in 1986 with the b-movie classic, The Hitcher, but unlike that film, Highwaymen ditches all credibility early on and gets progressively more ridiculous. Many will find similarities to another faceless maniac on the road feature, Joyride, which wasn’t much better, but at least had a sense of humor about itself. Highwaymen plays very little for laughs, although it is sometimes funny in an unintentional way. It’s b-movie schlock that will most likely only please those who enjoy wanton carnage without any overhead that requires you to think deeply about anything. It’s purely visceral action at the lowest common denominator, and anything resembling substance, or even logic, is jettisoned in favor of over-the-top havoc.

All in all, I found Highwaymen to be full of too many plot holes, unlikely physics, and far too contrived situations to ever swallow the premise down in a satisfactory way. I was actually insulted by how little effort went into making this shallow idea fly, and the lack of intelligence carries over into every character and possible motivation, with a curious lack of understanding in routine police procedures ignored much of the way, until almost nothing makes any practical sense. What we’re left with is smash mouth destruction and little else, and the only reason I’m not giving it the lowest rating is because there is a pleasing aesthetic quality to it. Too bad the story couldn’t have been better developed.

Watch Mad Max or Duel to see this kind of film done with some integrity.

� 2004 Vince Leo

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Toolbox Murders
This film apparently caused quite some controversy when it was released back
in 1978, and it’s easy to see why - the "bathtub" scene is explicit even by
today’s standards, and I’ll bet that it’s cut (or shortened) from the
current British re-release of the film. Essentially, however, this is an
artlessly made (there’s no style to the killings, although the weapons used
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Mitchell, as the lollipop-sucking, Bible-quoting owner of the building where
the murders take place, is beyond awful, but the screenwriter is also to
blame for giving him campy lines like "Come here, you damn fornicator!"
(*)

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