60’S, THE (NR)

“American Graffiti” asked the question, “Where were you in ’62?” The NBC miniseries “The ’60’s” wants you to recall the whole decade. Josh Hamilton, Julia Stiles and Jerry O’Connell star as three children of a family who don’t just cruise through the sixties, they live it with a vengeance. One son becomes an activist, the other a soldier, while the daughter gets pregnant and leaves home to become a hippie. Lucky for us these three just happened to be at every major turning point in the sixties, so there’s lots of historical significance to their collective journeys. Featuring a great soundtrack of classic tunes and an earnest attempt to recreate a turbulent era, “The 60’s” is a bit melodramatic and packed to the rafters with cliches, but it is still engaging viewing. The cast helps move things along, especially Hamilton as the crusader and O’Connell as the war torn veteran. (Trimark)

A SIMPLE PLAN (R)

Money. It’s as intoxicating as power and can be just as dangerous in the wrong hands. It makes the world go round. It makes people do strange things. People will go to the ends of the earth for it, and in desperation, some people would kill for it. Money is both a seductress and a siren. It lures you with the promise of financial stability and happiness, and in the right hands, can bring both. In the wrong hands, it can bring about ruin and despair. It’s like that proverbial toss of the coin. Sometimes you win, sometimes you lose. Click here for complete review. (Paramount)

BEAR IN THE BIG BLUE HOUSE (NR)

Columbia-TriStar Home Video release two more episodes of the popular Disney Channel series from Jim Henson Home Entertainment. Volumes 7 & 8 join the previous three waves of release, with each volume containing two shows that help kids explore themes in creative waves. Kids familiar with the series will enjoy the combination of learning and fun, while newcomers to the series will enjoy the music and storytelling. Volume 7 includes “Mouse Party” and “Bear’s Birthday Bash,” while Volume 8 includes “The Big Sleep” plus “And to All A Good Night.” Both titles are available at sell-through. (Columbia-TriStar)

HURLY BURLY (R)

David Rabe’s unsavory tale of Hollywood types seems dated (it was written in 1984) and out of touch. “Hurly Burly” deals with excess, and when it debuted in the 1980’s, it seemed right at home. It’s central character, Eddie (Sean Penn), uses drugs as an escape. One has to wonder what Eddie is escaping from. As a casting agent, Eddie seems to have it all: a comfortable home in the Hollywood Hills, money, friends, and a girlfriend (Robin Wright-Penn). Unfortunately, his excessive cocaine use is taking its toll on everything in his life. Rabe’s attempt to expose the seamy underside of the Hollywood game works all too well. His cast of characters are interesting, but there is nothing redeemable about them. How do you invest yourself in characters that are out of control? Another problem with the film is that it’s way to talky. On stage it is a given, but film is a medium of movements, and most of the action takes place in Eddie’s home. To make matters worse, director Anthony Darzan insists on keeping the camera up close and personal so there’s little room to breathe. Most of the cast, including Chazz Palminteri as a moody actor, Garry Shandling as a new age pimp and Meg Ryan as a stripper, are fine within reason. Not really entertainment as much as an indictment of an era gone by. (New Line)

MIGHTY, THE (PG-13)

Here is a movie that didn’t even create a blip on the theatrical box office radar, but deserves to be seen by everyone. Like “Simon Birch,” The Mighty” (based on the book “Freak, The Mighty” by Rodman Philbrick) deals with two unlikely friends and heroes who rise above their limitations. Kieran Culkin and Elden Henson are outstanding as young Kevin and Max, next door neighbors who learn that in order to survive in the world, they must rely on each other’s strengths. When Kevin and his mom Gwen (Sharon Stone) move next door to Max and his grandparents (Gena Rowlands, Harry Dean Stanton), they go through the usual “getting to know you” phase. Max is fascinated by Kevin’s leg braces, needed to keep his frail bones (he suffers from a syndrome that stops his bones from growing while his organs still mature), while Kevin is fascinated by the fact that Max has spent the last three years in the seventh grade. Kevin is a brain who can’t walk, while Max is a giant who isn’t nearly as smart. Together, they form a relationship that transcends their limitations, and taking a cue from “King Arthur and the Knights of the Round Table,” set off on a quest to fulfill the dreams of the two. Director Peter Chelsom does an excellent job of relating to the children, while the starry cast of adults manage to fill in the blanks without stealing any thunder. The screenplay by Charles Leavitt does a wonderful job of mixing fact and fantasy. Filled with humor, heartache and enough emotional ballast to float several films, “The Mighty” is a joy to behold. Highly recommended. (Miramax)

PATCH ADAMS (PG)

Warm and unabashedly sentimental, “Patch Adams” is a winning effort from director Tom Shadyac and star Robin Williams. Some critics instantly dismissed the effort, claiming the film was nothing more than manipulation. Guess what? That didn’t stop the film from grossing more than $130 million in theater since last Christmas. Why? Despite the screenplay’s obvious trappings, the overall experience is one of such joy and pleasure that its easy to forgive the shortcomings. Instead, focus on the wonderful performance of Robin Williams, who plays the real-life Patch Adams. As the film begins, Patch is checking himself into a mental institution after trying to commit suicide. Patch immediately learns that the other patients are more sane than the doctors when it comes to providing emotional nourishment. Upon his release, Patch decides to become a doctor, but learns that medicine is just as impersonal. Against the wishes of his superior (a very stern Bob Gunton), Patch uses laughter to treat patients, including a ward of terminally ill children. The harder his superior tries to squash his efforts the more Patch rebels, eventually winding up in front of a medical board to evaluate his residency. Set in the 1960s, “Patch Adams” has a lot to say, even if writer Steve Odekirk and director Shadyac use simplistic devices to express them. The cast is fine, including Monica Potter as a female medical student who catches Patch’s eye, and Daniel London and the always effective Philip Seymour Hoffman as his classmates. I agree that the film is a bit syrupy and contrived, but for some reason it works here. You really don’t mind being manipulated as long as you’re having a good time. After all, laughter is the best medicine. (Universal)

PASSING GLORY (NR)

Director Steve James (“Hoop Dreams”) is back on the basketball court in this winning made-for-cable drama based on a true story. Andre Braugher (“Homicide: Life on the Street”) is outstanding as Father Joseph Verrett, who attempts to overcome racism at the height of the Civil Rights movement by having the black players of his New Orleans team compete against the all-white team of a local school. James utilizes his documentary filmmaking skills to create realistic situations, and does an excellent job of creating a time and place that is nothing but a memory to most people. (Warner)

SWEETHEARTS (R)

Janeane Garafalo is the main reason to watch this quirky romantic-drama about a woman so desperate for a date on her birthday that she is willing to go to extremes. Those extremes include lying to Arliss, the guy who placed a personal ad in the newspaper. Jasmine (Garafalo) lies to Arliss, who is expecting to meet the woman of his dreams. When they finally meet in a cappuccino bar, Arliss expresses his dismay and tries to leave. Oh, did I mention that Jasmine has a gun and brought it as backup? Now Arliss has no option but to spend time with Jasmine, and eventually warms up to her. While there’s nothing groundbreaking going on in director Aleks Horvats’ film, the characters are always engaging to watch, with Garafalo the standout as a woman willing to do what ever it takes for companionship. (Trimark)

UNDER PRESSURE (NR)

Hey folks, he is no longer Charlie! Now he’s Charles Sheen, and he’s under pressure in this made-for-cable thriller. Sheen stars as a heroic, decorated firefighter who just wants a little peace and quiet. He’s not about to get it on one of the hottest days of the year, when Sheen’s temper flares with the temperature. It’s not long before he’s teaching neighbor Mare Winningham and her family a lesson in civility they won’t soon forget. When Lyle Wilder’s (Sheen) wife leaves him, he goes into meltdown. He sits and broods, and eventually drives himself crazy. Too bad for neighbor Catherine Braverton (Winningham) and her family, because Lyle starts taking out his frustrations on them. His madness escalates to the point where he breaks into their house and takes control of their lives. Shot in 1997 as “Bad Day on the Block,” the thriller by Craig R. Baxley (“Storm of the Century”) is tightly wound and delivers the goods, but some of the actors (especially the children) aren’t very effective. Still , it is fun to watch Sheen go mad. And I thought I had neighbor’s from hell! (Columbia-TriStar)

UNIVERSAL SOLDIER II (R)

While Jean-Claude Van Damme preps a big-screen sequel, fans of the first film might be confused by this made-for-cable sequel that is pretty much more of the same, only with a smaller budget and less competent actors. Matt Battaglia stars as Luc Deveraux, who teams up with feisty reporter Veronica Roberts (Chandra West) to expose a corporations plans to reanimate dead soldiers and turn them into killing machines. Definitely a case of been there, done that, but only better and with more action and thrills. (Paramount)

WISHFUL THINKING (PG-13)

Winsome romantic-comedy languished on Miramax’s shelf for two years (it was produced in 1997), and even with the presence of Mega-hot Drew Barrymore in a supporting role, a direct-to-video release seems the best fate for writer-director Adam Park’s relationship flick. James LeGros is fine as Max, a projectionist, writer and inventor who can’t seem to commit to anything, including his relationship with Elizabeth (Jennifer Beals). Elizabeth wants it all, including marriage, but the more she presses, the more Max backs away. When Elizabeth becomes depressed and distant, Max suspects that she is having an affair. Which makes him more vulnerable to the advances of kooky cashier Lena (Barrymore), who wants Max for herself, and will do what ever it takes to make it happen. Like “He Said, She Said,” the film is told from three different perspectives, with a vital piece of information being left out until the finale. While “Wishful Thinking” doesn’t bring anything new to the party, it does do a decent job of entertaining thanks to its cast and Park’s winning dialogue. (Miramax)

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I’VE BEEN WAITING FOR YOU (NR/PM Entertainment)

This entry was posted on Friday, June 11th, 1999 at 12:39 am and is filed under Film Review. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.