Films Review Ocnober
AMERICAN PIMP (R)
The Hughes Brothers, Allen and Albert, have created a fascinating documentary on an unsavory subject. The directors of “Dead Presidents” and “Menace II Society” hit the streets for this eye-opening look at the world of Pimps. It’s pretty much what you expect, with colorful characters boasting about their lifestyles with little regard to the lives they destroy. The filmmakers use clips from films and period music to create a patchwork quilt of images and ideas, and while all of them are vital, they’re not always watch-able. It’s hard to sit on the sidelines and hear these men talk about their line of work without being affected. Fortunately, the Hughes Brothers approach the subject matter without an agenda, so there’s no bias. You get what you get, even if it’s not “Pretty Woman.” (MGM)
BEOWULF (R)
The legend of “Beowulf” finds its way into director Graham Baker’s handsomely mounted sci-fi fantasy. This direct-to-video adventure features impressive production values and a strong leading performance from Christopher Lambert as the mysterious warrior who has traveled a long way to destroy the monstrous, man-eating creature Grendel. While the computer generated monster is the film’s weakest link, the rest of the film is sturdy enough to make it all matter. Lambert rides tall as Beowulf, summoned to face off against the monster in a damp, dark castle. Only a handful of citizens remain inside the Outpost, while the remainder rally outside for the death of the monster and those who chose to stay. All hell breaks loose with the arrival of Beowulf, whose presence sparks romance in the ruler’s daughter, and anger in the monster, who sets out to finish off the survivors. Lots of gruesome fun follows, as well as some kinky sex. Lambert tackles all of this with a straight face, while the supporting cast all seem in tune with the director’s vision. This isn’t a great movie, but it is very serviceable and a nice surprise. (Dimension)
HEAVY METAL 2000 (R)
Sequel in name only, this animated feature has less to do with the original and has more in common with Japanese Anime. What made the original so much fun was that it was a collection of animated styles, brought together under the umbrella of a rock and roll musical score of popular bands. While the new film does feature a hip soundtrack with performances by Billy Idol, Pantera, Machine Head, Insane Clown Posse and many more, it lacks focus. The music seems like an after thought as opposed to a vital piece of the puzzle. The rest of the film is a pedestrian sci-fi adventure, with Julie Strain providing the voice of the animated heroine, Julie, hot on the trail of space pirates who ravaged her home planet. Julie’s quest takes her on numerous adventures, but none are compelling. The animation is okay, very colorful and all, but it doesn’t evoke any real sense of awe. Teenage boys will best appreciate this effort. (Columbia-TriStar)
KEEPING THE FAITH (PG-13)
Absolutely adorable romantic comedy stars Edward Norton and Ben Stiller (who also directed) as lifelong best friends who grow up to become a priest and a Rabbi. What sounds like the intro of a thousand jokes actually turns out to be a funny, touching and smart film about the price of true love and friendship. Brian (Norton) and Jake (Stiller) have been best friends since the sixth grade, sharing a mutual attraction for Anna. That was then. Now Brian and Jake are young, good-looking men, with successful congregations and a healthy respect for each other. Their attempts at dating are disastrous, so it makes sense that both men would make a play for Anna (Jenna Elfman) when she returns to town. It will take a lot of faith and understanding before the three come to grips with their dilemma. “Keeping the Faith” plays smarter than it sounds, thanks to a sparkling script, and Norton’s understanding direction. he keeps things honest among the players, all who seem genuinely glad to be there. Stiller is wonderful as Jake, a man whose dates are usually set up by the women at his synagogue. Norton is nicely understated, even though his character does some rather unusual things. Elfman is a nice surprise, playing a smart businesswoman who knows what she wants in life and isn’t afraid to go after it. When these three get together, they create electricity. I love romantic comedies that don’t make fools of the audience, and “Keeping the Faith” respects our emotions. Even though it is manipulative in moments, it doesn’t slap us across the face. The rest of the film is like a refreshing shower. You leave it feeling good. (Touchstone)
PITCH BLACK (R/Unrated)
“Pitch Black,” the latest science-fiction adventure from director David Twohy (“The Arrival”) isn’t exceptional, but it is very serviceable. From the chaotic opening to a breathtaking finale, “Pitch Black” succeeds in drawing the audience into its creepy little world of carnivorous creatures and the poor astronauts they prey upon. Even though it cost one-fourth the budget of “Mission To Mars,” “Pitch Black” feels richer. The performances are strong, while the direction and script are smart. The screenplay by Jim and Ken Wheat and Twohy is extremely economical. They know the drill, and get us in, thrill us, and get us out before their welcome wears out. While the plot and characters are nothing more than cliches of all that came before, the writers and director tweak the formula enough to make the terrain all their own. Even though they’re playing nothing more than types, the cast is sturdy. Their conviction helps us invest ourselves in their predicament. Click title for complete review. (Universal)
If I were in combat, Col. Terry Childers is the kind of man I would want on my side. A 30-year Marine veteran, Childers has seen it all. His combat experiences includes Vietnam, Beirut and Desert Storm. He’s a decorated war hero and he knows how to get things done under fire. He’s also charged with conduct unbecoming of an officer and the murder of 83 civilians in a botched Embassy rescue in Yemen. After losing three men while rescuing the American Ambassador and his family, Childers ordered his men to open fire on the hostile protestors surrounding the Embassy. Childers is on trial because he broke the “Rules of Engagement,” a military directive that dictates how American soldiers will act in combat. By doing so, Childers has also put his career and possibly life on trial as well. Should a Marine under fire face disciplinary action for trying to save his men? William Friedkin’s latest film, “Rules of Engagement,” is about perception. It’s about how we view the world around us, and how much we’re willing to see. Childers is on trial because his actions, no matter how warranted, have led to a public relations nightmare. A cover-up exists to discredit Childers and his claim that the crowd was armed because the United States needs someone to blame. Click title for complete review. (Paramount)
SKULLS, THE (R)
Genuinely chilling thriller stars Joshua Jackson of “Dawson’s Creek” as a pledge to a secret college society that molds leaders. Unlike his rich fellow students, Luke McNamara (Jackson) has risen to the top of his game through hard work and a list for success. Those attributes lead him to a secret fraternal organization called The Skulls. Once a member, always a member. Once afraid that his lack of funds will keep him from attending a top law school, Luke learns that as a member of the Skulls, his future is secure. At first it seems like a dream come true. Then Luke’s life becomes a nightmare when he suspects that the society is killing off his friends trying to expose them. A pedestrian, pot boiler plot gets a new life under the direction of Rob Cohen, who milks every ounce of suspense from the formula. Jackson makes a likeable hero, while the supporting cast, including Paul Walker, Hill Harper and Craig T. Nelson, are good. Writer John Pogue plays off common fears and creates characters that don’t always do what we expect. (Universal)
TOY STORY 2 (G)
“Toy Story 2” is one of those rare sequels that matches, and at times, surpasses the original. Not since “The Godfather Part II” have filmmakers been able to recapture, sustain, and even better the original magic. “Toy Story” was a modern classic, and you don’t mess with classics. Walt Disney Pictures and Pixar knew that, and to soften the blow, originally intended for “Toy Story 2” to be a direct-to-video release. That would have taken off a lot of the pressure. Then something happened during production. Both studios saw something special. They saw the same magic that the first film delivered. So in a wise move, they boosted the budget and set their sites on a theatrical release. The rest is history. You approach the sequel with some degree of apprehension. Will it be as much fun? Will it look different? Will it have heart? The answer to all three is yes. There’s also new characters, lots of adventure and an award-winning song that will literally break your heart. All of the original voice talent returns, including Tom Hanks as Woody and Tim Allen as Buzz Lightyear. Their new adventure involves a devious toy collector who steals Woody at a garage sale and plans to ship him off to a museum in Japan. Buzz Lightyear and his friends band together to save Woody, making a perilous trek across the city. Imprisoned in the collector’s apartment, Woody meets Jessie, a cowgirl voiced by Joan Cusack. Part of Woody’s toy family, Jessie introduces him to the other figures in the collection, Stinky Pete the prospector and Bullseye the Horse. For the first time, Woody feels like part of a family, a feeling that makes it hard to leave when Buzz finally comes to the rescue. “Toy Story 2” features dazzling advanced computer animation that improves on the original. The human characters no longer look like video game characters. Like “Toy Story,” “Toy Story 2” is an instant classic. I dare you not to fall in love with these characters, root for their survival, and cry when Jessie sings about how she was discarded. Walt Disney Home Video has released “Toy Story 2” at sell-through. (Walt Disney)
U-571 (PG-13)
Movies set inside crippled submarines are always ripe for drama. The very thought of being trapped inside a high-tech sardine can, hundreds of feet below the surface, gives me the willies. I would feel like Donald Pleasance’s character in “Fantastic Voyage,” so desperate to get out that I would lose all touch with the reality of the situation. Once a staple of post W.W.II war cinema, there have been so many submarine dramas that they have become a genre all their own. The memorable ones, “Run Silent, Run Deep,” “Das Boot,” “The Hunt For Red October” and “On The Beach,” help erase the wake of the bad ones, like “Gray Lady Down. The latest entry in the genre, “U-571,” falls somewhere in-between. It’s competently made, with impressive special effects and the occasional flash of originality. Most of the time, “U-571” sinks like a rock, weighed down by trite dialogue and paper thin performances that get all soggy as the film progresses. Click on title for complete review. (Universal)
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BOLTNECK (NR/Pioneer)
