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Nope, totally serious. Every time I listen to Stand Out and Eye To Eye I'm taken back to much happier and simpler times in my life.
Indeed, I thought it was fantastic. I like that they've established that the sequel will end the story.
The one Pirates film I really care about it. I'll always enjoy it as a standalone classic.
Likewise. Fun adventure flick with great performances. Don't care for the others.
In honour of its 25th anniversary, I put in this classic thriller which made Sharon Stone into a major star. Michael Douglas is Nick Curran, an unhinged San Francisco cop who investigates the brutal murder of a rock star in his bed postcoitus. During his enquiries, he meets and falls for Catherine Tramell (Stone), the rock star's boyfriend, who is a writer whose book foretold the murder. Ms. Tramell is also a sharp psychologist who has an unconventional sex life which intrigues and seduces Curran. The protagonists in all of her books die, and her life seems to eerily mirror the books, so anyone who comes into contact with her is potentially at risk.
Both Douglas and Stone are pitch perfect in this film & share a genuine palpable chemistry. Douglas beefed up for the role and projects a hard & convincing machismo edge. He really is damn good in this film - almost Eastwood like. Stone is mesmerizingly beautiful and wonderfully seductive - she truly lights up the screen whenever she's present and combines intelligence with allure. Jeanne Tripplehorn also is very impressive as a bookish SF PD psychologist who knew Tramell and has an on again off again sexual relationship with Curran.
The script and dialogue by Joe Eszterhaz is crisp and memorable and veteran director (and master provocateur) Paul Verhoeven keeps it tense throughout the 2 hr run time. San Francisco is nicely captured in this film too, and the city and its beautiful ocean vistas feature regularly. The legendary Jerry Goldsmith (my 2nd favourite composer after John Barry) delivers a master class memorable suspense score for this film (as expected) which helps elevate it, just like Barry's work did for Bond.
This really is a fine film. Very atmospheric and intense, with superb performances by all the actors, excellent direction by Verhoeven and wonderful cinematography by Jan de Bont (who also worked on that other classic, Die Hard). It's one of those groundbreaking films which started a whole trend of imitators (in this case sexual thrillers) which pale in comparison. Douglas was on top of his game during this period, and nearly everything he put out was impressive. A great actor. I'm glad I revisited this.
Douglas was on fire from the late 80's until the late 90's. I also recommend The Game, A Perfect Murder (this one is a particularly good quasi remake of Hitchcock's Dial M for Murder), The Ghost and The Darkness, Disclosure & Black Rain. All great films which I must get to again soon.
I'm interested in checking out The Mummy once it's out of theaters and hit the disc market, but I have to say that part of me is happy to see financial and critical outcomes like this. So many studios want Marvel money without the work or skills put in to get there, and simply expect audiences to lick it all up like here. It's hilarious to me that Universal have all these projects being written and cast right now to follow this reboot film, with no assurance that they can now foot the bill for it or whether they'll have the audiences for the projects once they are shot and ready for distribution. I'm shock really, as Universal has been doing great recently. This idiocy feels more like a Sony move than anything, and it's weird to see another big studio pulling it instead.
Fond childhood memories? Then I completely understand.
I'd certainly watch it, only on someone's borrowed disc, especially as you're interested in movies, plus it'll be an abject lesson in not how to write a horror movie. It needs to be watched alongside Tobe Hooper's Lifeforce and Landis's Warewolf in London to see just what's been pilfered from these two movies. Maybe the writers were hoping younger audiences wouldn't notice the similarities?
That's just about the way it is. Thumbs up!
Insufferable, and unintentionally hilarious.
@bondsum, you're absolutely right to assume that this film may live or die internationally. In the states the word of mouth is impossible to dilute, so the money has to be made outside of the nation. I've watched and read a lot of reviews from people who commented on the heavy flashbacks in the film to explain what happened in the past with the evil lady mummy, and they argued that those scenes were there to explain things to those who didn't understand the language once it hit in foreign markets. It seems apparent then that the studio knew the international audience would play a big part in their profits, and that they needed their money to stay afloat, given that they were stupid enough to have a domestic release the same time as Wonder Woman. The flashback moments in the film with less dialogue would also save the studios the trouble of having to translate a lot of dialogue for other nations, as the scenes can be sold just on what characters are doing, and not saying.
I'm sure that in China and other countries the content of the film will be changed from Egyptian focused occult to Chinese focused to fit the audiences, despite the heavy use of Egyptian iconography in it. ;)
@noSolaceleft, I like it when we can find times to agree. ;)
I wanted to see Wonder Woman and you know what? It doesn't even show in Switzerland for Batsy's sake!!!
Who knows yes. BvS was such a flop of gigantic proportions in Switzerland it is not even listed in the yearly list!!! That means it may have sold around 100.000 or less tickets. Ouch...
A stone cold classic. That’s the only way to describe this film. Expertly directed from start to finish by Rob Reiner based on an Aaron Sorkin script, this is one of the best legal dramas of all time imho. It’s got everything one could want. An ‘A’ class cast operating at peak levels, wonderful dialogue, danger and suspense from the opening scene, a superior score by Marc Shaiman and great cinematography from Academy award winning lenser Robert Richardson. Oh, and if that isn’t enough, it has Jack Nicholson in a legendary performance.
Tom Cruise is Lieutenant Daniel Kaffee, a brash cocky US Navy lawyer. He’s called into defend two marine corporals (Dawson and Downey) at Guantanamo Bay who are accused of killing Private Santiago, a disloyal underperformer who had been requesting off the base. His superiors, led by base commander Colonel Nathan Jessup (Nicholson), XO Markinson (J.T. Walsh) and Platoon commander Kendrick (Kiefer Sutherland) considered his request, but decided against granting his wishes. Instead, they decided to train him to become a better soldier. Honourable, frumpy and overzealous naval investigator and lawyer Joanne Galloway (Demi Moore) suspects that the Guantanamo leadership secretly ordered a ‘Code Red’ on Santiago, a form of disciplinary punishment, which resulted in his death. Jessup denies this, as does Kendrick. The question now is how to prove it. Galloway has a tense relationship with Kaffee, disliking his tendency to settle cases. It doesn’t help that she originally wanted to be the chief litigator, but was overruled by Division command, who didn’t think she had the street smarts. Kaffee is an exceptional and instinctive lawyer, but is unsure of his capabilities. He lives in the shadow of his late father, a decorated military lawyer. Galloway sees Kaffee’s potential & encourages him to stand his ground and take the case to trial, & he eventually concedes. Ultimately due to a lack of corroborating evidence, Kaffee’s only way to get an acquittal for his clients is to get Jessup to confess to the 'Code Red' in court, a strategy fraught with risk and danger. Failure could mean a court martial.
The performances in this film are off the charts. Cruise is near perfect as the outwardly confident (but inwardly unsure and protected) Kaffee. Demi Moore is sympathetic as Galloway, who keeps everyone honest and brings out the best in Kaffee. Kevin Pollack adds a layer of warmth as Kaffee’s friend & fellow lawyer Lt. Sam Weinberg. Kevin Bacon is superb as Captain Jack Ross, the military prosecutor. Kiefer Sutherland is frightening as the religiously inclined Kendrick. J.T. Walsh is his usual noble self as Markinson. Finally, Jack Nicholson gives one of his best performances as Colonel Nathan Jessup, an arrogant, confident man who believes in honour and an unrelenting code. Cuba Gooding Jr., Wolfgang Bodison, James Marshall & J.A. Preston also star.
The exchange between Cruise and Nicholson towards the end of the film is one for the ages.
Watching it reminded me that Guantanamo Bay (GTMO), the oldest US foreign naval base, stood for something else for so long prior to the recent disgraces.
Another above average adventure of Dick Malloy, this time in full comic book adventure mode, with lots of action, one expendable girl after another, nice stunts, four different locations (the whole plot feels like a video game with four distinct stages), lighthearted humour, gadgets and ray guns. That said, the main improvement of this film over its predecessor are the fights: they're much better choreographed.
Ken Clark, again, is cocky and debonair as the musclebound agent 077, sorrounded by a competent lot of Itialian and Spanish character actors.
Who cares if the plot is flimsy? This has lots of fun to offer!
I liked the combination Grieco-Clark so much I've decided to add The Fuller Report to my watching list.
The departed is so good. The performances and the story is legendary