O Movie Reviews

Dashing Errol Flynn is the definitive Robin Hood in the most gloriously swashbuckling version of the legendary story. Warner Brothers reunited Michael Curtiz, their top-action director, with the winning team of Flynn and Olivia de Havilland (Maid Marian) and perennial villain Basil Rathbone as the aristocratic Sir Guy of Gisbourne, and pulled out all stops for the production. It became their costliest film to date, a grandly handsome, glowing Technicolor adventure set to a stirring, Oscar-winning score by Erich Wolfgang Korngold. The decadent Prince John (a smoothly conniving Claude Rains) takes advantage of King Richard's absence to tax the country into poverty but meets his match in the medieval guerrilla rebel Robin Hood and his Merry Men of Sherwood Forest, who rise up and, to quote a cliché coined by the film, "steal from the rich and give to the poor." Stocky Alan Hale Sr. plays Robin's loyal friend Little John (a part he played in Douglas Fairbanks's silent version), Eugene Palette the portly Friar Tuck, and Melville Cooper the bumbling Sheriff of Nottingham. Flynn's confidence and cocky charm makes for a perfect Robin Hood, and his easygoing manner is a marvelous counterpoint to Rathbone's regal bearing and courtly diction. The film climaxes in their rousing battle-to-the-finish sword fight, a magnificently choreographed scene highlighted by Curtiz's inventive use of shadows cast upon the castle walls. --Sean Axmaker

Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is no match for her internal strength and purity of heart. Drew Barrymore plays Cinderella's alleged inspiration, Danielle, in this romantic drama that purports to tell the "facts" behind the Grimm brothers' story. One of three daughters of a man (Jeroen Krabbé) who dies and leaves her fate in the hands of a conniving stepmother (Anjelica Huston), Danielle is cast into the lowly role of a servant. Meanwhile, her sisters are evaluated as possible mates for a French prince (Dougray Scott), but he's far more intrigued with Danielle's intelligence and beauty--not to mention her way with a sword and fist. Directed by Andy Tennant (who directed Barrymore in TV's The Amy Fisher Story), Ever After has that rare ability to win the heart and mind of a viewer simply by being committed to its own innocence, particularly where Barrymore's luminous performance is concerned. A contemporary take on an old, virtually forgotten Hollywood convention--the costume adventure with middling artistic ambition but real audience appeal--Ever After is a surprisingly delightful film. --Tom Keogh

Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is no match for her internal strength and purity of heart. Drew Barrymore plays Cinderella's alleged inspiration, Danielle, in this romantic drama that purports to tell the "facts" behind the Grimm brothers' story. One of three daughters of a man (Jeroen Krabbé) who dies and leaves her fate in the hands of a conniving stepmother (Anjelica Huston), Danielle is cast into the lowly role of a servant. Meanwhile, her sisters are evaluated as possible mates for a French prince (Dougray Scott), but he's far more intrigued with Danielle's intelligence and beauty--not to mention her way with a sword and fist. Directed by Andy Tennant (who directed Barrymore in TV's The Amy Fisher Story), Ever After has that rare ability to win the heart and mind of a viewer simply by being committed to its own innocence, particularly where Barrymore's luminous performance is concerned. A contemporary take on an old, virtually forgotten Hollywood convention--the costume adventure with middling artistic ambition but real audience appeal--Ever After is a surprisingly delightful film. --Tom Keogh

Seven years after he earned his first screen credit as the writer of Fast Times at Ridgemont High, former Rolling Stone writer Cameron Crowe made his directorial debut with this acclaimed romantic comedy starring John Cusack and Ione Skye as unlikely lovers on the cusp of adulthood. The casting is perfect, and Crowe's rookie direction is appropriately unobtrusive, no doubt influenced by his actor-loving, Oscar®-winning mentor, James L. Brooks. But the real strength of Crowe's work is his exceptional writing, his timely grasp of contemporary rhythms and language (he's frequently called "the voice of a generation"), and the rich humor and depth of his fully developed characters. In Say Anything... Cusack and Skye play recent high school graduates enjoying one final summer before leaping into a lifetime of adult responsibilities. Lloyd (Cusack) is an aspiring kickboxer with no definite plans; Diane (Skye) is a valedictorian with intentions to further her education in Europe. Together they find unlikely bliss, but there's also turbulence when Diane's father (John Mahoney)--who only wants what's best for his daughter--is charged with fraud and tax evasion. Favoring strong performances over obtrusive visual style, Crowe focuses on his unique characters and the ambitions and fears that define them; the movie's a treasure trove of quiet, often humorous revelations of personality. Lili Taylor and Eric Stoltz score high marks for memorable supporting roles, and Cusack's own sister Joan is perfect in scenes with her onscreen and offscreen brother. A rare romantic comedy that's as funny as it is dramatically honest, Say Anything... marked the arrival of a gifted writer-director who followed up with the underrated Singles before scoring his first box-office smash with Jerry Maguire. --Jeff Shannon

You won't need a bottle of rum to enjoy Pirates of the Caribbean: The Curse of the Black Pearl, especially if you've experienced the Disneyland theme-park ride that inspired it. There's a galleon's worth of fun in watching Johnny Depp's androgynous performance as Captain Jack Sparrow, a roguish pirate who could pass for the illegitimate spawn of rockers Keith Richards and Chrissie Hynde. Depp gets all the good lines and steals the show, recruiting Orlando Bloom (a blacksmith and expert swordsman) and Keira Knightley (a lovely governor's daughter) on an adventurous quest to recapture the notorious Black Pearl, a ghost ship commandeered by Jack's nemesis Capt. Barbossa (Geoffrey Rush), a mutineer desperate to reverse the curse that left him and his (literally) skeleton crew in a state of eternal, undead damnation. Director Gore Verbinski (The Ring) repeats the redundant mayhem that marred his debut film Mouse Hunt, but with the writers of Shrek he's made Pirates into a special-effects thrill-ride that plays like a Halloween party on the open seas. Aye, matey, we've come a long way since Jason and the Argonauts! --Jeff Shannon

You won't need a bottle of rum to enjoy Pirates of the Caribbean: The Curse of the Black Pearl, especially if you've experienced the Disneyland theme-park ride that inspired it. There's a galleon's worth of fun in watching Johnny Depp's androgynous performance as Captain Jack Sparrow, a roguish pirate who could pass for the illegitimate spawn of rockers Keith Richards and Chrissie Hynde. Depp gets all the good lines and steals the show, recruiting Orlando Bloom (a blacksmith and expert swordsman) and Keira Knightley (a lovely governor's daughter) on an adventurous quest to recapture the notorious Black Pearl, a ghost ship commandeered by Jack's nemesis Capt. Barbossa (Geoffrey Rush), a mutineer desperate to reverse the curse that left him and his (literally) skeleton crew in a state of eternal, undead damnation. Director Gore Verbinski (The Ring) repeats the redundant mayhem that marred his debut film Mouse Hunt, but with the writers of Shrek he's made Pirates into a special-effects thrill-ride that plays like a Halloween party on the open seas. Aye, matey, we've come a long way since Jason and the Argonauts! --Jeff Shannon

One of the very best films about the Civil War, this instant classic from 1989 is also one of the few films to depict the participation of African American soldiers in Civil War combat. Based in part on the books Lay This Laurel by Lincoln Kirstein and One Gallant Rush by Peter Burchard, the film also draws from the letters of Robert Gould Shaw (played by Matthew Broderick), the 25-year-old son of Boston abolitionists who volunteered to command the all-black 54th Regiment of the Massachusetts Volunteer Infantry. Their training and battle experience leads them to their final assault on Fort Wagner in South Carolina, where their heroic bravery turned bitter defeat into a symbolic victory that brought recognition to black soldiers and turned the tide of the war. With painstaking attention to historical detail and richness of character, the film boasts superior performances by Denzel Washington (who won the Oscar for Best Supporting Actor), Morgan Freeman, Cary Elwes, and Andre Braugher. Directed by Edward Zwick (cocreator of the TV series thirtysomething), this unforgettable drama is as important as Schindler's List in its treatment of a noble yet little-known episode of history. --Jeff Shannon

One of the very best films about the Civil War, this instant classic from 1989 is also one of the few films to depict the participation of African American soldiers in Civil War combat. Based in part on the books Lay This Laurel by Lincoln Kirstein and One Gallant Rush by Peter Burchard, the film also draws from the letters of Robert Gould Shaw (played by Matthew Broderick), the 25-year-old son of Boston abolitionists who volunteered to command the all-black 54th Regiment of the Massachusetts Volunteer Infantry. Their training and battle experience leads them to their final assault on Fort Wagner in South Carolina, where their heroic bravery turned bitter defeat into a symbolic victory that brought recognition to black soldiers and turned the tide of the war. With painstaking attention to historical detail and richness of character, the film boasts superior performances by Denzel Washington (who won the Oscar for Best Supporting Actor), Morgan Freeman, Cary Elwes, and Andre Braugher. Directed by Edward Zwick (cocreator of the TV series thirtysomething), this unforgettable drama is as important as Schindler's List in its treatment of a noble yet little-known episode of history. --Jeff Shannon

One of the finest films ever made about the American Civil War, Glory also has the honor of being the first major Hollywood film to acknowledge the vital contribution of African American soldiers to the country's historic struggle. Based on the books Lay This Laurel, by Lincoln Kirstein, and One Gallant Rush, by Peter Burchard, and the wartime letters of Robert Gould Shaw, the film tells the story of the 54th Regiment of the Massachusetts Volunteer Infantry, an all-black unit comprising Northern freemen and escaped slaves. Under the command of Shaw (played by Matthew Broderick), the 54th served admirably in battle until they made their ultimate demonstration of bravery during the almost suicidal assault on the Confederate Fort Wagner in Charleston, South Carolina, on July 18, 1863. Glory achieves its powerful impact by meticulously setting up the terrible conditions under which these neglected soldiers fought, and by illuminating the tenacity of the human spirit from the oppression of slavery to the hard-won recognition of battlefield heroism. Although Denzel Washington deservedly won an Oscar for his supporting role as a runaway-slave-turned-soldier, Glory faced some tough competition at the 1989 Academy Awards (against popular hits like Driving Miss Daisy and Dead Poets Society) and was shut out of nearly all the major categories. Since then, it's been duly recognized by historians and critics as a classic film of its genre. --Jeff Shannon