V Movie Reviews

To many, Brief Encounter may seem like a relic of more proper times--or, specifically, more properly British times--when the pressures of marital decorum and fidelity were perhaps more keenly felt. In truth, David Lean's fourth film remains a timeless study of true love (or, rather, the promise of it), and the aching desire for intimate connection that is often subdued by the obligations of marriage. And so it is that ordinary Londoners Alec (Trevor Howard), a married doctor, and contented housewife Laura (Celia Johnson) meet by chance one day in a train station, when he volunteers to remove a fleck of ash from her eye (a romantic gesture that, perhaps, inspired Robert Towne's "flaw in the iris" scene in Chinatown).

It so happens that their schedules coincide at the train station every Thursday, and their casual attraction grows, through quiet conversation and longing expressions, into the desperate recognition of mutual love. From this point forward, Lean turns this utterly precise, 85-minute film into a bracing study of romantic suspense, leading inevitably, and with the paranoid, furtive glances of a spy thriller, to the moment when this brief encounter must be consummated or abandoned altogether. Decades later, the outcome of this affair--both agonizing and rapturous--is subtle and yet powerful enough to draw tears from the numbest of souls, and spark debate regarding the tragedy or virtue of the choices made. A truly universal film, with meticulously controlled emotions revealed through the flawless performances of Howard and Johnson, and an enduring masterpiece that continued Lean on his course to cinematic greatness. --Jeff Shannon

This farewell episode for Joel Hodgson is a sentimental favorite but even more worth it for the hilarity spawned by our captured Satellite of Love friends. The movie centers on the hapless, big lug cop named Mitchell (Joe Don Baker), who fights the rich and powerful drug-dealing bad guys. Along the way, Mitchell finds himself investigating murder, falling "in sex" with Linda Evans, helping an elderly woman like a good son, and telling a bothersome wisecracking kid to buzz off. Match that with clothing and music from 1975 and you've got prime fodder for the biting remarks of Joel, Crow, and Tom Servo--which, of course, they take advantage of handily and in abundance. Mitchell has a few quiet areas but these are spotty, and when Joel and his mechanical friends start wisecracking, it's all hilariously worth the wait. Mitchell: So '70s, you'd swear Kris Kristofferson was moaning the theme song in the background. --Karen Karleski

Hit man Martin Q. Blank (John Cusack) is in an awkward situation. Several of them, actually. He's attending his high school reunion on an assignment; he's got a rival hit man (Dan Aykroyd) on his tail; and he's going to have to explain to his old girlfriend (Minnie Driver) why he stood her up on prom night. This amiable black comedy, cowritten by Cusack and directed by Jonathan Demme protégé George Armitage (Miami Blues), has the feel of Demme's Something Wild and Married to the Mob--which is to say its humor is dark and brightly colored at the same time. Cusack and Driver are utterly charming--as is the leading man's sister, Joan, who plays his secretary. (Ms. Cusack received an Oscar nomination for her next role, in In & Out.) Alan Arkin is also very funny as Martin's psychiatrist. --Jim Emerson

Don Knotts and Tim Conway star in The Private Eyes, a 1980 comedy about two bumbling detectives solving a murder. It's an impressively incompetent affair. Every ancient joke falls with a muffled thud as Knotts and Conway ham their way through the pointless story: The lord and lady of a capacious manor are killed, and the lord's ghost seems to have returned to knock off the staff one by one. There's an austere housekeeper, a snooty butler with compulsive twitches, a sexy upstairs maid, a deformed groomsman, and a buxom young heir to the estate, who of course is going to be in some state of undress before the movie is over. People get killed, their bodies disappear, Knotts and Conway wander aimlessly through secret passageways, dimly seeking some way out of this movie. Conway cowrote the script, so he gets most of the blame; Knotts was probably just happy to have the work. --Bret Fetzer

Like, radical, dude--but not nearly as funny as it should be, even though it was a box-office hit. Keanu Reeves and Alex Winter are a pair of dim Valley boys, whose life is made heinous by a school history project. Enter George Carlin as a futuristic dude with a time-traveling phone booth. So Bill and Ted go back in time to round up a gang of historical figures (Socrates, Joan of Arc) to bring back for their presentation. Abe Lincoln at the mall? That's about as witty as it gets, rendering this the kind of comedy that gives teenaged audiences a bad name. --Marshall Fine

Very few films come close to the brilliance Kenneth Branagh achieved with his first foray into screenwriting and direction. Henry V qualifies as a masterpiece, the kind of film that comes along once in a decade. He eschews the theatricality of Laurence Olivier's stirring, fondly remembered 1945 adaptation to establish his own rules. Branagh plays it down and dirty, seeing the bard's play through revisionist eyes, framing it as an antiwar story. Branagh gives us harsh close-ups of muddied, bloody men, and close-ups of himself as Henry, his hardened mouth and willful eyes revealing much about this land war. Not that the director-star doesn't provide lighter moments. His scenes introducing the French Princess Katherine (Emma Thompson) are toothsome. Bubbly, funny, enhanced by lovely lighting and Thompson's pale beauty, these glimpses of a princess trying to learn English quickly from her maid are delightful.

What may be the crowning glory of Branagh's adaptation comes when the dazed, shaky leader wanders through battlefields, not even sure who has won. As King Hal carries a dead boy (Empire of the Sun's Christian Bale) over the hacked-up bodies of both the English and French, you realize it is the first time Branagh has opened up the scenes: a panorama of blood and mud and death. It is as strong a statement against warmongering as could ever be made. --Rochelle O'Gorman

Perhaps the most widely read philosopher of the 20th century, Ayn Rand has delighted and infuriated people of all ideologies and, like it or not, has helped to create the political realities we deal with every day. With Ayn Rand: A Sense of Life you can follow her life story, from her childhood in the turbulent years of revolution in her native Russia to her great success as a popular writer and deep thinker in the United States. This comprehensive look at a fascinating woman uses interviews with friends and colleagues, family photos, clips of her speaking, and great moments from the films she wrote to portray a complex, passionate person with the brains to articulate her ideals and the guts to stand up for them. Trying to get work in 1930s Hollywood wasn't easy for such a rabid anti-Communist, but Rand persisted and the tales of her life in the theater, her lifelong relationship with actor Frank O'Connor, and her midlife career change from novelist to political philosopher are both inspiring and dramatic, just as she'd want them to be. --Rob Lightner