Vaughn, Vince Movie Reviews

For anyone who wants to catch a glimpse of the Los Angeles "lounge" scene that was in vogue during the early and mid-1990s, here's the movie that virtually defined that brief but colorful nightlife milieu. As an added bonus, it just happens to be a very funny, observant story about love, loss, and male bonding among a group of friends who struggle to find decent jobs by day, and lurk through Hollywood's hottest nightclubs by night. A sort of latter-day Rat Pack, they include Mike (writer-actor Jon Favreau) and his closest buddy, Trent (Vince Vaughn), who are waiting for the big show-biz break that seems to be eluding them. Mike's twisted up about the girlfriend he left back East to pursue his going-nowhere standup comedy career, and Trent uses the word "money" as an adjective ("Man, we look totally money tonight") with such frequency that you may find yourself slipping into lounge-lizard mode after watching the movie. One of the most noteworthy indie-film success stories of the '90s, this time-capsule comedy seized its moment in the spotlight, launched several promising careers, and continues to maintain its lasting appeal. --Jeff Shannon

For anyone who wants to catch a glimpse of the Los Angeles "lounge" scene that was in vogue during the early and mid-1990s, here's the movie that virtually defined that brief but colorful nightlife milieu. As an added bonus, it just happens to be a very funny, observant story about love, loss, and male bonding among a group of friends who struggle to find decent jobs by day, and lurk through Hollywood's hottest nightclubs by night. A sort of latter-day Rat Pack, they include Mike (writer-actor Jon Favreau) and his closest buddy, Trent (Vince Vaughn), who are waiting for the big show-biz break that seems to be eluding them. Mike's twisted up about the girlfriend he left back East to pursue his going-nowhere standup comedy career, and Trent uses the word "money" as an adjective ("Man, we look totally money tonight") with such frequency that you may find yourself slipping into lounge-lizard mode after watching the movie. One of the most noteworthy indie-film success stories of the '90s, this time-capsule comedy seized its moment in the spotlight, launched several promising careers, and continues to maintain its lasting appeal. --Jeff Shannon

Elizabeth Taylor has never been sexier than as Tennessee Williams's hot-blooded Maggie "The Cat" Pollitt, prowling around her boudoir in a slinky white slip. That's how you know her alcoholic, ex-football-player husband, Brick (Paul Newman), must have more than just his leg in a cast. It's the 65th birthday of wealthy (but dying) southern patriarch Big Daddy (Burl Ives), and his sons Gooper (Jack Carter) and Brick have come to suck up to him for $10 million in inheritance money. Gooper is a family man and father to a brood of "no-neck monsters"; youngest boy Brick is papa's favorite (as if you couldn't tell from the fellow's names), but hasn't sired progeny. Maggie is definitely in heat, but Brick refuses to sleep with her because he suspects her her of being unfaithful with his best friend, who recent committed suicide. Although toned down for the movies, Cat on a Hot Tin Roof is vintage Tennessee Williams. The film was directed by Richard Brooks (In Cold Blood, Blackboard Jungle, Elmer Gantry). --Jim Emerson

Elizabeth Taylor has never been sexier than as Tennessee Williams's hot-blooded Maggie "The Cat" Pollitt, prowling around her boudoir in a slinky white slip. That's how you know her alcoholic, ex-football-player husband, Brick (Paul Newman), must have more than just his leg in a cast. It's the 65th birthday of wealthy (but dying) southern patriarch Big Daddy (Burl Ives), and his sons Gooper (Jack Carter) and Brick have come to suck up to him for $10 million in inheritance money. Gooper is a family man and father to a brood of "no-neck monsters"; youngest boy Brick is papa's favorite (as if you couldn't tell from the fellow's names), but hasn't sired progeny. Maggie is definitely in heat, but Brick refuses to sleep with her because he suspects her her of being unfaithful with his best friend, who recent committed suicide. Although toned down for the movies, Cat on a Hot Tin Roof is vintage Tennessee Williams. The film was directed by Richard Brooks (In Cold Blood, Blackboard Jungle, Elmer Gantry). --Jim Emerson

Set in Montana's Big Sky country, shot in Utah, lensed by Eric Alan Edwards (cinematographer of My Own Private Idaho)--no wonder it's hard to tell where Clay Pigeons lives, or where it's going. A Ridley Scott protégé previously at home in commercials and videos, debuting director David Dobkin aims to deliver us into the blackly comedic badlands of neo-noir, territory mined by the likes of Red Rock West and Fargo. Pigeons launches strongly, with several cruel turns of the screw. Out target-shooting, Clay Birdwell (Joaquin Phoenix) is hit with the news that his best pal knows he's been boffing his ur-slut wife (Georgina Cates) and could take Clay out on the spot, but chooses a creepier revenge--committing suicide in order to frame the guy who's cuckolded him. Naturally, Clay covers up the mess, thereby opening the film's can of very nasty worms. A slick, fast-talking cowboy (Vince Vaughn)--the funhouse-mirror-opposite of Phoenix's sweet, slow farmboy--turns up, and a string of ugly murders begins to play out. Once Vaughn's Lester Long is on the scene, spreading his psychotically giggling bonhomie, Dobkin's skin-deep riff on Hitchcock's Strangers on a Train pretty much belongs to him. The rest of the cast looks more or less like clay pigeons set up by a scattershot script: exceptions include the always-estimable Scott Wilson who transforms his caricature-prone Sheriff Mooney into a character of nuanced humanity, and Janeane Garofalo, as an urban-hip FBI agent, whose single-chick sarcasm goes down in flames when Lester unholsters those big guns of come-hither charm. John Lurie of Lounge Lizards fame contributes a distinctive score, but Elvis Presley acts as the film's patron saint in more ways than one: Clay Pigeons' sexiest, scariest wet work is choreographed to "It's Now or Never." --Kathleen Murphy

Set in Montana's Big Sky country, shot in Utah, lensed by Eric Alan Edwards (cinematographer of My Own Private Idaho)--no wonder it's hard to tell where Clay Pigeons lives, or where it's going. A Ridley Scott protégé previously at home in commercials and videos, debuting director David Dobkin aims to deliver us into the blackly comedic badlands of neo-noir, territory mined by the likes of Red Rock West and Fargo. Pigeons launches strongly, with several cruel turns of the screw. Out target-shooting, Clay Birdwell (Joaquin Phoenix) is hit with the news that his best pal knows he's been boffing his ur-slut wife (Georgina Cates) and could take Clay out on the spot, but chooses a creepier revenge--committing suicide in order to frame the guy who's cuckolded him. Naturally, Clay covers up the mess, thereby opening the film's can of very nasty worms. A slick, fast-talking cowboy (Vince Vaughn)--the funhouse-mirror-opposite of Phoenix's sweet, slow farmboy--turns up, and a string of ugly murders begins to play out. Once Vaughn's Lester Long is on the scene, spreading his psychotically giggling bonhomie, Dobkin's skin-deep riff on Hitchcock's Strangers on a Train pretty much belongs to him. The rest of the cast looks more or less like clay pigeons set up by a scattershot script: exceptions include the always-estimable Scott Wilson who transforms his caricature-prone Sheriff Mooney into a character of nuanced humanity, and Janeane Garofalo, as an urban-hip FBI agent, whose single-chick sarcasm goes down in flames when Lester unholsters those big guns of come-hither charm. John Lurie of Lounge Lizards fame contributes a distinctive score, but Elvis Presley acts as the film's patron saint in more ways than one: Clay Pigeons' sexiest, scariest wet work is choreographed to "It's Now or Never." --Kathleen Murphy

When three thirtysomething friends with woman troubles (Luke Wilson, Will Ferrell, and Vince Vaughn) decide to form a fraternity, it's supposedly to save Wilson from losing his house, which the nearby college is trying to claim for academic purposes. But really, Ferrell and Vaughn are desperate to return to the reckless, feckless days of beer bongs and hot chicks, and they drag Wilson along with them as they throw themselves into gathering frat pledges of all ages. Old School could have been just another string of bad jokes hanging on a flimsy plot, but the script and the cast have a jovial energy and just enough grounding in reality--at least, up until the obligatory beat-the-system ending, but by that point you'll forgive the excesses of this silly, cheerful, and frequently funny movie. Featuring Jeremy Piven and Juliette Lewis, with cameos by Snoop Dog, Andy Dick, and others. --Bret Fetzer

When three thirtysomething friends with woman troubles (Luke Wilson, Will Ferrell, and Vince Vaughn) decide to form a fraternity, it's supposedly to save Wilson from losing his house, which the nearby college is trying to claim for academic purposes. But really, Ferrell and Vaughn are desperate to return to the reckless, feckless days of beer bongs and hot chicks, and they drag Wilson along with them as they throw themselves into gathering frat pledges of all ages. Old School could have been just another string of bad jokes hanging on a flimsy plot, but the script and the cast have a jovial energy and just enough grounding in reality--at least, up until the obligatory beat-the-system ending, but by that point you'll forgive the excesses of this silly, cheerful, and frequently funny movie. Featuring Jeremy Piven and Juliette Lewis, with cameos by Snoop Dog, Andy Dick, and others. --Bret Fetzer

When three thirtysomething friends with woman troubles (Luke Wilson, Will Ferrell, and Vince Vaughn) decide to form a fraternity, it's supposedly to save Wilson from losing his house, which the nearby college is trying to claim for academic purposes. But really, Ferrell and Vaughn are desperate to return to the reckless, feckless days of beer bongs and hot chicks, and they drag Wilson along with them as they throw themselves into gathering frat pledges of all ages. Old School could have been just another string of bad jokes hanging on a flimsy plot, but the script and the cast have a jovial energy and just enough grounding in reality--at least, up until the obligatory beat-the-system ending, but by that point you'll forgive the excesses of this silly, cheerful, and frequently funny movie. Featuring Jeremy Piven and Juliette Lewis, with cameos by Snoop Dog, Andy Dick, and others. --Bret Fetzer

When three thirtysomething friends with woman troubles (Luke Wilson, Will Ferrell, and Vince Vaughn) decide to form a fraternity, it's supposedly to save Wilson from losing his house, which the nearby college is trying to claim for academic purposes. But really, Ferrell and Vaughn are desperate to return to the reckless, feckless days of beer bongs and hot chicks, and they drag Wilson along with them as they throw themselves into gathering frat pledges of all ages. Old School could have been just another string of bad jokes hanging on a flimsy plot, but the script and the cast have a jovial energy and just enough grounding in reality--at least, up until the obligatory beat-the-system ending, but by that point you'll forgive the excesses of this silly, cheerful, and frequently funny movie. Featuring Jeremy Piven and Juliette Lewis, with cameos by Snoop Dog, Andy Dick, and others. --Bret Fetzer