Tracs Movie Reviews

ICE-T LAUNCHED HIS FILM CAREER WITH THIS MEMORABLE 1991 CULT CLASSIC. THIS MOVIE FOLLOWS THE LIFE AND TIMES OF A DRUG KINGPIN NAMED NINO BROWN [WESLEY SNIPES. NINO THINKS HE'S UNTOUCHABLE BUT THREE STREET-SMART COPS ARE WORKING ON A BIG PLAN TO BRING NINO TO JUSTICE. THIS MOVIE IS SOMETIMES ACCUSED OF GLORIFYING DRUG DEALERS, BUT THAT'S NOT EVEN THE CASE. THIS MOVIE WAS MADE TO SHOW THE DANGERS OF BEING A DRUG DEALER AND IT SHOWS WHY DRUGS ARE ILLEGAL. THERE'S GREAT PERFORMANCES FROM EVERYBODY IN THE CAST. PEOPLE SHOULD REALLY PAY ATTENTION TO THIS FILM'S POWERFUL ANTI-MESSAGE. THIS MOVIE INSPIRED MANY IMITATIONS AND CLONES.

The story is not very unique - you have seen it before in "scar face" and you can clearly anticipate what's going to happen next. This is a ruthless movie of a small rookie's rise and fall. Nino makes it "big" by being more brutal then the other guys.... he has a group of followers who are loyal to him as long as he does not cross the line, but as always, success is blinding and Nino makes his mistakes (the moral lesson is as usual - if you are already a crook...don't indulge in the crime of vanity). We don't have Michelle Pfeifer in this movie (actually the woman characters are not very impressive) but we do have a group of beautiful afro-American actors led by the amazing Wesley snipes and Ice-T. Good music and a fast, cruel pace with the most powerful street characters.

of being angry at weak gang movies, like Belly, and state property, I realy didn't know what to expect when I saw this last year, when my brother brought it over. I was hoping it didn't turn out to be a horrible black crime movie, and tank God it wasn't. Wesley Snipes plays Neno Borwn, who's just Undeniebly one of the evilest characters in movie history. This guy doesnt' care who he sells dope to, kids, wemon, his boys, as long as he's sitting on a pile of money, and having the world in his hands. It also has Ice-T, who does real good in this this movie, so far his best performance, you got Allen Payne, playing Neno browns brother G-Money, and Chris Rock, in one of his early, less comidec films, as pookie, a crackhead. Well this movie does deliver some messages, and some good ol' shootouts. This is my favorite black crime movie. This may not be another Scarface, but it's the only black movie that can come close to it. So if you like Scarface, go check this out, and if you love Movies like Belly or State Property, this will make you forget about them, and throw em' in the garbage.

Bad music, carnivorism (I'm a vegetarian), and a sachrine-sweet atmosphere. So what makes this movie so great? It's wake-up call to anyone who still thinks interracial relationships are taboo: a big no-no. Seriously though, it sets a good message despite the dude being about 15 years older, it's hillarious (especially the dance scene with the maid's assistant and the deli delivery boy), and Katharine Houghton NOT a bad actress, despite what others may say. I think she plays her over-enthusiastic character quite well.
This review is not sarcasm, I assure you. No, I don't support the killing of animals, but that's such a small part of the story (turtle soup and deli) that it's hardly worth mentioning. A great move made in a time of racial turmoil. This may have even inspired the kiss between Captain Kirk and Communications Officer O'Hura.

Stanley Kramer's masterpiece joins two perfect characters together -- he's an incredibly accomplished doctor with impeccable manners and a solid family, and she's a gorgeous, charming and idealistic daughter of a newspaper magnate. The only thing that could possibly get in the way of this couple's marraige is the difference in their skin color.

The script is funny and first rate, and the hall of fame cast works together beautifully. Like Lubitsch's Ninotscka, the situations at times seem a bit dated, but that just adds to charm of the movie.

I bought this DVD 5 months ago and I really like it. I had watched this movie a lot as a child and was so excied when I saw it available on DVD. The DVD has a lot of cool specail features.

Here Is A brief Review:

Katharine HepBurn, and Spencer Tracys daughter. Kathryn Houghton comes home froma holiday to Hawaii with her Fiancee (of only 2 weeks ago of knowing each other) Sidney Potier. Well You can guess who katharine hepBurn and Spencer Tracy feel when their daughter comes home and says that she is engaged to someone of a different race. Well his parents fell the same way. This movie ends well.

Great Movie. 5 Star Rating.

I thought the actors were better than the script, and I thought the script was artificial, wooden and deadly dull. It simply was not funny. I didn't even care much for Judy Holliday (the only reason I watched and then kept a copy of this DVD), who, incidentally, did NOT win an Oscar for this flick! Hepburn was one of the kindest human beings in the theater (in the world!) and Tracy has long been a hero of mine, I love them both, but not in this fast-talking turkey. Only two things got my interest. What was Holliday's intention and did she kill Ewell at the start (I guess that's two things right there), and how did they manage the transexual metamorphoses at the end. I really didn't like it. Really.

The Tracy-Hepburn duo was never better than in this supremely witty, often laugh-out-loud comedy of two lawyers on opposite sides of the courtroom involved in an attempted murder case with the classic love triangle. The triangulators? Tom Ewell, Jean Hagen, and Judy Holiday--all in their first films. The lawyers? Why, Tracy and Hepburn of course--married to each other. Hep, the defense attorney, takes the case to vent her opinions on women's lib--one of the first films to lay it all out in the open on the subject. She defends poor little Judy, the wronged wife. Spence, the ADA, prosecutes to prove that Judy is nowhere near as innocent as she claims.

The back and forth here is so sharp you could cut yourself just listening to the lines. And there's the back and forth of courtroom and homefront, too. Hep and Spence go at it in both places and the lines supplied by real life husband-wife team of Ruth Gordon (Harold and Maude) and Garson Kanin are deliciously zingy so much of the time you eat em up even as your tongue is bleeding. Just too cool.

Amazing that this film has not aged at all. One of the great comedy classics and sure to remain so. If I could give this a sky full of stars, I would.

Zingalicious.

Of all the films that Katherine Hepburn and Spencer Tracy made together, this is my favorite. The two are absolutely brilliant as a husband and wife who are both lawyers on opposite sides of a case having to do with a woman defending her honor by shooting her husband when she finds him cheating on her. As great as the two leads are, however, this film is so rich and succeeds on so many levels that it would have been a great success even with two far less gifted performers. The film also features what was essentially the debut of three well known performers: Jean Hagen (who would shine only three years later in SINGIN' IN THE RAIN), Tom Ewell, and the absolutely magnificent Judy Holiday, arguably the greatest dumb blondes in the history of Hollywood (despite being by all accounts one of the most intellectually brilliant performers ever, once having scored over 170 on an IQ test). Holiday is especially great in the film, absolutely stealing every scene in which she appears. Her scene in the witness chair is my favorite scene in the film. David Wayne fills out a remarkable cast as Hepburn and Tracy's next door neighbor, a songwriter who pens the song "Farewell, Amanda" for Hepburn, who plays Amanda Bonner (Tracy is Adam Bonner, hence the title of the film). His constant bantering enlivens nearly every scene in which he appears.

George Cukor does his usual competent job directing, but the heart of the film, in addition to the acting, is the outstanding script by Ruth Gordon and Garson Kanin. The movie is stuffed with jokes, gags, emotional tension, and serious issues in a manner that is rarely successful. One of my few complaints with the film is the rather absurd handling of questions of women's equality, naively basing it on the ability of a woman to do anything a man can do, which is, of course, absurd in a variety of situations. For instance, they bring a Strong Woman into the court room, to demonstrate that a woman can be as strong as a man, though it is impossible to discern what legal point that is supposed to make, and leads to a moment of slapstick that is below the quality of the rest of the film. The silliness of this scene seems to undercut the seriousness of the issue of women's issues in the rest of the film. Also, one can see the wires used to make it appear the woman is lifting him over her head, making it seem even sillier.

This is one of those movies that improves upon reviewing, partly because a first viewing isn't sufficient to unveil all the excellences contained within it. It remains one of my favorite films by all of the principles involved.

I thought the actors were better than the script, and I thought the script was artificial, wooden and deadly dull. It simply was not funny. I didn't even care much for Judy Holliday (the only reason I watched and then kept a copy of this DVD), who, incidentally, did NOT win an Oscar for this flick! Hepburn was one of the kindest human beings in the theater (in the world!) and Tracy has long been a hero of mine, I love them both, but not in this fast-talking turkey. Only two things got my interest. What was Holliday's intention and did she kill Ewell at the start (I guess that's two things right there), and how did they manage the transexual metamorphoses at the end. I really didn't like it. Really.

The Tracy-Hepburn duo was never better than in this supremely witty, often laugh-out-loud comedy of two lawyers on opposite sides of the courtroom involved in an attempted murder case with the classic love triangle. The triangulators? Tom Ewell, Jean Hagen, and Judy Holiday--all in their first films. The lawyers? Why, Tracy and Hepburn of course--married to each other. Hep, the defense attorney, takes the case to vent her opinions on women's lib--one of the first films to lay it all out in the open on the subject. She defends poor little Judy, the wronged wife. Spence, the ADA, prosecutes to prove that Judy is nowhere near as innocent as she claims.

The back and forth here is so sharp you could cut yourself just listening to the lines. And there's the back and forth of courtroom and homefront, too. Hep and Spence go at it in both places and the lines supplied by real life husband-wife team of Ruth Gordon (Harold and Maude) and Garson Kanin are deliciously zingy so much of the time you eat em up even as your tongue is bleeding. Just too cool.

Amazing that this film has not aged at all. One of the great comedy classics and sure to remain so. If I could give this a sky full of stars, I would.

Zingalicious.

Of all the films that Katherine Hepburn and Spencer Tracy made together, this is my favorite. The two are absolutely brilliant as a husband and wife who are both lawyers on opposite sides of a case having to do with a woman defending her honor by shooting her husband when she finds him cheating on her. As great as the two leads are, however, this film is so rich and succeeds on so many levels that it would have been a great success even with two far less gifted performers. The film also features what was essentially the debut of three well known performers: Jean Hagen (who would shine only three years later in SINGIN' IN THE RAIN), Tom Ewell, and the absolutely magnificent Judy Holiday, arguably the greatest dumb blondes in the history of Hollywood (despite being by all accounts one of the most intellectually brilliant performers ever, once having scored over 170 on an IQ test). Holiday is especially great in the film, absolutely stealing every scene in which she appears. Her scene in the witness chair is my favorite scene in the film. David Wayne fills out a remarkable cast as Hepburn and Tracy's next door neighbor, a songwriter who pens the song "Farewell, Amanda" for Hepburn, who plays Amanda Bonner (Tracy is Adam Bonner, hence the title of the film). His constant bantering enlivens nearly every scene in which he appears.

George Cukor does his usual competent job directing, but the heart of the film, in addition to the acting, is the outstanding script by Ruth Gordon and Garson Kanin. The movie is stuffed with jokes, gags, emotional tension, and serious issues in a manner that is rarely successful. One of my few complaints with the film is the rather absurd handling of questions of women's equality, naively basing it on the ability of a woman to do anything a man can do, which is, of course, absurd in a variety of situations. For instance, they bring a Strong Woman into the court room, to demonstrate that a woman can be as strong as a man, though it is impossible to discern what legal point that is supposed to make, and leads to a moment of slapstick that is below the quality of the rest of the film. The silliness of this scene seems to undercut the seriousness of the issue of women's issues in the rest of the film. Also, one can see the wires used to make it appear the woman is lifting him over her head, making it seem even sillier.

This is one of those movies that improves upon reviewing, partly because a first viewing isn't sufficient to unveil all the excellences contained within it. It remains one of my favorite films by all of the principles involved.

I saw this movie in Film class, and typically when I'm forced to watch a movie the joy is taken out of it. Last Night was different, it was a complete joy. It's real, witty, charming, and touching as it follows the lives of various complex, real, and interesting characters.

Don't go into it expecting a Deep Impact style, special effect filled movie about asteroids of explosions. It's an analysis of character done with precision and care for every detail. A must see.

Most films dealing with apocalyptic themes, especially nowadays, likes to use a ton of flashy special effects and thundering soundtracks to convey the imminent demise of our planet. Fortunately for viewers who want something a little more thought provoking, other films about the end of the world occasionally slip through the cracks. One of these films is "Last Night," a chilling, low budget piece of cinema from Canada. "Last Night" doesn't have huge asteroids slamming into the planet, or killer plagues turning the human population into dust, but it does have heavy atmosphere and compelling performances from several actors and actresses you have probably never heard about. The movie even casts famous horror film director David Cronenberg in a major role. If you tire easily of the big Hollywood action/apocalypse films, turn to something like "Last Night" to get your Armageddon fix. About the only problem I had with "Last Night" concerned the play list on the radio station as it counted down the top 500 songs of all time. Personally, I didn't recognize very many of these tunes; I would have picked a few numbers that are more upbeat myself.

"Last Night" distressingly describes the last six hours of the last night the human race will ever see. Set in Toronto, Canada, the movie closely follows the final hours of several individuals, including a reclusive loner and his family, his best friend, an Asian woman desperately trying to reach her husband before the catastrophe arrives, an energy executive and his secretary, and a former high school French teacher. Perhaps surprisingly, most of these people sedately go about the last moments of their lives as though it isn't a big deal. The reason for this maddening calmness rests with the fact that the entire planet has known for some months that the end is coming, so most of the hysterical behavior you would expect to see has already worked itself out of most people's systems (Not everyone accepts their destiny. The streets are dangerous in places, with gangs going around tipping over buses or shooting and robbing people, but many people are staying at home quietly planning their final activities). What remains is a slightly sad resignation of the inescapable as each individual in the film goes about his or her personal business.

Duncan, the energy executive played by Canadian director David Cronenberg, spends his last few hours calling all of his customers to promise them that the power will remain on until the bitter end. Patrick Wheeler, the main character of the film and the loner who wishes to spend his last moments of life alone, makes an appearance at a family Christmas party where some of his pent up bitterness about a life cut short seep out in vitriolic comments to his parents and sister. His friend resorts to playing sexual games, trying to sleep with as many women of different races and physical attributes as possible. One of the women he conquers is his former French teacher, played effectively by a still sexy Genevieve Bujold. Bujold's appearance marks one of the most absurdly comic moments of the film when she quizzes a confused Patrick on his French speaking skills. The best performance in "Last Night" comes from the remarkable and beautiful Sandra Oh, who plays the Asian woman looking for her husband. She soon comes into Patrick's orbit, and seeks his help so she can carry out a grisly pact she made with her spouse. Oh, perhaps better than anyone else in the film, truly conveys the utter helplessness of the unfolding situation.

There seems to be some difficulty among viewers concerning what exactly will destroy the human race in this movie. I find this a bit odd because the ending gives a clear hint, and if that isn't enough, the fact that the sun still shines at midnight should provide a further clue. But what destroys the earth isn't as important as what the characters do regarding their impending fate, and that fate hangs over every action in the film like a black pall. Occasionally, the time flashes on the screen as the characters move another hour closer to doom, giving the whole film an incredible sense of claustrophobic tension. Arguably, the best line in the film comes from Patrick and his oversexed buddy, when Patrick says "See you later" and his friend replies without missing a beat, "No, you won't." Moments like these continually pull the viewer back into the unbearable agony of the film's central premise: There is no hope here, no magical hiding place in the mountains or under the sea where someone can avoid their fate. The ending is never in doubt in "Last Night."

If I had to compare "Last Night" with another film or book, I would say that Nevil Shute's "On the Beach" closely resembles this film in its psychological exploration of an unavoidable apocalyptic disaster. I noticed I was quiet and reflective for some time after watching this film, always a good indication that a movie or a book touched me in some way. Regrettably, the DVD of "Last Night" is a bare bones edition. All you get on the disc is a theatrical trailer and the film. I think a commentary would have been nice, at the very least, but ultimately the movie succeeds without any further elaborations by the director or writers. Hopefully, this great movie will see a reissue on DVD soon.

There is no more night, the world is plunged in eternal light. Toronto, 8PM, four hours before the end of the world. The government has closed down two months ago, there is no more police, and the city is under anarchy rule. The masses have claimed the streets : car travel is hazardous at best. Some people work to report or entertain people in the last hours (such as the radio announcer who proudly announces "here at CKRT... with you... until the end"), but most services are down. This is it. This is THE END. What do you do ?

Patrick Wheeler already knows the answer. He is invited to his parents' home, where his mother is preparing a Christmas dinner, even though it is not Christmas. A cynic at heart and seemingly disgusted at the "fake" of a family he never liked, he can't help disparaging his mother's efforts to give peace to her family. After he leaves, he is planning to wait until the last minutes, when he will install his radio system outside, play some good music, sit in a chair, and wait for the end. As good a way to go, I suppose.

Including Patrick, we follow a group of loosely-knit people as they prepare for the end, including Sandra Oh, whose desperation to get to her husband intertwines her life with Patrick, Craig Zwiller, best friend of Patrick who decides to spend his last days in constant sex, a French teacher (played by Geneviève Bujold), a pianist, and others.

In this frenzy of violence in the streets on the one hand, and the desire for a final accomplishment played out by his friends on the other hand, Patrick wants no part of all this and wants to die alone, but events conspire to derail his simple plans. He is interesting to follow, as an egoist character who spurns the superficiality and frenzy of those around him, while deeply aware of the gravity of the situation. Sort of tying the movie together is the president of the gas company (played by known sci-fi director David Cronenberg, an added plus), who has made it his job to call every customer to thank them and wish them good final hours.

The masses go crazy in fear and revolt, as masses are wont to do, but that's not what concerns the movie (a Hollywood take on this plot would have concentrated on the violence, or saving the Earth, or otherwise some meaningless romance, and that's why I don't bother to watch Hollywood movies). There is only as much violence as necessary, but this is not a slow movie - in fact, if there is one thing I have against Last Night, it's that it doesn't stop. Moments of contemplation would have helped.

As for how to define it, you could say it's a mix of black comedy and drama, although I'm not sure that really captures it. It all looks perfectly "natural", if you understand me - the humour and drama seem completely incidental. This is what impressed me most.

Like Cube, it got moderate critical approval but few people seem to think it's a masterpiece. I guess my love for science-fiction shines through again. This is the kind of movie I love - hard science-fiction, no special effects, no more violence than necessary, paced like clockwork (in this case, I guess there was not much choice, huh ?), lots of dialogue, as natural as possible, and very moving despite - or rather, because of - the lack of Hollywood-like action and histrionics. If you have the same tastes as I do, it is highly likely that you will love Last Night. The acting is delicious, especially Don McKellar as Patrick (he really enhances the movie as its main actor), and David Cronenberg.

In his review, Roger Ebert recounts the following anecdote. On a talk show in Toronto, Wayne Clarkson, the former director of the Toronto Film Festival, explained the difference between Canadian and American movies by using Last Night as example : "Sandra Oh goes into a grocery story to find a bottle of wine for dinner. The store has been looted, but she finds two bottles still on the shelf. She takes them down, evaluates them, chooses one, and puts the other one politely back on the shelf. That's how you know it's a Canadian film."

Patrick Wheeler: I think maybe I should mention before you make any faux pas here, that we have a tradition in this family, that we don't kill other people.

William Peter Blatty wrote a book called The Exorcist, which was published in 1971 and quickly became a best seller of historic proportions. Never before had the public read such horrible and sexually explicit material - and about a child possessed by the devil.

Hollywood quickly optioned the book, and the result was the William Friedkin directed masterpiece, "The Exoricst." The film went on to win critical and popular acclaim. In the theater, people fainted and vomited as a result of the horrors they saw on the screen. Because of a scene in the film, a new color was named: Linda Blair green (the young actress who portrayed the possessed child).

The film became so wildly successful that for a time it had the distinction of having the most successful boxoffice of any film in history. It was only a matter of time before Hollywood cranked out a sequel.

The result was "The Exorcist II: The Heretic". This film was created completely by screenwriters and producers with an eye for dollars and with no attention to the subject matter. Most of the principle actors from the first film passed this time around and those that remained were sorry they had. The Exorcist II: The Heretic is often thought of as one of the worst films in history.

While Hollywood was screwing around with characters he had created, William Peter Blatty was busy writing the real sequel to his original book. It was called "Legion" (some places called it The Exorcist III, but since it was a book sequel, this is incorrect).

Hollywood then optioned this film, and Blatty held firm and decided that he would make the movie himself, to protect his property. He was right to have done so.

The film: The Exorcist III: Legion, is a tight, psychological thriller that picks up a few years after the events of the original book (and the original movie). Regan is gone and the film centers on Detective Kinderman (George C. Scott). He has the dubious task of dealing with a serial killer who is mimicking an executed serial killer with precision that only the real killer could know. Kinderman soon discovers that a mysterious patient in the criminal ward of the insane asylum may hold the secret to who is really killing these people. What happens next is nothing short of amazing. It further ties this film to the first and the characters as well.

This movie is big on mood, lighting, visuals, and character. In short, it's really quite good. It's never very gory, though many gory things take place - just off screen. Some of the most frightening scenes that take place are filled with utter silence on screen and in the most docile of places. You will find yourself jumping and squealing as events unfold before you. This is a very well crafted horror film.

I encourage you to take a look at this film and forget that there ever was an Exorcist II: The Heretic. The Exorcist III: Legion is the real owner of that title.

I'll be honest, I had ZERO expectations for this film. The second film the series was perhaps the most God awful film I've had the displeasure of sitting through. Then when this one came to theaters, it bombed both critcally and financially. Now, with the fourth one on the horizon, I thought I'd go back and catch up by watching this one. I have to say, I was totally taken aback after viewing this film. It was the first film to give me the chills in over fifteen years (and I've sat through more horror films than most die hard horror fans).
One scene in particular (one I wouldn't dream of giving away), completely caught me off guard with it's use of subtlety and eerie sound effects. There is little on screen gore, as William Peter Blatty (writer/director) has his characters describe everything in great detail through the dialouge. This leaves most of it to your imagination, which tends to be more horrific in the long run. Save for a few really chilling close ups, the direction is pretty straight forward. Most of it is of the point and shoot variety, which really disarms the viewer when Blatty decides to lay on the scares.
The acting also suprised me with George C. Scott turning in an emotional performance (slightly over played, but that's always been his style). The real show stopper would have to be Brad ("Child's Play")Dourif, playing yet another psychopath with his usual brilliance. The interplay between him and Scott in the cell room came across very shudder-some. It reminded me of the scenes with Foster and Hopkins in "Silence of the Lambs" (though one should point out this predated "Silence" by a year!).
If I have any complaints, I suppose the climax would have to be it. It's as if someone else came in and shot a different ending (which may the case for all I know). It feels like your suddenly watching someone else's film right at the most crucial moment. The other complaint would have to be the presentation on the DVD itself. The picture is a little hazy and it's pretty much a "bare bones" package, with no real special features.
That aside, this film is a definate must see for all those horror and mystery buffs who may have overlooked this gem back when it was first released. Very smart thriller, which probably would've done better had it been released under the title "Legion" (the novel which it was based on, also written by Blatty), than as the third in the "Exorcist" series. Don't get me wrong, this is a great follow up to "The Exorcist" and really the only sequel I would consider to it. But the film stands well on it's own and it's a shame so few ever gave it the time of day becuase of it's roman numeral in the title.

Let's break out the Holy Water and crucifix, don our sacred vestments, run through the Liturgy of Exorcism, and get medieval on "Exorcist 3: Legion": is this a movie worthy of carrying the mantle of what many call the scariest movie ever made, or does it cry out to be exorcised of cinematic mediocrity?

Fear not: "Exorcist 3" is a lush and haunting creepshow that boasts original "Exorcist" author William Peter Blatty in the director's chair, crisp cinematography by Gerry Fisher ("Highlander", "Wolfen"), and a spooky score that knows when to get low-key. Add to that George C. Scott in the role of Detective Lt. Bill Kinderman, a crusty cinephile brought back to those wickedly steep Georgetown steps when a serial killer slaughters and mutilates two priests and a young boy---brutal killings that are particularly baffling when police recognize the brutal signature of the infamous Gemini Killer---but the Killer died 15 years ago, and the fingerprints suggest the murders were carried out by three separate killers.

Blatty's direction and a fine ensemble cast makes "Exorcist 3" a worthy successor to the original which manages to bury the silliness of "Exorcist2", and best of all the film ratchets up the terror. "Exorcist3" is not afraid to take chances, and while not the grand opera that Friedkin's original is, for my money it is far more terrifying and infinitely creepier.

This time the Devil is finished messing around with random adolescents and has decided instead to launch a blitzkrieg against the morally weak and feeble minded. The mixture of forensic weirdness and supernatural strangeness brings Kinderman back together with old friend Father Dyer (the society priest from the original, now contrite and played effectively by Ed Flanders), and by the time the credits roll even Father Damien Karras has put in an appearance, joining Old Scratch to make "Exorcist 3: Legion" a reunion of sorts!

"Exorcist 3" is monstrously entertaining and genuinely scary. Blatty has a remarkable flair for taking his well-crafted set-pieces and milking them for every ounce of spooky atmosphere: from Kinderman's audience in a Bishop's shadowy office, to the antiseptic cell-block housing a mysterious lunatic, to a hospital wing which features one of the most terrifying sequences in movie history, Blatty is in total control of his medium, using sound effects, actors' faces, and the film's lurking and creepy soundtrack to crank up the terror.

And you get so many other fine little nuggets here, including: a typically tasty turn by the great Brad Dourif as the Gemini Killer; cameos by Fabio Volpe, Samuel L. Jackson, and even former Surgeon General C. Everett Koop; Colleen Dewhurst as the strangled voice of Satan; and a painful scene in which a Catholic priest is turned into a human refrigerator magnet. Ouch!

Like its worthy predecessor "The Exorcist", "Exorcist 3" is a superbly directed spookshow about modern men wrestling with the silence of God, mortal terror, and the problem of Evil. But unlike Friedkin's original, Blatty seems less concerned with bile and gore, and far more interested in figuring out what happens when Man stares too long into the face of Evil. There are fates worse than Death.

But don't let that scare you away if you think it's a "chick flick". It really makes you think about just how hard it would be to be "mentaly different", and what a mirical love is.

love the movie, has charm, innocent, and funny.

This movie is simply amazing. These characters are fantastically portrayed by the actors - this was such an underrated film! I am not just saying this because I love Giovanni Ribisi so much (though I must say, he is fantastic). This movie had me rolling on the floor laughing, and at other times sobbing like a baby. It never fails; every time I watch it this happens! It shows that even the "simpelest" of people can fall into complicated love relationships, but sometimes it's so easy to express...
"I love you more than band music and cookie making." ;-)

It really did. Here's how it went down.

I watch the movie and i'm touched by the portrayal of the introverted chick, she's fleshed out and completely credible, worthy of empathy. I had no bloody idea what the movie was doing, i was just rooting for the chick, i hope she made good, i knew so many chicks like her.

Then all of a sudden it turns surreal and the part that the actors couldnt salvage comes up. I can picture an alternate universe where this was a quirky little independant movie with a happy ending that made good. Watching this immediately after amelie may induce suicide.

But i digress, on to spoiling the movie. The lovable introverted chick, on the verge of true love and being able to have a happy life, flips out and everything turns awful. I was dismayed to see this, parts hit too close to home and a few suicidal ex-girlfriends. But when she gouged out her eye, i just puked. Really and truly kids.

Now i'm 18m and not at all easily rattled, and i cant remember the time i barfed before that.

Horrible, just horrible. I rented this because it was mentioned in the same sentence as "Donnie Darko." What a disappointment. The characters actions/reactions make little sense and the actors obviously have a hard time with the material. May is so over-the-top with her dysfunction that she seems to have all the social skills of a 3-year-old. It made no sense for this fella to even get as far with her as he did.
The nympho/lesbian co-worker provides a semi-humorous thread, but again, it is so over-the-top that it is just campy. I won't "spoil" the ending, but I will just say that it is ludicrous. The problem with over the top, for me, is that it then takes the movie out of the realm of "reality" and thus is not scary or creepy because I am no longer taking it seriously. This movie may have had tongue firmly in cheek, but regardless, just came off as very poorly executed.

I really enjoyed this movie, and I am glad I watched it. I enjoy most unusal and strange films. These kinds of movies are the kind that keep you intriged and wondering whats gonna happen next. If you only like mainstream movies then maybe this isn't your type of movie. But if you like unusual films give this one a try.

A big time gangster in Hong Kong is wanted by the police for weapon smuggling, and the clues lead to death and destruction. At the same time there is a disagreement between two inspectors within the police force on how to approach the case. Inspector Chan wants to get someone young inside the crime syndicate that does appear or behave as a police officer. This is when he stumbles across Match, Alien and Jack who are three rejects from the police academy. The trio approaches the syndicate and somehow gets into something very big where the Japanese Yakuza is involved. Gen-X Cops is an entertaining film that produces some laughs and thrills, but not more.

"Gen X Cops" isn't quite your average Hong Kong action movie, adopting instead the look of a low budget Hollywood summer flick. A trio of young cops with an attitude tail gangsters all while looking pretty damn cool at it. Jack (Nic Tse), Match (Stephen Fung), and Alien (alien-like Sam Lee) find themselves kicked out of police academy only to be picked up by Officer Chan (Eric Tsang), himself on the outs with his unsympathetic superiors. Chan wants their help on a dangerous undercover mission, one involving gang bosses, gang betrayals, and rocket fuel (??) They're joined by Y2K (Grace Yip) whose sole purpose it seems is to be the tough girl of the group. Everyone's got a little something to prove and set out to get a little respect. Balletic gunfights, questionable English, and the explosion of a Hong Kong landmark ensue.

The formulaic plot satisfies for the most part and makes sense in that action movie sort of way. Nothing is too over-the-top, equaling harmless fun for all. Clearly no one is taking themselves too seriously, and director Benny Chan was smart in throwing in a healthy dose of humor. The end result is a slick, satisfying 1 1/2 hour reality break.

The cast consists mostly of young talents but the older actors turn in some scene stealing performances as well. Francis Ng, who owns every role he takes, stands out as gang boss Lok. He possesses an intensity that keeps his character believable without giving into parody. (Beware Jackie Chan fans; he produced the movie and only appears for a one minute cameo at the end.)

The DVD extras won't disappoint either. In addition to the Coming Attractions, the Special Features include cast and credit info, a production diary, a film magic sequence exhibiting storyboards and special effects, a Making Of, additional footage, and trailers and TV spots. There are Cantonese and Mandarin language tracks with traditional, simplified, and English subtitles. There is also a great in-depth commentary (w/ subtitles) from the cast and crew. Unfortunately some of the special features do not have subtitles, though you won't miss much. Another drawback is the overall sound quality of the Cantonese track, which is uneven at best.

This movie is a great movie. It made me laugh so hard that my face just stayed screwed that way for some minutes. At first I mistook Toru Nakamura for Takeshi Sorimachi but hehehe...They both look nice...p^_^q. I love how Toru Nakamura's character is calm. And Daniel Wu looked adorable with that smile of his...

I watched this movie about two months ago and I only enjoyed
Al Pacino in it,he was superb in this movie and very funny
under the heavy makeup.About Madonna and Warren Beaty I
Didn't like their acting and i'm still not a big fan for
the both of them.The soundtrack of the movie is boring
[The worst songs of Madonna].Except the set decoration,
the wonderful makeup for the actors and the great actor
Al Pacino there isn't any thing intersting in this trash.
The script is awful and the main character played by Warren
Beaty is one the most boring characters in the history of
the American cinema.

While the movie is visially great the writers seemed to have forgotten that it was not just the appearance of Gould's villans that made them famous and interesting but their character traits as well. Adding to this problem is that seemingly every famous villain Gould created between 1938-1949 is in the picture. So not only do you have way too many characters to flesh out properly but for them to fit the story many of the character traits and professions Gould gave them in the strip had to be removed or changed.

The irony here is because of this the LESS you know of Gould's actual creations the more you will enjoy the picture. Conversely if you are a die hard Tracy fan who knows Gould's villains inside and out this film is very disappointing.

What can you say that hasn't been said about this semi-dark example of "film noire"? Everything about the movie reeks professionalism but in order of importance we have character, mood/setting and plot.

Whoever chose the actors and actresses deserves a special commendation. After viewing the file for perhaps the fifth time it seems no one could have been a better Tracy than Beatty and Madonna's part seemed absolutely natural as the temptress / schemer / wannabe lover, the perfect Tess and the irrascible "kid". The period setting and dark, Chicago, night clubbish modd was near perfection and was only enhanced by the fabulous Sondheim score that blended into the plot effortlessly.

The actions was straight-forward: Good cop vs Bad criminal. And in the end the good guy wins but not without pangs of regret for what might have been. The cameo performances were just the right touch and the tongue-in-cheek attitude stayed to the end.