On top of that, Touch of Evil makes him a Mexican! I love it! Charlton Heston plays a Mexican detective!
Continue reading: Touch Of Evil Review
Finally, we have The Omega Man, based on a popular Richard Matheson science fiction novel entitled I Am Legend. I'm surprised that this film hasn't become part of pop culture, since it features Heston as the last virile hero on the planet (involved in an interracial romance -- a bold political move at that time).
Continue reading: The Omega Man Review
This memorable adaptation of the novel Monkey Planet, authored by Pierre Boulle (the same guy who wrote The Bridge on the River Kwai), was brought to life by the infamous producer Arthur Jacobs, who eventually oversaw the production duties for the entire Apes saga. No studio except Fox would touch the project with a ten-foot pole, despite the participation of Rod Serling, who co-authored the screenplay adaptation of Boulle's novel (and which led to 30 drafts), Charlton Heston, Roddy McDowall, and Kim Hunter (Stella from A Streetcar Named Desire), and the amazing ape makeup by first-timer John Chambers.
Continue reading: Planet Of The Apes (1968) Review
At its core, Any Given Sunday is the story of Miami Sharks coach Tony D'Amato (Al Pacino - The Godfather, Dog Day Afternoon) and his two quarterbacks, Willie Beamen (Jamie Foxx - The Great White Hype, Booty Call) and Cap Rooney (Dennis Quaid - The Big Easy, Innerspace). The quarterback is the most vital position in the game. He is the team spokesperson and field chief, and he serves as a crucial link between coaches, administration, and players. When legendary two-time Pantheon Cup (aka: Super Bowl) champion Cap Bowman ruptures a disk after a bone crushing hit, coach Tony is left with Willie Beamen (Foxx), an athletic, yet untested QB. His team has lost four straight and appears to be plummeting in a downward spiral with the playoffs right around the corner. He's got delusional team owner Christina Pagniacci (Cameron Diaz) and sports analyst Jack Rose (John McGinley, doing his best Jim Rome impersonation) breathing down his neck because of his outdated coaching style, and a team of players he's losing control of.
Continue reading: Any Given Sunday Review
The definitive populist telling of the Wyatt Earp story, Tombstone has more fun with the story than traditionalist versions like Kevin Costner's Wyatt Earp, with a younger, more crowd-pleasing cast -- Thomas Haden Church plays a bad guy; Jason Priestley is a deputy. And it's got more factual holes than the Clanton gang ended up with -- all in the name of serving up Good Clean Fun.
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Point for point, I agree with just about everything mordant muckraker Michael Moore has to say in his gun violence documentary "Bowling for Columbine," but pardon me if I shoot the messenger (ooh, the horrible pun!) for his propagandist approach to the subject that comes close to crippling his credibility.
Inspired in part by the 1999 school shootings in Colorado that lend the film its title (teenage gunmen Eric Harris and Dylan Klebold went bowling before school the day they killed 12 classmates and a teacher), this film is a potent and sometimes profound bully-pulpit examination of the extent of our nation's propensity for violence, and a quest for the problem's roots. In the tradition of his General Motors-haranguing sardonic-umentary "Roger and Me," Moore travels the U.S. and Canada interviewing city officials, riding along on training missions with the Michigan militia, and opening an account at a small-town bank where free checking also comes with a free firearm (no fooling).
The man has a talent for giving his interviewees just enough rope to hang themselves, like James Nichols -- the borderline-psychotic brother of Oklahoma City bombing conspirator Terry Nichols -- does when he gladly volunteers that "it's an American responsibility to be armed." Soon thereafter he jokingly puts a loaded gun to his head before launching into a conspiracy diatribe that almost has him foaming at the mouth.
Continue reading: Bowling For Columbine Review
Why do so many boy-and-his-dog type kiddie movies have a scene at the end in which it looks as if hero hound has died, only to have the critter spring back to life after half the kids in the audience have started crying?
Do moviemakers get some kind of twisted kick out of messing with the wee ones' heads?
No doubt it doesn't do any permanent damage, but this complaint occurred to me during just such a scene at the end of "Cats and Dogs," a fairly formulaic CGI-enhanced live-action adventure of slowly diminishing fun about a secret, millennia-long feline-canine war to take over the world.
Continue reading: Cats & Dogs Review
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