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Amber Heard and Crispin Glover - Amber Heard and Crispin Glover Los Angeles, California - Premiere of 'Beowulf' at Mann's Village Theater - Arrivals Monday 5th November 2007

Amber Heard and Crispin Glover
Amber Heard
Amber Heard
Amber Heard
Amber Heard
Amber Heard

Even Cowgirls Get The Blues Review


Terrible
A pair of wildly divergent views on Gus Van Sant's Even Cowgirls Get the Blues... -Ed.

Don Willmott, 1 star [lowest rating]

Continue reading: Even Cowgirls Get The Blues Review

Racing With The Moon Review


Very Good
Coming of age, WWII style, with Sean Penn and Nicolas Cage eager to head off to war, getting into trouble along the way, and ending up not entirely sure about the whole thing. Much like any number of films in this vein, Richard Benjamin's movie flirts with disillusionment while simultaneously romanticizing a bygone era. Both come across moderately well in this endeavor, thanks to the dual talents of Penn and Cage raking the muck extensively.

Bartleby Review


OK
Destined to inspire new lows in workplace slackerdom, Jonathan Parker's Bartleby is a cryptic take on workplace politics and motivation, courtesy of Herman Melville's short story, "Bartleby the Scrivener."

Given a weirdly futuristic spin, Jonathan Parker's interpretation of Bartleby takes him out of a law office and into a public records commission, subtly morphing from typist to file clerk. More notably than all that is Parker's balls-out casting, with the certifiably unhinged Crispin Glover taking the role of the lowest-of-low-key peons.

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River's Edge Review


Extraordinary
Long before Laura Palmer's body was discovered wrapped in plastic, poor Jamie was strangled to death aside a lonely river, her unrepentant killer John (a creepy Daniel Roebuck, the guy who played Jay Leno in The Late Shift) taking it upon himself to prove to his friends what he's done. He's not giddy about it, he just wants acknowledgement and, somehow, understanding.

A gripping study of teen ambivalence and the utter lack of angst, River's Edge is a creepy, powerful, and underseen picture that features some virtuoso performances (notably Crispin Glover's Layne, who organizes an ill-conceived campaign to get John out of town). Featuring some of the most inventive and believable dialogue, the locals (including Keanu Reeves and Ione Skye as the only kids even remotely bothered by the death of their friend) are at a loss for what to do. Atmospheric and numbing, the picture is an obvious precursor to Twin Peaks, and a better template David Lynch couldn't have found. The story is loosely based on a real murder, which makes it all the more chilling.

Continue reading: River's Edge Review

Like Mike Review


Weak
A cardboard Cinderella story, involving a pair of magic basketball sneakers and the hopes and dreams of an orphaned black youth, the script for Like Mike is about as challenging as getting tickets for a Wang Chung reunion concert. Calvin Cambridge (Lil' Bow Wow) is a short, pigtailed 14-year-old orphan with high hopes of one day playing with the big boys of the NBA. But his diminutive stature and inability to shoot a fade-away jumper over the orphanage's bully Ox (Jesse Plemmons) dent his dreams of stardom. But, the gods smile upon Calvin after he acquires a mysterious pair of old sneakers inscribed with the faded initials "MJ," which received a jolt of magic lightning one stormy night. Never mind the damning fact that previous owner of the shoes is about six feet, six inches in height.

After lacing up the shoes, Calvin ends up on the court of his favorite team, the Los Angeles Knights during a half-time promo, taking on the Knights' star player Tracey Reynolds (Morris Chestnut) in a bit of one-on-one. With the power of MJ in his soles, Calvin fakes left and ends up hitting a 25-foot jumper and then a devastating slam-dunk that stinks of the power of Flubber. The reactions from a stunned crowd inspire the manager of the Knights, Frank Bernard (Eugene Levy), to sign Calvin to a contract as a publicity stunt, without ever intending the play the lucky whippersnapper. But after Calvin hits the game-winning jumper when the tough-as-nails coach Wagner (Robert Forster) hands him the ball - the evil orphan headmaster Bittleman (Crispin Glover) earns more riches wen Calvin's contract is re-negotiated.

Continue reading: Like Mike Review

Friday The 13th: The Final Chapter Review


Weak
Rest assured, Friday the 13th will never have a "final chapter," and after a 3D installment, the only way to one-up the series is with the twin appearances of a pervy Corey Feldman and the inimitable Crispin Glover. The formula is tried-and-true here; Jason died in part three, he's revived in the hospital here, and heads back to the lake for more slaughtering. Most of the cast is phoning it in, at best, but Corey and Crispin (watch him dance!) make for at least passable diversions.

Like Mike Review


Good

By all rights, "Like Mike" should be a lousy movie. Designed as a slap-dash kiddie flick, built around a dumb plot device (magic sneakers turn a young orphan into an NBA all-star) and starring a flash-in-the-pan novelty hip-hopper (Lil' Bow Wow), its overall concept is thick with seemingly predictable, third-hand story elements. Will the kid find adoptive parents? Will his team win the big game? Well, duh.

But director John Schultz ("Drive Me Crazy") doesn't use the shoes as a storytelling crutch (they account for about four minutes of the whole movie), he gets charismatic performances from his cast of talented players, and he beats down almost every encroaching cliché, creating in their stead a smart kids' picture of delightful surprises.

Sure, as the film begins street-smart but endearingly sweet 14-year-old Calvin Cambridge (Bow Wow) is living in a laughably diverse group home (his two best friends are a white boy played by "Jerry Maguire's" Jonathan Lipnicki and an Asian girl played by Brenda Song), where he's picked on by a teenage bully and dreams of being adopted. "Parents only want the puppies," he moans.

Continue reading: Like Mike Review

Nurse Betty Review


Good

Heretofore known for his viciously incisive, very black socio-sexual satires, director Neil LaBute takes a joyride in antic comedy territory with "Nurse Betty." It's charming effort of pure entertainment about a gentle, bouncy Kansas waitress who becomes convinced she's a part of her favorite soap opera after being sent into post-traumatic shock by witnessing a murder.

The murder was that of her abusive, redneck husband (LaBute regular Aaron Eckhart in another amazing chameleon performance) -- a retribution for a shady business deal gone wrong.

The waitress, Betty Sizemore, is the kind of bona fide wide-eyed innocent most Hollywood actresses wouldn't be able to play without slipping into a hammy, ignorant hayseed routine and winking ironically at the audience. But in the hands of Renée Zellweger -- who proved her sweetheart credibility in "Jerry Maguire" -- Betty is 100 percent genuine sugar.

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Charlie's Angels: Full Throttle Review


Weak

The first "Charlie's Angels" movie was a lightning strike of sexy, silly, butt-kicking-babe action-flick fun. But at least it made an attempt to have an intelligible plot with genuine stakes, cool twists, clever campiness and memorable characters.

Lightning does not strike twice in the sequel "Charlie's Angels: Full Throttle," which only bothers with a minute or two of story in each reel, as it tries to skate by on cheap wisecracks and surprise cameos (Bruce Willis! Mary-Kate and Ashley Olsen! TV "Angel" Jaclyn Smith!) while spending the bulk of its time mired in over-produced, three-ring-circus-like, exclamation-point action scenes.

The Angels drive a military truck off the top of a Mongolian dam, and out pops a helicopter in which they escape from an army of bad guys! The Angels enter a motocross race in which bikes collide and explode during mid-air back flips! The Angels fight off two dozen punk-poser Irish gangsters at the San Pedro harbor in slow-mo/fast-mo uber-choreographed kung fu!

Continue reading: Charlie's Angels: Full Throttle Review

Charlie's Angels Review


Good

In one of many joyously over-the-top undercover scenes in the impish big screen adaptation of "Charlie's Angels," Drew Barrymore -- incognito as part of a sexbomb race track pit crew clad in cleavage-flaunting stars-and-stripes leather jumpsuits -- distracts a bad guy's chauffeur by seductively licking the steering wheel of his car.

The way Barrymore embraces the preposterousness of this moment with giddy aplomb personifies the spirit of this comedically sexy, digitally enhanced, candy-colored, B-movie mock-exploitation romp.

A vast, sassy, action-packed improvement on the '70s TV show, which never could reconcile its insincere femme empowerment message with its transparent jiggle factor draw, this picture adds to the mix a "Xena"-like self-aware sense of humor that gives flight to the formulaic proceedings.

Continue reading: Charlie's Angels Review

Bartleby Review


Bad

Perhaps I'm too much of a literalist to stomach a thickly ironic, extremely low-budget adaptation of Herman Melville's "Bartleby the Scrivener" set in an eerily sterile modern office. Or perhaps writer-director Jonathan Parker's update of the conceptual tale about a boss driven crazy by an uncooperative employee really is as under-rehearsed and lifeless as it seems to me.

At the center of "Bartleby" is the title character, a meek, withdrawn oddball played by Crispin Glover (the Thin Man in "Charlie's Angels" and George McFly in "Back to the Future") with his quiet, uneasy, string-bean quirkiness turned up full blast. He comes to work as a paper-pusher in a government records office for a fidgety boss (David Paymer) whose subservient existence of sedated equilibrium is thrown for a loop when Bartleby simply stops working one day, answering every order and request with "I would prefer not to."

Before long he's living in the office and spending the better part of each day staring at an air conditioning duct while Paymer goes nuts trying to reason with him.

Continue reading: Bartleby Review

Willard Review


Good

Could there be any dobut that a horror movie starring kooky, uncanny string-bean Crispin Glover would be a weird B-movie bonanza of creepy-crawly macabre?

A proudly kitschy remake of a 1971 cult horror flick, "Willard" uses its idiosyncratic star to maximum effect as a milquetoast misfit whose only friends are the scores of rats rapidly overtaking the cavernous, ominous, creaky old house he shares with a grotesquely old invalid mother (Jackie Burroughs) who could drive a guy to go Norman Bates. Constantly humiliated by a cruel boss (R. Lee Ermey) trying to run him out of the family business after his father's death, Willard trains his rodent army to do his vengeful bidding, and soon all hell breaks loose.

Glover -- best known as George McFly in "Back To the Future" and The Thin Man in "Charlie's Angels" -- is so perfectly peculiar in this flick that I imagine it wouldn't have gotten made without him in the title role. Shaking with sublimated resentment and quaking with psychological dysfunction (accentuated by the frequent use of fish-eye lenses), yet eerily calm and contented with rats crawling all over his body, his performance is funny, sad, sympathetic and menacing -- often all at the same time.

Continue reading: Willard Review

Crispin Glover

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Crispin Glover

Date of birth

20th April, 1964

Occupation

Actor

Sex

Male

Height

1.85




Crispin Glover Movies

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