Danny Devito Page 2

Over the last century, GM has made 400 million petrol-burning vehicles. They also created the EV1, the first modern electric car, but gave up on the idea, recalled and crushed them. As technology and commercial prospects improved, red-hot entrepreneur Musk launched Tesla, a high-end electric roadster. GM's car-guru Lutz responded with the Volt, a much-cheaper hybrid, while shark-like Nissan CEO Ghosn became determined to tap into a generation that won't even consider buying a fuel-burning car. Meanwhile, Gadget is quietly converting classic cars to electric engines.

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Set in the mid-seventies, the plot follows the Lisbon family, with James Woods, a physics teacher at the local high school, as the scatter brained father, and Kathleen Turner as the uncommonly strict mother. Their five daughters are beautiful, naturally blonde, and the desire of every boy in the neighborhood. When the youngest, Cecilia, mysteriously attempts suicide, psychiatrist Danny DeVito recommends that she be allowed to interact more socially, especially with boys. So the Lisbon girls are introduced to the boys of the neighborhood, who have already been watching the girls from afar through half-opened window shades, binoculars, and telescopes. At a party in Cecilia's honor, the boys witness a tragedy that shocks them out of their wits. As a result, the Lisbons fall into a deep suppression shutting out the rest of the world by retreating into their own inner sanctum. It appears they will never recover until Trip Fontaine (Josh Hartnett), the high school heartthrob, pursues the unattainable Lux (Kirsten Dunst). He attempts to ask her to the prom, but the only way her mother will allow him to take Lux is if all the girls go together. For the first time, the girls will venture out of the home to interact socially in an environment other than school.

Continue reading: The Virgin Suicides Review

The list in this category is long, and the quality broad, ranging from To Sir, with Love (Sidney Poitier straightens up hooligans) to Sunset Park (Rhea Perlman coaches hoops!). Instead of sliding into pitfalls of predictability, writer Richard LaGravenese (The Fisher King, Beloved), who also directs, relies on straight, unforced dialogue delivered by a fine cast. Like many similar films, this one happens to be based on truth.

Continue reading: Freedom Writers Review

That's some dedication to your story, but it turns out that neither the original Hotchkiss nor the updated one merit that much consideration. The short is your expected coming-of-age tale: A kid named Steve hates girls, but over time (and thanks to Hotchkiss) he comes to love them, particularly a gal named Lisa.

Continue reading: Marilyn Hotchkiss Ballroom Dancing & Charm School Review

The big schlemiel at the heart of the movie is actually not Allen, it's Biggs, who plays Jerry Falk, a young comedy writer with a chronic inability to say no to anybody: not his useless shrink or his clinging, laughable manager (Danny DeVito), and especially not his neurotic (on a good day) girlfriend, Amanda (Ricci). Falk's best friend is another comedy writer, David Dobel (Allen), who has all the usual Allen characteristics, but seems to have been taking steroids for his paranoia and misanthropy.

Continue reading: Anything Else Review

After the obnoxious but popular host Rainbow Randolph (Robin Williams) is caught taking bribes from parents who want their kids on television, network head Frank Stokes (Jon Stewart) pulls the plug on his show. An exhaustive search through the downtrodden Barney wannabes to replace Randolph yields a pink, squeaky-clean rhino named Smoochy (Edward Norton), who becomes an overnight success with the kids despite his preachings of bland politically correct messages to children. Despite Smoochy's best wishes, his boss Nora (Catherine Keener) wants to cash in on the show's newfound success by selling Smoochy-sponsored cereals, cola, and string cheese. Randolph, on the other hand, is hell-bent on making life miserable for the rhino, and Smoochy's crooked agent (Danny DeVito) is busy making backdoor deals trying to sell Smoochy out to the mob.

Continue reading: Death To Smoochy Review

Whether it's a skill learned hanging around the sets ofher father's movies or something in the family blood, SofiaCoppola has definitely inherited a distinguishable talent as a filmmaker.

"The Virgin Suicides" -- her moody, dark andwhimsical first feature from behind the camera -- is a mesmerizing andaccomplished directorial debut about an enigmatic quintet of innocentlyseductive teenage sisters who all kill themselves in the course of onemonth in the mid-1970s.

The story was adapted by Coppola herself from a best-sellerby Jeffrey Eugenides, and is curiously told from the perspective of a handfulof neighborhood boys, smitten and spellbound by the girls as teenagersand still haunted by their inexplicable deaths 25 years later.

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The cameo-driven, "Mission: Impossible 2"-spoofing, movie-within-a-movie, pre-title sequence of "Austin Powers in Goldmember" is the funniest five minutes to date in this spy comedy franchise. Then Mike Myers shows up and ruins everything.

Still trapped in a skit-comedy frame of mind all these years after leaving "Saturday Night Live," his short attention span has made the "Austin Powers" movies little more than a string of brief, loosely-related set pieces which are often 98 percent setup and 2 percent punch line.

Myers goes miles out of his way to make a reference to the 1983 song "Mr. Roboto" by the band Styx, for example. Then he spends nebulously unfunny gaps between such gags to make fleeting mentions of the plot, which in this case concerns Dr. Evil -- Myers cueball goofball homage to James Bond's maniacal bald nemesis Blofeld -- teaming up with an scabby Dutch roller-disco owner named Goldmember whom Evil has transported from the 1970s.

Continue reading: Austin Powers In Goldmember Review

Seeing the biopic "Man On the Moon" is like being at a seance in a comedy club.

Director Milos Forman and star Jim Carrey conjure up the spirit of their subject -- Andy Kaufman, that most eccentric of professional oddballs, that patron saint of the practical joke -- with such effective Ouija-dom that at times is as if his ghost has taken over the film.

All the buzz you've probably heard about Carrey's performance is true. A Kaufman aficionado from way back, he does more than just mimic Andy's mannerisms and repeat his routines -- it's like Kaufman has slipped inside Carrey's skin (shall I compare thee to "Being John Malkovich"?) and won a battle for control of his body. There's still a wee bit of Carrey peeking out, but that sliver his own style serves to create a fascinating Kaufman-Carrey alloy.

Continue reading: Man On The Moon Review