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The second Bond film has a more intricate plot than Dr. No. 007 (Sir Sean) is sent to Istanbul to rendezvous with a supposed Russian defector (Daniela Bianchi) who promises to give his government access to a top secret and coveted decoding machine. Both, however, are unaware that the strings are being pulled by an organization called SPECTRE, who has sent two of its best operatives (Lotte Lenya & Robert Shaw) to kill Bond once he has the merchandise. Once again, the production values are first-rate across the board, but the best moment is the fist fight between Connery's Bond & Shaw's Grant aboard a speeding train. It remains, to this day, the most intense, best edited, and, yes, best acted fight scene in film history.
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This, the first James Bond film, is a great start to what remains the longest running film series. Sir Sean rightly became famous portraying British agent James Bond who, in this flick, is sent to investigate the disappearence of a fellow agent in Jamaica. His trek eventually leads him to both the title character (Joseph Wiseman) and beautiful nature girl Honey Ryder (Ursula Andress). Despite its modest budget, this film is first rate all around and would, of course, be just the beginning.
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This exciting and surprisingly emotional hit put Paul Verhoeven on the map. In the near future (although the film definitely has the feel of the 1980's, when it was made), a good cop (Peter Weller) is viciously gunned down in the line of duty by nasty thugs and their nasty leader (Kurtwood Smith). As fate would have it, he's basically resurrected when he's chosen to become the title character, which is really a police-renovation program designed by an amibitious executive (Miguel Ferrer) of the company which runs the police force. Now that he's been reincarnated with superhuman looks and abilities, Robocop cleans Detroit's streets of human scum. However, when memories of his previous life resurface, he becomes determined to find those responsible for taking that life from him, which eventually leads him to the company's ruthless president (Ronny Cox). Like The Fly the previous year, the title character is both sympathetic and tragic, thanks, in large part, to the great work of the actor (Weller, in this case). If you want humanity in your sci-fi, this is the film for you.
Fatal Attraction, the film that scared husbands into fidelity, is faithfully brought to DVD by Paramount on a single disc loaded with special features. The disc doesn't stray from being enjoyable, beginning with the film transfer, which is presented in a widescreen format specially enhanced for 16:9 televisions. The soundtrack is remastered in Dolby Digital 5.1 Surround sound, making the film's jarring rings of the telephone seem as if they're right in the viewer's living room. The disc loyally presents a bevy of the type of special features that DVD viewers love, including a commentary track by director Adrian Lyne and three featurettes that trace the making of the film, its social impact, and behind-the-scenes production highlights. Further reasons that the disc won't be a one-night stand in anyone's DVD collection include the film's original ending, rehearsal footage, and the theatrical trailer.
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Despite the A list stars (especially the scene-stealing Glenn Close) and intriguing plot elements (such as the story being set into motion due to the wrong decision the protagonist makes), when all is said and done, this is no better than your average slasher flick. There is obviously the slasher-inspired finale, which itself is matched in its absurdity by the equally jaw-dropping reactions of the wife (Anne Archer) in the aftermath. Even more damaging, though, is how unsympathetic the philandering husband (Michael Douglas) is. Unlike Clint in Play Misty for Me (and like the male protagonists in Poison Ivy & Swimfan), Douglas basically encourages his 'nemesis' every step of the way, despite the fact that there is nothing to indicate why he would throw everything he's shared with his spouse away.
What's great about it: good acting and some suspense
What's not so great: slasher mentality and an unsympathetic protagonist
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Along with westerns of course, the genre Clint has left his biggest mark in has been thrillers, and never more so than in this 1971 masterpiece, which is arguably Clint's most famous role. He plays the title role, a very unorthodox detective who's tracking a killer (Andrew Robinson, suspiciously resembling Charles Manson here). At the same time, Harry has to also deal with the bureaucratic red tape which gives his adversary a little leeway. Some view this film as right wing/fascist propaganda, while others (myself included) viewed it as a unique twist on Clint's Man With No Name with an urban setting. In any case, this is how a thriller is done!
After multiple heartbreaking delays, John Carpenter's classic Escape From New York arrives on DVD shores in MGM's packed two-disc Special Edition Collector's Set. In addition to the new and stunning high-definition transfer, the release is packed with extras for which film fans have been salivating for years. Technically, the film looks brilliant in its anamorphic 16 x 9 enhanced 2.35:1 widescreen picture. Additionally, audio options have been tweaked and given a face-lift, with the disc's 5.1 Dolby Digital track finally doing justice to the director's trademark synth score. Bonus features begin with the long-awaited audio commentary with Kurt Russell and John Carpenter, originally recorded for the long out-of-print 1994 laserdisc. Also supplied is a brand-new track with producer Debra Hill and production designer Joe Alves. Both commentaries are lengthy in their detail of the film. Fans of Russell and Carpenter's other commentaries should be happy with this earlier session, even if it doesn't live up to the banter-filled fun of Big Trouble in Little China or Universal's The Thing discs. Another big deal extra-wise is the full deleted original bank robbery opening of the film, something that's only been glimpsed on past VHS and laserdisc releases. Here it is presented in full, with complete opening credits and an optional star/director commentary track to go along with it. Endlessly interesting and surprisingly lengthy, the scene lives up to its hype, now aided by the help of a new score penned by Carpenter himself for better presentation. Disc two's special features include the brand-new "Return to Escape From New York" featurette, containing new interviews with Carpenter, Hill, and Russell; bits from Adrienne Barbeau, Isaac Hayes, and Harry Dean Stanton; along with thoughts from screenwriter Nick Castle and cinematographer Dean Cundey. Covering all aspects of the production, this 23-minute making-of is a behind-the-scenes treat that delves into everything from the political climate from which the Snake Plissken character was born to the Steadicam work and film process that helped create Escape From New York's definitive look. With liner notes from the director himself, plus three different trailers and an immense photo gallery to boot, you are left with an ultimate DVD release that is truly worthy of the film. The Collector's Set also contains a sized-down copy of the Snake Plissken Chronicles comic and a side-show featurette on its step-by-step production, chronicling the various stages of the creators' writing and artwork.
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After The Fog, Carpenter teamed for the second time with Kurt Russell (the first being the TV movie Elvis) for this sci-fi/action hit. Set in 1997, the title city is now a barricaded penal colony. When Air Force One is brought down into the city, the Chief of Police (Lee Van Cleef) offers a deal to soldier-turned-convict 'Snake' Plisskin (Russell): Go into the death trap once known as the Big Apple and retrieve the President (Donald Pleasance) and 'Snake' will receive a pardon for his crimes. To ensure Plisskin's cooperation, the Chief implants small explosives inside him, which are set to detonate at the end of the 24 hours Plisskin has to accomplish the task. Once inside, Plisskin finds allies in a cabbie (Ernest Borgnine) and a bizarre couple (Adrienne Barbeau & Harry Dean Stanton) who help him locate the President, now a prisoner of the dangerous, self titled 'Duke' of New York (Issac Hayes). While Carpenter's output has been less than stellar in recent years (including a less than inspired sequel to this film), the film is a reason why he'll always have a nice place in film history.
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Like other recent remakes, this one is basically a regurgitation for the MTV age, hence the casting of Smallville's Superman (Tom Welling) as the male lead. Although an intriguing casting choice, Selma Blair fails to bring the zing that Adrienne Barbeau brought to the original. The CGI here continues the downfall of the form which began with Jar Jar. The ending, likewise, is unbelievably dumb.
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Carpenter's followup to Halloween (which includes Jamie Lee Curtis & Nancy Loomis in its fine cast) is a nice, spooky ghost story involving the various residents of a small coastal town who realize the supernatural is in their midst on the eve of their town's centennial. There are several different character threads simultaneously running throughout the film which nicely come together at the end (Adrienne Barbeau, sexy as ever, plays a pivotal role in bringing things together). Carpenter's music here is as memorable as it was in Halloween. Small complaint: there are plot holes which come up if you look at the story too closely (do these ghosts want blood or money?). Fortunately, the film is still enjoyable and spooky enough to let these things pass.
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JFK is arguably the most controversial film in Oliver Stone's filmography. It also may be the most compelling. The screenplay is based on the real-life investigation of the JFK killing conducted by New Orleans D.A. Jim Garrison (Kevin Costner) who eventually becomes obsessed with bringing justice to the late president when he discovers a link between accused lone assassin Oswald (Gary Oldman) and New Orleans businessman Clay Shaw (Tommy Lee Jones), who in turn has links to the U.S. government. The all star cast and John Williams's goosebump-inducing score don't hurt. Some will take exception to the liberties taken with the story, but, when viewed simply as dramatic filmmaking, it is superb.
What's great about it: superlative acting and music
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Here we have another remake that no one wanted and, as is often the case, the remake makes us appreciate the original more. George & Kathy are now played by too-young Ryan Reynolds (yes, Van Wilder) & Melissa George. Their kids here are almost as old as they are, and that's the least painful aspect of this film. Whereas the house in the original looked like a believable family home, the house here is almost as large as the Overlook Hotel. The film also can't seem to make up its mind as to whether the ghosts here are prisoners of the home or not. Reynolds as George makes as much sense as casting Steven Seagal as Martin Luther King. The above star is entirely for the beautiful Melissa George.