The Painted Veil - 2006

 WIP, Stratus Film Co.,  Bob Yari Productions

Directed by John Curran

Cast:

Walter Fane – Edward Norton

Kitty Fane – Naomi Watts

Charlie Townsend – Liev Schreiber

Waddington – Toby Jones

Mother Superior – Diana Rigg

Story: Set in the 1920's, W. Somerset Maugham's novel comes to life in an exquisite and exceptional creation for the cinema. Walter Fane is your stereotypical proper Englishman, a well-mannered, decent sort working for the British government. He is a laboratory scientist assigned to study diseases in China, where he works in Chaing Hai alongside Chinese scientists. Kitty, his young and pretty wife, becomes enamored and falls in love with Charlie Townsend, who is attached to the British Embassy. When Walter discovers she is having an affair, he volunteers to travel inland to an area where a cholera epidemic has broken out. Kitty accompanies him, and on the way they begin to discuss what will be done about the affair. Kitty is lonely and alone most days, and they sleep in separate rooms, but as they begin to fall into the routine, they start to discuss things in a more civilized manner.

Review: Classic films should be remade now and then, if for no other reason than to remind us of what true literature is all about. The Painted Veil is one of those incredibly compelling films which deals directly with the human condition, specifically under conditions which warrant reaction. Edward Norton, Naomi Watts, and Liev Schreiber create an ensemble fitting of a Maugham novel, and their performances are flawless.

Flawless as well is the cinematography and photography in this wonderful adaptation of the novel. Filmed entirely in China, the scenery is breathtaking and lends to the authenticity of the film. This also enhances the “illusion of the first time” which is so critical in any film, since the novel is set in China. A huge cast of extras is included.

The Painted Veil is a film which may not be suitable for the entire family (Rated PG-13 for some scenes of sexuality, partial nudity, disturbing images and brief drug content), but I don't believe it will offend older children, and I know it will entertain anyone who likes a well-acted film.

The American President - 1995

Universal Pictures, Castle Rock Entertainment, Wildwood Enterprises

Directed by Rob Reiner

Cast:

Pres. Andrew Shepherd – Michael Douglas

Sydney Ellen Wade – Annette Benning

A. J. MacInerney – Martin Sheen

Lewis Rothchild – Michael J. Fox

Robin McCall – Anna Deavere Smith

Janie Basdin – Samantha Mathis

Lucy Shepherd – Shawna Waldron

Leon Kodak – David Paymer

Mrs. Chapil – Anne Haney

Sen. Bob Rumsfeld – Richard Dreyfuss

Nina Siemaszko – Beth Wade

Story: President Shepherd is coming up the end of his term and would like to have another. His campaign staff and White House staff are busy trying to get him reelected while giving him the time he needs to do his job, but there is a slight glitch in the form of a new lobbyist for environmental concerns. Sydney Ellen Wade of Virginia has been retained by an environmental lobby to get the necessary votes to pass a new bill requiring a reduction in carbon emissions in the next ten years. However, the problem does not lie in Sydney's politics or her job. President Shepherd is a widower, and he is smitten with her. They begin dating, much to the chagrin of the staff and Sydney's employer, and to the delight of Sen. Rumsfeld, a candidate for the next election and a real muckraker. Rumsfeld attacks Sydney on every possible level, using her past to try to intimate the President is being influenced by a right wing radical instead of being the President. President Shepherd feels the best way to address his allegations is to ignore them, but the staff and Sydney disagree.

Review: Okay, without a doubt this is one of my favorite romantic comedies. Michael Douglas comes off as Presidential, Annette Benning is spectacular, Martin Sheen is exceptional, and the supporting cast is marvelous. And this is all directed by Rob Reiner, the 2nd generation actor writer director who understands every aspect of film making and is not afraid to let loose with all the knowledge, power and presence required to make a first class film.

Of particular note are David Paymer, Michael J. Fox, and Anna Deavere Smith, all three exceptional character actors whose contributions add so much to the texture and tone of the film. Paymer is the perfect foil to Fox, and Anna balances them perfectly, giving a unity to the staff presence in the film.

Perhaps the most intriguing part of the film is the incorporation of 'normal' events in the White House during the romance. We are not excluded or merely “clued in”, but we participate in all the activities of the President, which makes the film more realistic and visceral. The flow of the film is exceptional, since there are no explosions or other violence to distract us, and the cinematography is amazing. The sets are perfect. Rated PG-13 for a scene of sexual innuendo and a few uses of profanity, this film is far from offensive in its delivery, its demeanor, or its presentation. A classic which will enhance any collection.

Meet Joe Black - 1998

Universal Pictures, City Light Films

Directed by Martin Brest

Cast:

• Joe Black – Brad Pitt
• William Parish – Anthony Hopkins
• Drew – Jake Webber
• Susan Parrish – Claire Forlani
• Allison – Marcia Gay Harden
• Quince – Jeffrey Tambor

Story: A wealthy and successful man, William Parrish is about to turn sixty five years old. But about a week before, he wakes suddenly in the middle of the night and feels a pain in his left arm. He rises to go to his bathroom to splash some water on his face, and he hears a voice whisper “yes”, but in spite of being startled, he returns to his bed. The next day in the office he feels a deep pain in his chest, and once again hears the voice whispering “yes”. That evening he hears it again, and the voice continues this time, saying he is standing at the front door to his penthouse and would someone please let him in. When he finally confronts the man whose voice he has been hearing, the man says he has been giving Bill the answer to his question. The question is “Am I going to die?”, and the voice providing the answer is Death's, who has come to offer Bill a deal. Death would like a tour of the living, and in exchange, he will grant Bill more time.

Review: Inspired by Death Takes A Holiday, a classic stage play that many of my generation read as teens for either English or Drama class in high school, this film marks, for me, the coming of age of Brad Pitt as an actor with depth. I know some people will point to A River Runs Through It, or even Seven Years In Tibet as the films where Brad showed true ability, but Death Takes a Holiday is a pivotal film where he has to reach into the unknown and his past to portray a “stranger in a strange land.” and he does it with a remarkable freshness and style. As an amateur actor, I know the importance of any production is to give the audience the illusion of the first time. Brad does that beautifully in this film.

Of course, it doesn't hurt that he is surrounded by an incredible cast, lead by the incomparable Anthony Hopkins. Jake Webber demonstrates his range as well, as do both Marcia Gay Harden and Jeffrey Tambor. Somewhere beyond perfect is Claire Forlani's portrayal of Susan Parrish, the younger daughter and medical resident who is attracted to Pitt's character, first in his portrayal of the young attorney freshly arrived in the big city, and then as Death personified in Joe Black.

The plot is straightforward, the photography exceptional (try filming a sex scene without revealing any body parts that shouldn't be seen), and the sets are exquisite examples of architecture. While certainly not an action film, the film moves forward briskly, without needless exposition or character development beyond what is needed. Rated PG-13, thanks to that incredible photography, this is a film for contemplation and reflection, and offers no religious allegories to good or evil. I own a copy, and I think it will be regarded as collectible.

The Twilight Saga: New Moon - 2009

Imprint Entertainment, Summit Entertainment, Sunswept Entertainment

Directed by Chris Weitz

Cast:

• Bella Swan – Kristen Stewart
• Edward Cullen – Robert Pattinson
• Jacob Black – Taylor Lautner
• Charlie Swan – Billy Burke
• Angela – Christian Serratos
• Alice Cullen – Ashley Greene
• Jasper Hale – Jackson Rathbone
• Aro – Michael Sheen
• Jane – Dakota Fanning

Story: Summer has ended and Bella is back to school, and so is Edward. The subject of his immortality has come to bear on Bella, and she is wanting to be turned. But Edward does not want to be the cause of her fall from grace, for he fears he is damned for all eternity for being what he is. After an incident where Bella is at the Cullen's home for her birthday party and accidentally cuts her finger, Edward decides it is best for Bella that he leaves. The Cullen's depart, and Bella falls into a deep depression. When she comes up for air, she discovers whenever she is in a dangerous situation, Edward appears as a spirit. She is so desperate to see him she continues to take risks, until she jumps off a clif into the sea and nearly drowns. Since Alice cannot see what has happened, Edward believes she is dead and no longer wants to live, so he travels to Italy to ask permission of the Volturie, the leading council of the vampires, to die. Bella arrives in the nick of time to save his life, but the only way Bella can be allowed to live is by becoming one of them.

Review: Yes, I know. I started with Breaking Dawn Part 1 and haven't even touched upon Twilight yet. My bad, I guess, but I find this second installment of the series much more intriguing than the first. Here we have actual drama, as real as a story about vampires can be, and real conflict. Bella is a teenage girl who acts like a teenage girl, and both Jacob and Edward act like teenage boys...which is sort of a real contradiction in Edward's case. I mean, after a couple of hundred years, don't you think a man might have some modicum of maturity? But maybe being a vampire retards your common sense in favor of your hormones. Hmmm. Wait a minute, what hormones? He's dead! Oh well, I could go on and on with the contradictions in this film, but who am I to rain on anyone's parade? This is a Romeo and Juliet set in the fantasy of seclusion and passion, a love that was written in the stars. The special effects are great, especially the transformation sequences with Jacob and the rest of the tribe. After all, you knew they were werewolves, right? And the addition of Michael Sheen as Aro, the head of the Volturie and Dakota Fanning as Jane, the evil inflicter of pain with a devilish smile, brings a new dimension of mystery to the story. Rated PG-13 for violence and dramatic action, this one is safe for the teens and even the 10 year old girls who are lovers of romance. Collectible if you have the original, and my wife and daughters own all four and are anxiously awaiting the fifth. (There you go, ladies, I reviewed it.)

Groundhog Day - 1993

Columbia Pictures Corporation

Directed by Harold Ramis

Cast:

• Phil – Bill Murray
• Rita – Andie MacDowell
• Larry – Chris Elliot
• Ned – Stephen Tobolowsky
• Buster – Brian Doyle-Murray

Story: Phil the Weatherman has a little problem. Okay, Phil the Weatherman has a lot of problems, but this particular one is unique. Phil is caught in a Karmic Loop. He has to keep living the same day over and over again until he gets it right. But he has no idea of what right is. Up until now, he has been a miserable excuse for a human being, selfish, self centered, and inconsiderate, thinking of other people as just a means to an end. His producer, Rita, and his cameraman, Larry, pretty much consider Phil as another never will be local broadcaster who works cheap enough to get by. For Phil, no matter what he does, he wakes up in the same room at six a.m. every morning. Slowly it dawns on him that he can do anything he wants, anything at all, and there are no consequences. Or are there?

Review: Groundhog Day is one of those films you either love or hate. No in between, no take it or leave it. Everyone has an opinion, and surprisingly they all appear to be valid. I fall on the “love it” side of the equation, but I am a huge Bill Murray fan. Everyone knows a Bill Murray, the guy who wants to do something just wrong enough to get him fired and just right enough to be fun. Bill's character in this film is at the stage in his life where he is totally focused on advancing his career, regardless of what happens to those around him, which is why he cannot advance his career. Chris Elliot as Larry the cameraman is resolved to his role in life, observing the lives of others and getting his paycheck at the end of the day. Maybe Chris wanted to try a straight role for once, maybe there was only room for one comedian in the film, but Chris actually contributes little to the film. Andie MacDowell is the naïve, wide eyed beginning producer who really doesn't care about her job as much as she cares about her own agenda. Only in her case, she isn't willing to step over or on people to get where she needs to be in life. Personally I like this film because it is an exhaustive study on the transition of a man through circumstance from an ass to a man. Rated PG for a couple of sexual situations and some violence, I'd say the teens would not be offended, but I doubt they will get it. Collectible if you like Murray, or just like an interesting play on Karma.

A Walk In The Clouds - 1995

Twentieth Century Fox Film Corporation, Zucker Brothers Productions

Directed by Alfonso Arau

Cast:

• Paul Sutton – Keanu Reeves
• Victoria Aragon – Aitana Sanchez-Gijon
• Don Pedro Aragon – Anthony Quinn
• Alberto Aragon – Giancarlo Giannini
• Marie Jose Aragon – Angelica Aragon
• Guadelupe Aragon – Evangelina Elizondo
• Pedro Aragon, Jr. - Freddy Rodriguez
• Betty Sutton – Debra Messing

Story: World War II is over, and men are returning to their wives and lovers from overseas. Paul Sutton returns to find his bride less than enthusiastic about his return, or even about him. She has not read the letters he has sent, and barely ever wrote to him. Disenchanted, he takes his old job as a door-to-door chocolates salesman back and heads out by train to Sacramento to take up his new district. On the way, he meets a young lady who is heading to her home. She is obviously distraught and through a series of events he discovers she is a soon to be a mother, but she is a catholic returning to her home without a husband. Her family has a vineyard in the Napa valley, and her father is a very traditional man who has said many times he would disown anyone who dishonored his family, including her. Paul proposes a solution, that he pose as her husband for a day, then leave a note abandoning her to protect her honor for her family. But one day turns into several, and Paul finds himself falling in love with Victoria. Paul must choose a new life for himself, and must fight for the woman he loves.

Review: Romance without the comedy....well, almost. There are a few scenes in this love story which will bring out a few chuckles, but all in all this is a film about family, love, and joy. Keanu Reeves portrays the orphan Paul Sutton, a man who has fought to be acknowledged all his life and has returned a decorated war hero and a young man in search of himself. He has had a lot of time to think about who he is and what he wants to be. He and Debra Messing portray an often ignored segment of the American post war population, the ones who got married on the spur of the moment and were separated for four years during the war. They grew apart, and hardly know one another. So when Paul meets Victoria, he is pursuing a path unknown, a path beyond the dreams he made in his mind while separated from Betty. Aitana Sanchez-Gijon portrays the woman “in trouble”, which at that time being pregnant out of wedlock was nearly cause for public stoning, and especially in a strict Roman Catholic family. Her performance, along with the stellar performances of Anthony Quinn as Victoria's grandfather and Giancarlo Giannini as Victoria's father, make this romance a stunning piece of true romance. Every scene, every nuance of the film presses you deeper and deeper into the feelings of the characters, and the scenery and photography are incredibly breathtaking. Rated PG-13 for sexual themes and war scenes, this is a film for Date Night with your significant other. Collectible, absolutely, if for no other reason than to have evidence of Keanu's occasional good sense in accepting a role.

Laws of Attraction - 2004

Deep River Productions, Irish DreamTime, Initial Entertainment Group (IEG)

Directed by Peter Howitt

Cast:

• Daniel Rafferty – Pierce Brosnan
• Audrey Woods – Julianne Moore
• Thorne Jamison – Michael Sheen
• Serena – Parker Posey
• Sara Miller – Frances Fisher
• Judge Abramovitz – Nora Dunn

Story: When you are the number one divorce lawyer in the city, especially when its New York City, you tend to get noticed and attract high profile clients. But what happens when you are suddenly vying to keep your status as number one? Audrey Woods is a ruthless professional who tries to keep everything professional in her life, including her sparsely populated love life, when suddenly she comes face to face with Daniel Rafferty, an incredibly talented attorney who has the audacity to compete with her, even beat her in court. When Rafferty “steals” a client away from him, the fashion designer wife of a rock star, Woods counters with becoming the rock star's attorney, and the discovery is so hostile over a castle in Ireland, the two lawyers are ordered to investigate the claims by traveling to Ireland and speaking with staff. While in Ireland they attend a local town festival where they are introduced to the local customs, in a very personal way.

Review: Delightful and wonderfully romantic. Is that too much? Seriously, you have here the perfect love story in the perfect setting with the most perfect couple one can think of, if you are thinking of true Irishmen and Irish descendents. Pierce Brosnan is witty, charming, cute “as per Frances Fisher in the film”, and above all, incredibly gifted in this role. When you watch him here, you are reminded of the films of David Niven or Cary Grant, and that is no mean comparison coming from someone who sorely laments the lost of such talents. Julianne Moore comes up to Pierce brilliantly, and you could see this film occurring thirty years ago, starring Grant and Hepburn. Julianne's character is the perfect foil for Brosnan's in this delightful duel of the sexes. Parker Posey and Michael Sheen are the typical young adults caught up in their success, and going through a rough patch of the “I'm so neglected” stage of marriage, which the two of them carry off wonderfully. The maraschino cherry on this particular confection is the wonderful appearance of the beautiful Frances Fisher, than lovely lady who has the cheekbones of Venus de Milo and the accompanying smile. Rated PG-13 for sexual content and language, I personally recommend this as a film for you and that significant other when the kids are in bed, or for Date Night.

Other People's Money - 1991

Warner Bros. Pictures, Yorktown Productions

Directed by Norman Jewison

Cast:

• Lawrence Garfield – Danny DeVito
• Andrew “Yorgy” Jorgenson – Gregory Peck
• Kate Sullivan – Penelope Ann Miller
• Bea Sullivan – Piper Laurie
• Bill Coles – Dean Jones
• Arthur – R. D. Call
• Harriet – Mo Gaffney

Story: "Larry the Liquidator" is a man on a mission. As a Wall Street Investor and a player in the game, he wants to make as much money as possible. His computer, named “Carmen”, is the first thing he looks at in the mornings, and she's telling him about New England Wire and Cable, a sixty year old company on the verge of obsolescence. As a stockholder, he decides to visit the company and see if he can buy them out. His visit doesn't go so well. The owner and chairman of the board, “Yorgy” Jorgenson, almost has him thrown out of the building. But Larry is undeterred. He begins buying stock in the company to force a takeover. “Yorgy” enlists the help of his stepdaughter, a successful New York City attorney, who begins filing injunctions and using all sorts of legal tactics to protect the company, but when Kate Sullivan finally walks into Larry's office, Larry begins what has to be the strangest romance ever seen in cinema. Through maneuver after maneuver, he tries to woo the beautiful Kate, while continuing to pursue the defunct company.

Review:About four years earlier, Gordon Gecko became the most hated man in America, the epitome of greed and corruption. Danny DeVito, that diminutive tyrant from Taxi, manages to give us a fresh perspective on the successful, honest Wall Street investment type. Lawrence lives well, a posh NYC townhouse, a valet/cook/chauffeur, and a corner office in his own firm on Wall Street. This is a side of DeVito unseen up to this film, and it shows you just how versatile he can be. He is the romantic leading man in this delightful study of human interaction, and he carries it off beautifully. Penelope Ann Miller, that ravishing redhead with the lithe body and delicate bone structure, plays the modern, independent woman who has battled her way to the top and knows how to play the game. She is forceful with just the right amount of submissiveness, prideful with just the right balance of humility, and classically beautiful in a very subtle, yet Venus de Milo way. Gregory Peck delivers a stunning performance as the aging, stubborn, factory manager who refuses to accept the advice of others, sort of a mortal Yoda with no ability to see into the future. Dean Jones departs from his ever bubbly Disney persona to deliver a serious role of the president of a company with an uncertain future. Piper Laurie, well, there is a very short list of desirable women in the world, but she is definitely on it. She comes across as the ever present cheerleader, the woman behind the man. Overall, the plot is fast paced and entertaining, with plenty of DeVito personality to make this one of the finest romantic comedies to ever hit the screen. Rated R for language and sex-related dialog, I hardly think the teens in your household will be offended or negatively impacted by this delightful film. Definitely a collectible for you connoisseurs of fine romantic comedy, and fans of DeVito.

Midnight in Paris - 2011

Gravier Productions, Mediapro, Pontchartrain Productions

Written and Directed by Woody Allen

Cast:

• Gil – Owen Wilson
• Inez – Rachel McAdams
• Cole Porter – Yves Heck
• Zelda Fitzgerald – Allison Pill
• Ernest Hemingway – Corey Stoll
• Getrude Stein – Kathy Bates
• F. Scott Fitzgerald – Tom Hiddleston
• Salvador Dali – Adrian Brody

Story: Gil is a successful Hollywood script writer who longs for the romantic times of the 1920's in Paris. He and his fiancee, Inez, have “tagged along” with her parents to Paris. Inez is a domineering sort who presses Gil to go places he does not want to go, and do things he does not want to do, and he is so undecided about life he allows her to do so. But he regrets his choice to do script writing, and has been working on a novel for several years. He just lacks the confidence to show it to anyone. One night after a wine tasting, Gil decides to walk the streets of Paris instead of accompanying his fiancee and her friends dancing. As the clock strikes midnight, he is hailed into a older car by a group of folks out for a night on the town and finds himself in the company of Scott and Zelda Fitzgerald. They arrive at a party where Cole Porter is playing piano, and Ernest Hemingway is sitting to the side getting drunk. After an exhilarating night, he is back in his own time, with a promise from Hemingway to have Gertrude Stein look at his novel. Night after night, Gil returns to the 1920's to meet such legends as Matisse, Dali, and even travels to the 1890's for one night to meet Gauguin, Degas, and Toulouse-Lautrec in the infamous Moulin Rouge. When all is said and done, he realizes he does not belong with Inez, does not belong in the past, and remains in Paris to work on his novel.

Review: Woody Allen has a perspective that will never be duplicated or imitated properly. Not only is this story classic Woody, but the acting and perspective of the characters is so clearly his vision in this delightful comedy about confronting choices and taking risks. Owen Wilson gives a remarkable performance as Gil, the everyman who has come to the crossroads of his life and is uncertain about the path he has chosen. Rachel McAdams is so good at being the spoiled brat daughter of the well off parents, self absorbed, self aggrandizing, and totally unaware of anything she cannot control or seduce. The transitions from Paris of 2010 to Paris of the 1920's is seamless, without the mystical special effects of so many Hollywood productions these days. Gil is sitting on the stairs when an antique sedan comes by and the party goers call him in. The cast is a wonderful mix of American, French and British actors who all seem so at ease in the roles you would swear you had run into them in the street. The music throughout the film is perfectly suited to the city, and the photography is incredible. Kathy Bates stands out for her performance of Gertrude Stein, the groundbreaking author, patron of the arts, and openly gay woman who influenced so many of the artists of the "Lost Generation". And I would be terribly remiss if I did not commend Corey Stoll in his bold performance as Ernest Hemingway, who was Stein's opposite in so many ways. As romantic comedy goes, this film will become a classic in the hearts of anyone who appreciates a finely woven tale of awakening and redemption in the city of lights. Rated PG-13 for sexual references and smoking, I hardly think the teens will have a problem with this film. Rent it, buy it, and watch it when you need a great story to pick you up.

Driven - 2001

Franchise Pictures, Epsilon Motion Pictures, Trackform Film Productions

Directed by Renny Harlin

Cast:

• Joe Tanto - Sylvester Stallone
• Carl Henry – Burt Reynolds
• Jimmy Bly – Kip Pardue
• Lucretia Clan – Stacy Edwards
• Beau Brandenburg – Til Schweiger
• Cathy Heguy – Gina Gershon
• Sophia Simone – Estelle Warren
• Memo Moreno – Cristian de la Fuente
• Demille Bly – Robert Sean Leonard

Story: A hot, young race driver, Jimmy Bly, is losing his focus, and his teammate isn't listening to instructions. Carl Henry, the team owner, decides to bring back a former champion, Joe Tanto, he can control to help Jimmy back to his winning focus. This proves to be a daunting task. Jimmy has an overbearing older brother and manager, Demille, who constantly presses him to do publicity and other things. Jimmy has also befriended the estranged fiance, Sophia, of Beau Brandenburg, the current world champion. Add the insular attitude of Demille, and toss in an embedded reporter, Luc, a former girlfriend, Cathy, and the replaced driver, Memo, and you have a plethora of problems besetting the young Jimmy and everyone involved. Tempers flare, feelings are involved, and everyone is tossing in their two cents. In the end, it is life representing art, and there is little to do but live on.

Review: Not one of Stallone's best films, but certainly not his worst (anyone remember Oscar?). The problem with this film is focus. Too many chiefs and not enough indians, too little focus on the characters, questionable racing scenes that focus little on actual racing (which would seem to be a little important when making a film about racing). Take your pick. Stallone comes off too “Rocky” in many scenes, although his brief scenes with the lovely Stacy Edwards are well done. Burt Reynolds plays the role of the hardcore team owner without once cracking his signature smile, which is not only disappointing, but disheartening. Til Schweiger discussing emotions with Stallone? In real life, perhaps, but as two tough guys and champions having a tea and sympathy moment? It just doesn't work. Estelle Warren as a love interest works, with her lithe and lovely manners and obvious beauty, but her emotional level doesn't rise to the part. Perhaps the most unbelievable scene in the film is the emotional moment when Kip Pardue and Sly are racing about the city of Chicago in two experimental cars, violating every traffic law on the books, and endangering hundreds of lives, and yet receive no more than a $25,000.00 fine and no suspensions. In all, the characters are two dimensional at best, superficial at worst, and the film is a waste of just under two hours of your precious time. Rated PG, not collectible, and certainly not one to rent unless you enjoy being bored.

The Last Samurai - 2003

Warner Bros. Pictures, Bedford Falls Company, Cruise/Wagner Productions

Directed by Edward Zwick

Cast:

• Captain Nathan Algren – Tom Cruise
• Katsumoto – Ken Watanabe
• Sgt. Zebulon Grant – Billy Connolly
• Col. Bagley – Tony Goldwyn
• Omura – Masato Harada
• Simon Graham – Timothy Spall
• Emperor Meiji - Shichinosuke Nakamura
• Nobutada - Shin Koyamada
• Ojio - Hiroyuki Sanada
• Taka - Koyuki

Story: In 1876, Captain Nathan Algren, retired from the 7th Cavalry, is convinced by his former sergeant and comrade, Zebulon Grant, to accept a position as a military trainer and advisor for the Japanese. Algren is a brilliant military mind and an alcoholic who is haunted by the scenes of battles and engagements of his past, and his immediate superior, Col. Bagley, is a part of that. He begins training the Japanese troops, who are mostly conscripts and farmers, and is rushed into battle before they are ready to fight. He fights alongside his men and is captured by Katsumoto, the leader of the rebelling Samurai. The Samurai take him to a village deep in the mountains and explain that with winter coming on, there is no way to escape. He is not treated as a prisoner in the usual sense, and has access to the people of the village. During his captivity, he is allowed to learn the ways of the Samurai as Katsumoto, who speaks English, has “conversations” with him to learn about his American enemy. As the two learn about one another, they develop a respect for each other, and Algren develops a love and respect for the way of the Samurai. In the end, he helps the Samurai in their battle to preserve the way of the Japanese people.

Review: Based very loosely on the Satsuma Rebellion of 1877, this two and one half hour epic is one of the closest views to Japanese life before western culture ever shot by an American. Tom Cruise shows us his ability to develop and mature as a character throughout the film, and Ken Watanabe displays the quiet yet powerful acting he is known for. The power and emotion of the film are riveting, and the scenery is incredibly beautiful. Supporting roles are exceptionally acted, with special credit to Billy Connolly for his brilliant, if not brief, portrayal as Sargent Zebulon Grant, the hard nosed enlisted man who is tasked with “whipping” the soldiers into shape. The only major flaw I see is a technical one that was added to the film to provide a more dramatic ending, and that is the use of Gatling Guns, which were in use in South America and Europe at the time, but not in the Orient.The links above wil provide you with the setting of the actual rebellion, and I believe Mr. Zwick did an excellent job in portraying the Imperial Court politics of the day. Omura is the prime example of a man consumed with greed and power, and his influence over the Emperor Meiji, the boy who has been thrust into the role of living god, is evident in every scene. Rated R for violence and language, this film is probably acceptable for teens who play battle games on their X-Box or Play Stations, but the little ones should probably be in bed or doing something else. Collectible for fans of Tom Cruise, good drama, or anyone who wants a little insight into the way of the Samurai.

The Twilight Saga: Breaking Dawn, part 1 - 2011

Summit Entertainment, Sunswept Entertainment, TSBD Canada Productions

Directed by Bill Condon

Cast:

• Jacob Black – Taylor Lautner
• Isabella Swan – Kristen Stewart
• Edward Cullen – Robert Pattinson
• Dr. Carlisle Cullen – Peter Facinelli
• Esme Cullen – Elizabeth Reaser
• Sheriff Charlie Swan – Billy Burke
• Billy – Gil Birmingham
• Alice Cullen – Ashley Greene
• Renee – Sarah Clarke
• Jasper Hale – Jackson Rathbone
• Phil Dwyer – Ty Olsson

Story: Bella and Edward are about to be married. Jacob receives his invitation and is not pleased, reacting like any spurned lover who is able to run for miles after turning into a giant wolf. Alice, Edward's sister, is in her most favorite place, planning the wedding, making sure every detail is perfect. And on the day of the wedding, Jacob does return, to wish her luck on her final day as a human...only to discover she is going to wait until after the honeymoon to be changed. The honeymoon is not without incident, but they manage until, 14 days after the wedding, Bella discovers she is pregnant. Can she survive? Will the baby be a blessing or a curse? Can Jacob stop the tribe of werewolves from killing the child?

Review: Okay, I have to let you know I have a wife and three daughters, which is why I am even aware The Twilight Saga exists. To my chagrin, I have seen all the movies, and on a scale of one to ten, I give them a six at the most. These are not the vampires and werewolves we grew up with, but the Gothic romance style of the stories appears to be appealing to many people, or else why make the movies in the first place. The special effects are probably the most appealing aspect of the film. The transformation of the tribal members to wolves is interesting and very smooth. The scenery is beautiful, and the photography is exceptional. As to the acting, well, I doubt if anyone at the academy is looking to give any Oscars away, but the actors are sufficient in a melodramatic way. I personally thought I was watching a soap opera, and not feature length film. All that being said, I think, much like the Harry Potter series, the purpose of extending this final film in the series to two episodes is more financial than artistic, and the action suffers for it. Little more than a wedding, a honeymoon, a pregnancy, and … well, that would be telling. Rated PG-13, so the little ones will best be in bed, but the teenage girls will eat it up.

P.S. I Love You - 2007

Alcon Entertainment, Grosvenor Park Productions, Wendy Finerman Productions

Directed by Richard LaGravenese

Cast:

• Holly Kennedy – Hillary Swank
• Gerry Kennedy – Gerard Butler
• Denise – Lisa Kudrow
• Sharon – Gina Gershon
• John – James Marsters
• Daniel – Harry Connick Jr.
• Patricia - Kathy Bates
• Ciara – Nellie McKay
• William – Jeffrey Dean Morgan

Story: A young couple are madly in love with one another, but a sudden problem comes up. He dies from an inoperable tumor. With no children and no purpose and without her husband, she begins to withdraw, barely leaves her apartment, and is heading toward a serious breakdown when a letter arrives in the mail. A letter from her dead husband. He has arranged to have the letters delivered and in each letter he gives her a task to complete. Against her will, he is leading her to get on with her life, He enlisted the help of her mother, her friends and even his parents to make this all happen, and his plans lead his love through a path of new adventures and cherished memories.

Review: So here is my Valentine's Present to my readers. A chick flick. But not just any chick flick. An incredibly good one. I don't care if you are male or female, you have to love this idea, people fall so much in love the only thing that matters is the happiness of the other person. Gerard Butler and Hillary Swank are perfect together, which is no surprise to anyone who knows their work. The supporting cast members could all be swapped out for the leads in this case, since you have a cast of seasoned professionals with their own followings. Of particular note are Gina Gershon and James Marsters, two underused and powerfully good character actors with enough talent to carry off a film by themselves. Toss into that mix the incredble Kathy Bates and Lisa Kudrow, and for icing on the cake add Nellie McKay and Jeffrey Dean Morgan, and you have the perfect cast for any romantic comedy you would want to watch. Next you take some incredible scenery and photography, mix in a wonderfully romantic plot, and a director who understands the limits of his necessity, and you have the perfect Valentine's film to watch with your lover tonight. A PG-13 rating means the little ones ought to be in bed before you start, but that was probably your intention anyway, right? After all, it is Valentine's Day.

In The Line Of Fire - 1993

Columbia Pictures Corporation, Castle Rock Entertainment

Directed by Wolfgang Petersen

Cast:

• Frank Horrigan – Clint Eastwood
• Mitch Leary – John Malkovich
• Lilly Raines – Rene Russo
• Al D'Andrea – Dylan McDermott
• Bill Watts – Gary Cole
• Harry Sargent – Fred Dalton Thompson
• Sam Campagna – John Mahoney

Story: An aging secret service agent is investigating a reported threat against the President when he stumbles on to a guy who is actually plotting to kill him. “Booth” is a sinister sort who recognizes Frank Horrigan as the last remaining Secret Service agent from the Kennedy era, the man who was standing behind the car when Kennedy was shot. The Secret Service takes all the right steps to capture “Booth”, but he is always just a few steps ahead of them. He plays a cat and mouse game with Frank, calling him, talking about how, even telling him where the assassination will take place. Frank risks everything, including his life several times, to prevent the assassination from happening, but is it enough?

Review: To date, this is the last film Clint has starred in that was not directed by him. But if you're going to work with the best, why not work with Petersen? That logic appears to be sound, as this film is one of the more seamless dramas Eastwood has done. Everything fits, from the opening scenes as an undercover agent to relationship with John Mahoney to the interaction with John Malkovich. The love relationship between him and Rene Russo is neither forced nor overly romantic, but the feeling blends perfectly into the resolution of the film. Fred Dalton Thompson is not stranger to political roles, but might have played this one with a little more panache. Overall, this film is well-written and directed, plays well to the adult audience, and leaves a favorable impression, like going to a good restaurant on a night when the chef has gone all out. You leave satisfied, and plan to come back again. Rated R for violence and language, this film is not for the pre-teens, and while the teens would not be shocked at the violence, they probably won't want to watch a bunch of “old people” for 128 minutes. Their loss is our gain. Collectible for the Eastwood fans, and anyone who enjoys a good suspense film.