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Thursday, February 08, 2001
 Scream (1996)Hilarious stab at the teenage horror drama that put Neve Campbell and a slew of others on the map. Someone’s killing local students and it looks like they’re after Sidney Prescott (Campbell). The amusing bit is that everyone kind of realizes that it is a horror movie. As the kids put their theories in, more and more people start to die; will Sid survive? Fair performances throughout, but the best three are Henry Winkler as a distraught principal, Matthew Lilliard as the somewhat tactless friend, and Jaime Kennedy as the horror-genre expert. Snappy dialogue and good thrills abound in this clever film. *** Scream 2 (1997)What a difference a sequel makes…what was fresh and original in the first film, is boring and predictable here. Campbell is back and being chased yet again (this time at college); but this time, the humor seems forced, the attacks seem arranged, and the violence is much more mean-spirited. The film can never seem to find its spoof-like footing, and suffers as a result. Killing off the funniest character about halfway never helps. *1/2 Scream 3 (1999)Final installment (one can only hope) of Sydney (Neve Campbell) being chased around by serial killers with no real motives. Writer Kevin Williamson ran out of jokes and sly surprises mid-way through the second film, so don’t expect anything original or interesting here. The only real interest might be in spotting the cameos (Jenny McCarthy, etc.) and trying to guess the order in which people die. Longtime B-movie producer and director Roger Corman plays the movie executive. 1/2* I Know What You Did Last Summer (1997)Neve Campbell look-alike Jennifer Love Hewitt stars in this half-bred cousin of Scream. Four teenagers kill a fisherman with their car and dump the body. A year later they start receiving scary notes, suggesting someone else knows. But that’s only the beginning. Soon, they start getting picked off, which makes you wonder why they’d ever split up. Oh yeah, they do that because it’s convenient for the plot. The strangest thing going on here is how, as the movie progresses, both Hewitt’s and Gellar’s cleavage becomes more prominently displayed. * Scary Movie (2000)It was just a matter of time before the 90’s self aware teenage horror genre came under fire of a spoof, and luckily, the Wayans brothers have done it for us. In a very amusing and well-played manner, director Keenan Ivory Wayans one-ups the tension of the horror films and creates a series of hysterical sketches. The more you know about this sub-genre, the more you will appreciate this film. From Carmen Electra’s opening sequence, to its goofy ending (way to go Doofy!) this one will leave you in stitches. Keenan has a great bit as the slave in the Amistad II trailer. Originally titled Scream If You Know What I Did Last Halloween. *** Wednesday, February 07, 2001
The Mask of Zorro (1998)Smashing popcorn movie that has Antonio Banderas as a hot-headed local who wants vengeance. He finds Anthony Hopkins, who is in fact, the retired Zorro. As Hopkins trains Banderas, powerful men are using locals as slaves to mine gold. On top of all of this, Banderas has fallen for the evil Montero’s (Stuart Wilson) daughter Elena (Catherine Zeta-Jones). High adventure tale doesn’t do much of the way of character development, but it knows how to stage a great fight scene. Banderas is wonderfully corny as the hotshot swordsman, and Zeta-Jones is good as the sensual, but independent, baron’s daughter. *** The Way of the Gun (2000)Film with enough plot for two or three movies. Ryan Phillippe and Benicio Del Toro kidnap surrogate mother Julliette Lewis. Too bad they kidnapped her from Scott Wilson, who plays a millionaire with shady ethics. That means besides the currently employed bodyguards (Taye Diggs and Nicky Katt), Wilson brings in old-timer James Caan. Leave it to writer-director Chris McQuarrie to make sure that everyone from the mother-to-be (Kristin Lehman) to the doctor who’ll deliver the baby (Dylan Kussman) will have their own agendas. And that’s what ultimately pulls the movie down; there are far too many characters, motives, and effects that McQuarrie wants to try for one movie. There are great individual concepts at work in this film, but this film is far less than the sum of its parts. **1/2 Tuesday, February 06, 2001
2001: A Space Oddyssey (1968)Outlandish film with one of the great visionary styles and impenetrable plots ever put on celluloid. Kubrick takes Arthur C. Clarke’s story and runs with it, putting together a beautiful-looking film. The story, as it is, is in three parts, with the major focus being on the central story of two astronauts on a long flight and their relationship with the ship’s computer the HAL 9000 (perfectly voiced by Douglas Rain). The Strauss music that goes with the spaceship meandering flight patterns is perfect. And heck, even if the ending is way out there, it’s enjoyable to watch and debate the meaning of the film. Probably Kubrick’s best film. **** Dead Reckoning (1947)Bogart plays a war veteran who investigates why a fellow soldier would run away rather than receive a Medal of Honor. As these things go, Bogie finds himself in strange situations with bad people, especially the owner of a seedy club (Morris Carnovsky). The classic film-noir model is followed here, and although it’s mostly forgettable, this is an enjoyable ride. Wallace Ford has a nice bit as a retired thief. **1/2 The Island of Dr. Moreau (1996)Pretty awful re-make of Wells’ novel has Marlon Brando running around in his unique form of nuttiness as the demented Doctor, with Val Kilmer as his assistant Montgomery. David Thewlis is the shipwrecked survivor in this version, but this time, the focus is off of Thewlis’s character and thrust completely on Moreau and his relationship with Montgomery. Distracting and silly on every level, this one includes dwarfs, Popemobiles and Brando in kabuki-style makeup. Ron Perlman is the only character who is an improvement over the original, as the Sayer of the Law. * The Island of Lost Souls (1933)The first screen adaptation of H.G. Wells’ novel, The Island of Dr. Moreau. Charles Laughton is Moreau, who is doing experiments on speeding evolution (the first of the geneticists?); he’s turned apes into men, and a panther into a woman named Lota (Kathleen Burke). When shipwrecked Edward Parker (Richard Arlen) ends up on the island, the next level of psychological experiments begins. A bit on the campy side, but in general, this is a truly well made movie. Performances all around are acceptable, including a small appearance by Bela Legosi as the Sayer of the Law. *** Monday, February 05, 2001
The Thomas Crown Affair (1968)Steve McQueen is a very rich and very bored businessman. So, he plans a bank robbery, in which he is not directly involved. Insurance investigator Faye Dunaway is dispatched to the scene and soon is on McQueen’s trail. He likes the attention, and soon their sexual banter turns into a full blossoming relationship. But can it ever work? Will Dunaway get the proof she needs, and even if she does, will she use it? Nicely paced thriller is well done, especially the opening bank sequence (that’s Yaphet Kotto as one of the robbers). Love that ending. *** The Thomas Crown Affair (1999)Updated version of the crime thriller has Pierce Brosnan as the idly rich bachelor who this time steals a painting (and does it himself). Rene Russo is the insurance investigator, while Denis Leary provides some comic relief as the disgruntled cop. While the chemistry between Brosnan and Russo is undeniable, the story is simple weaker all around; every time director John McTiernan needs a transition, he simply shows some amazing shots (from a private boat, plane, and anything else he can think of). This doesn’t allow for much character development, and thus, it doesn’t draw the audience in well. Still, it’s pretty to watch. The change in ending is definitely depressing. Faye Dunaway gets a cute bit as a psychologist. ** The Spanish Prisoner (1997)Dialogue in a David Mamet mystery may be the most identifiable ever. It’s just the way each person talks; how every word is perfect, sophisticated and timed with Swiss-manufactured precision. And although the stories he’s offered to the screen have had varying degrees of success, it’s always fun just to sit and listen. In this one, Campbell Soctt has invented ‘the process’, but fears he won’t get the compensation he deserves. He gets mixed up with a likable stranger (Steve Martin) and a strange woman from his office (Rebecca Pidgeon). Soon, he doesn’t know which way is up, and he’s involved with the FBI (led by a well-cast Ed O’Neill). To tell you how it finishes would be a sin, but leave it to Mamet to be bizarre. *** Mad Dog and Glory (1993)Strange tale of quiet policeman DeNiro who ends up doing a small favor for hood (and comic) Bill Murray. DeNiro’s payment is getting Uma Thurman for a week, and of course, he falls for her. All of this is pretty standard, but somehow it seems so much stranger here. Murray is having a great time with very patterned dialogue, but the highlight scene is between hothead David Caruso and easygoing but tough Mike Starr. This one never quite gets on track, but it’s interesting to watch anyway. ** Hamlet (1990)So-so adaptation of the Bard’s best tale, this one has Mel Gibson thinking there’s something wrong in the state of Denmark. A stylishly dark adaptation, this one has its faults, but in general is successful. Glenn Close is terrific as Gerturde, although the Oedipal complex card between her and Gibson is played a little too strongly. Ian Holm is admirable as the idiotic Polonious, while Helena Bonham Carter gets the thankless job of being Ophelia (there aren’t many more pathetic parts around). This one is nicely abridged; while it clocks in at less than two and a half hours, it still holds the essence of the story. Not bad at all. **1/2 The Silence of the Lambs (1991)Nearly flawless thriller that has Jodie Foster as FBI agent Clarice Starling who is chasing a particularly nasty serial killer (Ted Levine). She needs help from Hannibal the Cannibal (Anthony Hopkins), who has his own game to play. As the stakes grow (a Senator’s daughter is kidnapped), Hopkins gets further into Foster’s head. This one deservedly took the big five of the Oscars (Picture, Actor, Actress, Director and Writing) and is a wonderfully scary psychological test between two strong actors. Prequeled by a different cast in Manhunter, followed by Hannibal. **** The Messenger (1999)Sad offering from director Luc Besson, telling the story of Joan of Arc. Besson casts his wife Milla Jovovich in the lead, and from her first appearance on-screen, it’s obvious she is the wrong choice for the part. She lacks the ability to portray the many facets of Joan, instead, she makes it a black-and-white approach (I’m always right, because God said so), and that becomes unbearable pretty quickly. Moreover, there is far too much time spent on the battlefield, and not nearly enough time spent dealing with the theological (and politically motivated) trial. Too bad, because almost everyone else in the film is in fine form, especially John Malkovich as the cowardly King and Dustin Hoffman as Joan’s conscience. Not even the fine costumes and set pieces can save this one. * The Higlander (1986)Christopher Lambert is Scot Conner MacLoed (with a French accent), an immortal, who finds out that while there are many like him, in the end, “there can be only one”. The final fight is in New York in 1986, and the winner will gain mighty powers, if it’s Kurgan (Clancy Brown), humanity is finished. The film follows MacLeod through his present day romance with author Wyatt (Brenda Hart) and flashbacks of his training with Spainard Ramierez (Sean Connery, with a Scottish accent). If you get past the obvious accent problems, this is actually one of the more interesting fantasy films of the 80’s: the story is clever, and the sequences in Scotland are well filmed. Lambert and Connery are acceptable, but it’s Brown’s evil Kurgan that steals the show. By the way, just because this one is good, it doesn’t mean that you should waste your time with any of the three sequels. *** Sunday, February 04, 2001
8MM (1999)Disappointing film that has Nicolas Cage investigating whether a snuff film is real or not. As Cage gets further into the world of porn, he hooks up with a strange guy in the business (Joaquin Phoenix). Mixed-up movie has pacing problems, is visually far too dark to even be seen clearly and doesn’t have a good sense of where it should end. The only thing here worth viewing is Cage’s strong performance as a man who didn’t think things would go as far as they do. That’s Catherine Keener as Cage’s wife. * Brewster’s Millions (1985)Tame comedy that has Richard Pryor as Brewster, the only living relative of a recently deceased multi-millionaire. Brewster has to spend 30 million in 30 days in order to receive 300 million. John Candy is his in-the-dark friend, and Lonette McKee is the accountant, who might have feelings for Brewster. Mostly a blasé film, there are a few funny points, but not enough to make it worth watching. *1/2 The Parallax View (1974)Paranoid thriller that has Warren Beatty as an investigative news reporter who witnessed an assassination of a Senator, and a few years later, most of the people who witnessed it are also dead. Beatty gets nervous and starts on the trail of what may be a company that hires assassins. Director Alan Pakula uses less to make more; in fact, there is very little dialogue in the last twenty climactic minutes of this one. Such silences would never be done now, but here, they work extraordinarily well. A fantastic ending. *** The Serpent and the Rainbow (1988)Well-paced horror film from Wes Craven has a Harvard researcher (Bill Pullman) in Haiti trying to identify the chemicals used in voodoo potions. He gets heavily involved, and soon, he has some bad folks, including Dargent Peutraud (Zakes Mokae) after him. This is a fairly scary film that takes its subject seriously, thus, making it plausible instead of a joke. Pullman is well cast as the smart but confused researcher, Mokae is creepy and Cathy Tyson is alluring as the romantic interest. Nice effects and shooting on location help quite a bit. *** The Shadow (1994)Alec Baldwin plays the title character in this revival of the 30’s and 40’s pulp comic and radio show. The Shadow has the power to “cloud men’s minds”, and he uses it to stop bad guys. But, another man (John Lone) has this power, and as the final descendant of Genghis Khan, he plans on taking over the world. He uses a bomb that is being developed by the good, but absent-minded Ian McKellen and the evil Tim Curry. How will The Shadow, along with Penelope Ann Miller and Peter Boyle, stop this evil menace? The movie actually accomplishes its task of recreating the old show very well, with a dark atmosphere, goofy plots, and pure good vs. evil. That first scene could have been a movie all by itself. **1/2 Road Trip (2000)More of the teenage gross-out humor that defined late 90’s comedies. The plot here is that Ithaca student Josh Parker (Breckin Meyer) accidentally sent a tape of a one-night stand with Beth (Amy Smart) to his girlfriend (Rachael Blanchard) in Austin. This gives him three days to get to Austin and get the tape. Of course, his friends have to go with him. Like any good road trip, all sorts of crazy things happen to them. Back at Ithaca, Tom Green just wants to feed Rubin’s snake. Fairly predictable, the plot is simply a clothesline to hang together each skit, which have varying degrees of success. Thing is, if you don’t like one, it won’t last long. This film is funnier if you just let it do its thing and not try to concentrate on any of the supposed storyline. **1/2 Monday, January 29, 2001
The French Connection (1971)Best Picture Winner has Gene Hackman as a rogue detective, with a short temper, who is out to take down a big time heroin dealer (Fernando Rey). Along with his partner (Roy Schieder), they bend the law, fight corruption and try to stay alive. With one of the greatest car chase scenes under the El in New York, this one vacillates between cop drama and action film. Nice performances all around, and although the film feels dated, it still packs a pretty good punch. *** Battlefield Earth (2000)Inept film that has great production design and a big budget, and very little else going for it. John Travolta is Terl, the security chief of Earth for a nasty, business-led alien race, the Psychlos. Barry Pepper is the ‘greener’ earthling who leads a revolt. Adapted form the L. Ron Hubbard novel (yes, the Scientology founder of which Travolta is a member), this film does just about everything wrong, from the horrible dialogue, awful costumes and bad sound editing. Flawed pacing abounds and the special effects are good enough only to make you realize you’re watching special effects. There’s not a real redeemable aspect to this film. Zero Saturday, January 27, 2001
V.I. Warshawski (1991)Kathleen Turner is the PI of the title, who gets involved in a murder case because she once liked the deceased. Predictable comedic thriller has very little in the way of acting, script or production design, making it one of the least likable films of 1991. Considering the sizable and good cast, it’s especially impressive that this could be so stupid. 1/2* One Fine Day (1996)A romantic comedy for the 90’s that has Michelle Pfeiffer and George Clooney as working single parents who have to work together when both of their children miss a school field trip. The plot is fairly basic, with the two main characters professing to not liking each other, but finding their hearts giving them away. Clooney and Pfeiffer are both charming, although there’s not much for them to do here. Still, it could have been significantly worse, and neither of the children are annoying. **1/2 Rope (1948)Fairly taut yarn from Hitchcock, that has two snot-nosed punks (Farley Granger and John Dall, playing their characters with a unmentioned attraction for each other) who kill an acquaintance of theirs just to do it. On top of that, they host a dinner party with the body in a trunk. Jimmy Stewart plays Rupert Cadell, an old teacher of the boys, and he gets the feeling that something is up. Will he figure it out? Well-plotted thriller is best known for the fact that Hitchcock did it all in single ten-minute takes (it’s hard to miss the cuts during the film), thinking it would reinvent cinema. It didn’t, because if a single mistake was made, it all had to be refilmed. May not be one of Alfred’s best, this is still enjoyable to watch. *** Thursday, January 25, 2001
Pretty Woman (1990)Cute romantic comedy that has Richard Gere as a rich and cold businessman who accidently meets a hooker (Julia Roberts). Gere needs an escort, but finds he has feelings for Roberts. Julia, in the meantime, is having a tough time being accepted by the elite society. Well-made film works so well because of Roberts’ great screen presence, while Gere is acceptable as the tycoon, and Jason Alexander is wonderfully sleazy. *** Wednesday, January 24, 2001
The English Patient (1996)Epic film about that centers around two characters: a burn patient Almásy (Ralph Fiennes) and his doctor (Juliette Binoche). Binoche is taking care of her charge in an old castle during WWII, and when Caravaggio (Willem Dafoe) appears, Fiennes tells the story of his past relationship with Kristen Scott Thomas to her. Meanwhile, Binoche has gotten involved with an Indian bomb defuser (Naveen Andrews). Based on the award-winning book by Michael Ondaatje, this is a well-made (check out the desert scenes) and thoroughly interesting film. Fiennes and Thomas are good, but Binoche and Dafoe are in top form. Multiple Oscars were won for this film, including Best Picture. ***1/2 Deep Blue Sea (1999)Depressingly dull film about a secret research facility (led by Saffron Burrows) that thinks it’s found the cure for Alzheimer’s, but needs more money and time from its oversight man, Russell Franklin (Samuel Jackson). Unfortunately, they’ve been doing their research in sharks, and now they’re super intelligent. Of course, a storm has just blown in, and knocked out the communication. People start dying at alarming rates; will anyone get away? Bad science, bad effects and even worse acting make this one pretty unbearable, but there are some truly surprising turns of events. 1/2* It Happened One Night (1934)One of the best-written romantic comedies ever, this one stars Clark Gable as a reporter who is following runaway heiress Claudette Colbert. But, instead of finding a story, Gable finds a romance, albeit it takes a good amount of time to formulate, and it might never come to fruition if they continue to bicker. Snap-paced dialogue (written by Robert Riskin) is perfect for the two leads, and Capra’s direction only serves to help this film become a classic that has not lost its appeal. **** Tuesday, January 23, 2001
The Conversation (1974)Francis Ford Coppola really was the best director of the 70's: before his grandiose Apocalypse Now and in between his epics The Godfather and The Godfather II, he delivered this sensational suspense film starring Gene Hackman as a PI who really likes his privacy. When he gets involved in a simple eavsdropping job, he gets a lot more than he bargained for: soon he becomes very concerned that a murder will take place. But just who and how it will go down are a major question. Hackman is fantastic as the paranoid snoop, John Cazale is great as one of his few friends, and Harrison Ford is extremely suave in a small, but key part. The opening scene is perfect. ***1/2 Monday, January 22, 2001
Rio Bravo (1959)John Wayne is a Sheriff who has arrested a killer whose friends are trying to spring him out. The only help that Wayne has is a drunk deputy (Dean Martin), an old deputy (Walter Brennan) and a young kid Colorado (Ricky Nelson), with Angie Dickinson as the love interest. Classic comedic Western doesn’t take itself too seriously, and everyone seems to be having a good time, especially Martin, who gets some of the best dialogue in the film. Director Howard Hawks appears to have fallen in love with the formula; he used the same one in El Dorado. *** El Dorado (1967)Reprise from Hawks has Wayne as a hired gun, who helps out a rancher from being pushed out by an evil landowner (Ed Asner). This time, Robert Mitchum is the drunk sheriff, James Caan is the green kid (Mississippi this time), and Arthur Hunnicutt is the codgy old deputy. Doesn’t work quite as well as Rio Bravo, especially some of the editing, but you know exactly what you’re getting. **1/2 The House of Mirth (2000)Adaptation of Edith Wharton’s novel, this follows the travails of rich and single Lily Bart (Gillian Anderson) in the early part of the 20th century. Lily starts to make some poor choices, and along with a high moral code, descends out of the ranks of high society, even though she has ample opportunity to correct her situation. Overly long film just never connects with its audience, and most everyone seems ill cast; Anderson, who is a likable actress, can’t seem to find her footing here. It’s never a good sign when Eric Stoltz is your most solid character. The film’s best strength is it’s visual style and attention to detail. *1/2 The Naked Runner (1967)Baffling story that has Frank Sinatra as Sam Laker, a man who happens to be the perfect outsider to kill a defector. But Laker is not a spy, and therefore, the Ministry (led by Peter Vaughn) has to create a situation in which Laker will kill. How they attempt to do this is the basis of the film: it is an amazingly convoluted and busy plot, but it’s held together by Sinatra’s believable reactions to increasingly bizarre situations around him. Edward Fox appears as the Bristish Embassy’s man in Copenhagen. ** Saturday, January 20, 2001
Topsy-Turvy (1999)A look at the comedic opera combo, Gilbert (Jim Broadbent) and Sullivan (Allan Courduner), at a key point in their porfessional relationship. They’ve hit a creative block, and the film focuses on each of their motivations for creating one of their best shows: The Mikado. Wonderful performaces abound in this very detailed period piece from director Mike Leigh. Broadbent and Courduner are tremendous, while Ron Cook and Timothy Spall are perfect as the producer and a veteran actor, respectively. The film is a touch on the long side, and as the film approaches the end, Leigh throws in a bunch of uneeded dramatic effects, but overall, this one is a winner. *** Friday, January 19, 2001
Le Samourai (1967)Alain Delon, one of the biggest superstars of French cinema, stars as Jef Costello, a hit man who kills a club owner, but finds himself in a situation where he may be eliminated by the people who hired him. Moreover, he gets himself involved with a woman (Cathy Rosier) who has an unknown agenda of here own. This film works so well because of its attention to detail, and the deadpan expression of Delon. The subway scene in which Jef is being tracked by a whole squadron of police and still gets away is the original version of this often used device. *** Watership Down (1978)Based on the best-selling book, this is about a group of rabbits that are forced to flee their old home and search for a new one, away from humans and other enemies. Surprisingly violent film deals with tough issues of settlement, perseverance and the natural order of things. The animation is not particularly good, and the plot has become a little more simplistic than the book, due to time constraints. A fair adaptation. ** Amadeus (1984)One of the best biopics in film history, this one follows the life and times of Mozart (Tom Hulce), the genius, yet eccentric composer. It is told by the narration of Antonio Salieri (F. Murray Abraham), an ambitious composer who realizes that Mozart has been given a gift from God, and doesn’t have the sense of restraint or decency to appreciate it, and Salieri spends his life trying to destroy Mozart. Beautifully filmed, this has production pieces to die for, and Hulce and Abraham are arguably giving their best on-screen acting efforts (They were both nominated for Best Actor, with Abraham winning). Jeffrey Jones has a wonderful bit as Emperor Joseph II. **** The Relic (1997)Fairly boring thriller that takes place in the Field Museum in Chicago, in which a monster from South America has been accidentally brought back (or has it?). Penelope Ann Miller is the righteous scientist, while Tom Sizemore is the tough cop who’s just doing his job of investigating a series of murders. When a late-night party group gets stuck in the Museum, Miller and Sizemore join forces to get the hostage out and kill the evil thing. Yawn…the only enjoyable character in this film is the amusing Detective Hollingsworth (Clayton Rohner); the rest is a very predictable and tiring film. * Thursday, January 18, 2001
Hard Eight (1996)Phillip Hall Baker is Sydney, a professional gambler who has taken a young and poor man, John (John C. Reilly) under his wing. He shows John the ropes and a couple of years later, things seem good. John starts seeing a young cocktail waitress Clementine (Gwynth Paltrow), but a situation happens that makes things a little touchy. Knowing that John’s friend Jimmy (Samuel Jackson) is hanging around doesn’t help. Striking film quietly unfolds, but it draws you in so well, you’ll be pleasantly surprised by how much you care for these characters. Hall portrays Sydney with such a quiet realism, it’s stunning. Paltrow puts in one of the best performances of her career as the dumb and stubborn waitress, and Phillip Seymour Hoffman has a small cameo as a craps player. ***1/2 Boogie Nights (1997)Paul Thomas Anderson’s saga of the porn industry from the late 70’s into the 80’s mostly revolves around the creation of pornstar Dirk Digler (Mark Whalberg) and the people he meets. And there are a lot in this stylish morality tale: the ambitious director Jack Horner (Burt Reynolds), the sleazy producer (Phillip Hall Baker), the older female (Julianne Moore) and younger female star (Heather Graham), and many more. The first hour is the rise and the second is the fall: which is why the first half is inherently more involving. But the second half isn’t bad, and by the closing scene, Anderson has reached a strangely satisfying full circle. Lots of great performances, but it’s especially fun to see Whalberg and Reynolds showing off some real skill in their returns to mainstream Hollywood. *** Air Force One (1997)Somewhat confused thriller about an angry Khazakstan terrorist (Gary Oldman) who hijacks the President (Harrison Ford) on his plane. At the times on the plane, this is simply a standard action film, with Ford trying to slowly negotiate and win back control of the plane. But in the White House sequences, this movie tries to examine the stressful backroom political movements that would follow such a situation. Because it can’t decide what it is, and also because some of the characters’ motives seem out-of-place, this doesn’t work nearly as well as it should have. Jürgen Prochnow shoots sparks off in his less than 10 minutes of screen time. **  |