The Flight of the Phoenix

Flight of the Phoenix is a remake of the 1965 film starring James Stewart which was based on Elleston Trevor's novel of the same name. Dennis Quaid stars as Captain Frank Towns who, with his navigator A.J. (Tyrese Gibson), has flown a C-119 cargo plane to the middle of Mongolia's Gobi Desert to pick up a crew of oil workers and their equipment from a test drilling site that is being shut down because of lack of success in finding any deposits. Hugh Laurie (Blackadder, House) is Ian, the corporate stiff-neck who's assessments have caused the pullout of company funding for the project, much to the chagrin of Kelly, the foreman and lead visionary of the project who is portrayed by Miranda Otto (Eowyn of the second and third installments of the Lord of the Rings trilogy). After some unsurprising tension between Towns and the roughnecks, as well as tension between the roughnecks and management, the plane is packed and ready for takeoff along with the addition of an unexpected passenger in the form of an odd and stranded traveler named Elliott (Giovanni Ribisi). Soon after takeoff the plane is caught in a sandstorm to end all sandstorms and, because of a tactical error or two, ends up crash landing in the desert with no communications, very little water, no hope of rescue and the very large threat of being killed by nomadic smugglers if the heat and lack of water doesn't kill them first. As the desperation grows and they inch closer to social anarchy, it is Elliott who comes through with an idea of survival rivaled in size only by the secret that he's keeping.

Now don't get me wrong, this isn't a great movie by any means but, for me, it was very entertaining and fun. The characters are believable, the scenery is amazing, the effects are top-notch and the soundtrack really keeps things moving. There are only a few "slow" moments in the movie and those moments are used primarily to advance the story or the understanding of a character. The movie's lighter segments are spaced perfectly between the more intense moments and help make this film one that can be seen several times with little or no wear on the viewer.

Aside from the primary cast, some of the crew characters are made up of a few familiar faces. Kirk Jones, better known as the rapper "Sticky Fingaz" puts forth a very adequate performance as Jeremy who has a good friendship with Rodney, played by actor Tony Curran of such films as Gladiator, Underworld: Evolution, Blade II and The Good German. Another familiar face is that of the crew's spiritual voice, Raddy, portrayed by Kevork Malikyan who you may recognize as Kizim, the leader of the Brotherhood of the Cruciform Sword; the organization that protected the Holy Grail in Indiana Jones and the Last Crusade.

Again, this movie may never end up on any "greatest" list, but, if you're in the mood for simple fun, good action, an against the odds plot line and enjoy a robust soundtrack, then you may find yourself watching this film more than once.

The Searchers (That'll be the day)

Ethan Edwards (John Wayne) returns to his brother's home after several years of absence, the first few spent fighting on the losing side of the Civil War while the latter are never mentioned, exactly, but Mexico and money are inferred. The local Comanche Indian's attack the Edwards family farm, killing most of the women but kidnapping the two youngest daughters. Ethan sets off to find his young nieces accompanied by Martin Pawley (Jeffrey Hunter), a half-breed youth who, as an infant had been discovered under a bush by Ethan following the slaughter of Martin's family, had been raised by Ethan's brother as one of their own. Martin wants to rescue his sister but Ethan wants to kill her because in his view, she would already have suffered a fate worse than death by being deflowered by a savage. They spend five years on a lonely quest to hunt down the tribe and their leader Scar (Henry Brandon) with hate and revenge driving Ethan's every step. There is no question concerning Ethan's determination or if he'll every give up the search, the question is who , if anyone, will survive when he finds them.

The Searchers is not only one of the greatest Westerns (often referred to as the greatest) of all time, but this year The American Film Institute 100 Greatest American Films listed The Searchers in twelfth place and it normally ranks in the top twenty (Sight and Sound poll) of the greatest films ever made.

I can't really say that I disagree. The more I watch this movie and see past the typical clichés, the more I'm amazed at the depth and beauty of this movie. John Wayne's character is a true anti-hero and his portrayal of Ethan is spot on. Granted, Ethan's hatred of the Comanches borders on racism but, in my opinion, never actually crosses the line - it's simply pure hatred caused by past events. Ethan hates the Comanches because of what they've taken from him and the depth of his losses become more apparent the more closely the film is watched. For example, it's never mentioned how Ethan's mother died but, early in the movie, as the character of young Debbie is hiding from the Comanches in the cemetery, a headstone bearing the name of Ethan's mother (Mary Jane Edwards) can be seen and the engraving states that she was killed by Comanches roughly sixteen years before.

Another terrible loss for Ethan is also one of my favorite parts of the movie because of it's subtlety. Paying close attention to the reactions and mannerisms of Ethan and Ethan's brother's wife, Martha, when they are within close proximity to one another is very telling. There is never a word said regarding it but it's obvious, at least to me, that they are in love with each other and probably have been for some time considering that, as the film begins, they haven't seen each other in years. An excellent bit of directing by John Ford adds an additional layer of loss to a character that is no stranger to pain. When ever I watch this movie, for days afterwards, I find myself trying to imagine a back story between Ethan and Martha. Any movie that can evoke mental meanderings several days after being seen is a classic example of great film making.

Another reason not to miss this movie is it's sheer beauty. A majority of the film was shot in Utah's Monument Valley and it is truly breathtaking. I most recently watched the film in a high-definition transfer on Blu-Ray disc and I could not believe how amazing this movie looked having been filmed over fifty years ago in 1956. The colors were vibrant and life-like and the depth perception was practically three dimensional. From what I understand, Warner Bros. spared no expense for the 50th anniversary re-release of The Searchers on a two-disc standard dvd and the high-definition HD-DVD and Blu-Ray discs. The only problem was that the original print was unusable for the restoration process and a new one had to be created using the black and white negative, which meant that the original colors were left to interpretation since John Ford and his crew have all passed away. There has been some debate regarding the final color choices but, again, in my opinion, the movie looks wonderful and improves with each subsequent viewing.

The Searchers is, in many, many ways, a prime example of a master director and his incredible team at work and, not surprisingly, can be enjoyed and appreciated by movie fans who don't necessarily watch Westerns. Do yourself a favor and pick an open afternoon, rent or buy the dvd or hi-def disc (if you're hi-def capable), make some popcorn, turn off the phones and enjoy a nostalgic ride through one of the greatest Westerns ever made. And remember, pay attention.

The Red Violin

A universal yearning for beauty and perfection underpins The Red Violin, Francois Girard's ambitious, lyrical drama following the passage of a meticulously crafted violin from owner to owner. We see the instrument's painstaking creation in 1681 by master artisan Nicolo Bussotti (Carlo Cecchi), who intends it for his unborn son. Over a period of 300 years the violin acquires innumerable owners, traveling from rich to poor, from country to country, but always producing the same achingly beautiful music for those who most appreciate it. Bussotti's violin becomes legendary, and eventually comes under the covetous eye of connoisseur Charles Morritz (Samuel L. Jackson) in a surprisingly suspenseful climax. Girard uses the violin as a narrative device to link his vignettes, which offer trenchant observations on love, music, culture, politics, poverty, crime, and even death.

I originally saw this film in one of those "artsy" single-screen theaters with an adjoining cafe that tend to be sparsely populated by book carrying patrons familiar with the origins of the country known as Freedonia. I was very impressed with the film and, after the movie reached a certain prominence and was given a larger general release, ended up seeing it twice more. I have owned a copy since it was released on DVD and it has become one of those films that I often play in order to have something nice to listen to as I perform domestic tasks around the house, only to invariably end up perched on the sofa, completely focused on the story and accomplishing nothing that I set out to.

Being a fan of the violin and/or classical composition can broaden the appreciation of the movie, but is by no means a prerequisite for enjoyment. The story is very well told and superbly acted as it covers over 300 years and 5 countries in the travels of the violin. Each segment contains wonderful characters from different time periods which are all bound together by the violin and balanced perfectly by flashes to the present where Samuel L. Jackson deciphers the identity of the violin and eventually takes us to a worthy climax. In case you are a fan of the violin and the music used in the film, Joshua Bell was the solo artist and, if you're familiar with him, you can spot him as one of the musicians during the Oxford segment in which the character Frederick Pope is performing.

This DVD may be off the beaten path for most people but anyone professing to enjoy a well told tale, including a few unexpected twists, with flashes of a bigger, spiritual picture while surrounded by precise and beautiful cinematography should not pass on the opportunity to see and enjoy this movie. At least, that's what I think.

The Thirteenth Floor

The increasingly blurry lines between what is real and what is an artificial construct - both physically and philosophically - are the point of focus in the science fiction drama The Thirteenth Floor. In 1937, a man named Fuller (Armin Mueller-Stahl) gives a note to Ashton (Vincent D'Onofrio), the bartender at a swank hotel, that's addressed to Douglas Hall (Craig Bierko). Fuller tells Ashton it's crucial that no one else sees the note, and that the information enclosed is of great importance. Moments later, Fuller transports himself to 1998. He's soon found murdered, and a shirt stained with Fuller's blood is found in Hall's apartment. Fuller and Hall both work for Intergraph Computer Systems, a cutting edge artificial intelligence firm, and the "past" Fuller was visiting was actually a stunningly realistic recreation of Los Angeles 50 years ago, complete with people you can meet and places you can visit, that exists only in a microchip. The message he left with Ashton, however, is real. Some people, including LAPD detective Larry McBain (Dennis Haysbert) believe Hall murdered Fuller to assume his position of leadership at Intergraph. Jane (Gretchen Mol), Fuller's daughter, soon arrives on the scene, and Hall finds himself infatuated; Hall is determined to clear his name, so with the help of Whitney (also played by Vincent D'Onofrio), he slips into the virtual 1937 in hopes of discovering just what happened. The Thirteenth Floor makes copious use of digital effects technology to allow its characters to travel between 1937 and 1998 - ironically using computer technology to create a world that exists inside a computer.

You may have noticed a pattern in the fact that certain themes tend to follow me like dark angels, namely those involving time and perception. This movie continues that pattern and easily fits with the likes of The Matrix or eXistenZ. Coincidentally, all three movies were released in 1999 and The Thirteenth Floor, like the other two, relies heavily on the notion of perception and what, exactly, "real" is. Unlike the The Matrix and eXistenZ, however, this film concentrates primarily on the story, with less action and more character development, but does not delve as deeply into the philosophical or existential implications. In other words, the movie drops hints and leaves it up to the viewer to form the actual questions and explore the possibilities in his or her own mind.

The cast are all believable and, for being primarily unknowns, their performances range from good (Mol) to exceptional (D'Onofrio). Now, having grown accustomed to seeing Bierko (Boston Legal, The Long Kiss Goodnight), Haysbert (24, Breach, The Unit) and D'Onofrio (Law & Order: Criminal Intent, Full Metal Jacket, The Cell), the movie actually seems like a bigger production than when it was originally released.

The thing that I like most about the film is the fact that the intricate issues are between the characters only, and the bigger story is kept relatively simple, which could have easily become twisted and convoluted by trying to over complicate the main plot. As it is, "the hook" remains intact and an excellent part of the story rather than the entire story.

Brotherhood of the Wolf

The year is 1765, the king is Louis XV and in a rural province of France, a vicious and seemingly supernatural creature is savagely killing local inhabitants, primarily women and children. Unseen, possessed of enormous strength and a cunning, almost human, intelligence, the beast has eluded capture for years. The King sends in a renowned scientist, Grégoire de Fronsac (Samuel Le Bihan), and his Iroquois blood brother, Mani (Mark Dacascos), an unconventional team whose combined methods and talents may give them the required advantage in finding and destroying the beast. Unfortunately, the beast represents a much darker horror that few, if any, could have foreseen.

Yeah, I know, another subtitled movie - but a really good subtitled movie. Anyway, if you haven't already seen this movie, I highly recommend it, and don't worry about the subtitles because it does have an English language track and, to be honest, the English track is not nearly as distracting as some of them can be. I only prefer the subtitles because, generally, the full meaning along with certain nuances are more evident.

The original title to this French film is, Le Pacte des loups, and the movie is based upon the Beast of Gévaudan, a real wolf, or wolf-like creature, that terrorized the Auvergne and South Dordogne regions of France killing close to 100 people during the years 1764 to 1767 in brutal and sometimes bizarre circumstances. The incorporation of this very real horror with a well conceived story makes for an exciting and sometimes tense viewing experience. Things are not what they seem and everyone has something up their sleeve.

Cold Comfort Farm

This film is the second adaptation of Stella Gibbon's 1932 comic novel which parodies the popular conception of life in rural England in the late 1800's and early 1900's set forth by such authors as George Eliot, Thomas Hardy and Emily Brontë. The heroine, Flora Poste (Kate Beckinsale) is a twenty-year-old aspiring writer in need of material for her first book and a residence following the death of her parents. A close and well-to-do friend (Joanna Lumley of Absolutely Fabulous fame) persuades her to contact her only remaining family, the cousins who live on the rural Cold Comfort Farm, and move in with them. Upon arrival, she discovers the farm to be brimming with eccentrics including, just to name a few, Judith (Eileen Atkins), who has strong feelings for her son Seth (Rufus Sewell), who has a fondness for movies and sex, Judith's husband Amos (Ian McKellan), the amateur hellfire preacher at the Church of the Quivering Brethren and Judith's mother Ada Doom (Sheila Burrell), the reclusive farm owner who dictates orders from a locked room because of having seen "something nasty in the woodshed" when she was young. As Flora, using her modern education and common sense, begins to unravel and organize the lives of the characters of Cold Comfort Farm, it eventually occurs to her that the material for her book has been surrounding her all along. (me)

As I mentioned at the top, this is the second adaptation of the book - the first was a British television mini-series (1971) and this one (1995) was a British made for television movie directed by John Schlesinger who is known for such movies as Midnight Cowboy, Marathon Man and Pacific Heights. This version was so popular that Universal acquired the distribution rights and released it in U.S. theaters in 1996.

I first saw this movie a couple of years ago and was surprised that it had remained under my radar for as long as it had (the DVD came out in 2003). I'm a huge fan of British writing and acting and a collection of actors, such as this, is enough to get me to watch a movie regardless of the story. Everyone involved puts forth a typically good, easily believable and, in some cases, exceedingly funny performance. Ian McKellan, of course, stands out and is a joy to watch along with the performances of Rufus Sewell and Kate Beckinsale, however, that is not to say that everyone else's performances are lacking because they're not. Even Stephen Fry, most recently seen in V for Vendetta, shows up with most sincere performance.

If you're fond of British pieces (period or not) and have an affinity for eccentrics, there's a good chance you will enjoy this movie but, that's just my opinion. For me, a recent viewing has convinced me that I should add the book to my list of "books to hopefully read in this lifetime or the next" in order to get the full effect of the characters. I'll keep you Poste(ed).

Hellboy

The stylish direction of Guillermo del Toro makes this colorful adaptation of Mike Mignola's graphic novel a lot more entertaining than it might have been in less capable hands. The principal character, after all, isn't just some costumed do-gooder; he's a supernatural being whose origin is considerably less benign than that of the average comic-book crime fighter. Hellboy (portrayed by Ron Perlman), a genuine spawn of the netherworld, is found in the waning days of World War II by Professor Trevor Bruttenholm (John Hurt), who also looks after other mutants kept safe from prying eyes in a secret compound. When the reincarnated Grigori Rasputin -- yes, that Rasputin -- unleashes long-suppressed demonic forces against America, the FBI enlists Hellboy's aid in combating the inhuman creatures doing the evil mesmerist's bidding. Perlman, having played bestial characters before, brings much-needed warmth and humor to Hellboy. He's well supported by Hurt and Selm Blair, properly enigmatic and more than a little wistful as Liz Sherman, whose pyro-kinetic abilities make her dangerous to be around. Doug Jones, totally unrecognizable in makeup and prosthetics, turns in a fine performance as Abe Sapien (voiced by David Hyde Pierce), the half-man/half-fish who aids Hellboy when the FBI comes calling. Very much like the comic books it brings to life, Hellboy pulsates with energy and teems with dynamic visual effects. While the film has wry, humorous moments, it never condescends to its audience. That's more than can be said for many comic-book movies; and for that, del Toro deserves considerable credit. (all movie guide)

Just for fun, here are a few other comments concerning this film:

Washington Post

Del Toro moves his story along with unrelenting energy and wit while introducing the opposing parties with admirable efficiency. Richard Harrington

Chicago Sun-Times

One of those rare movies that's not only based on a comic book, but also feels like a comic book. It's vibrating with energy, and you can sense the zeal and joy in its making. Roger Ebert

Boston Globe

So forget about taking anyone under 12. But if you want to see what a benign demon looks like when he's eating nachos and unwinding to Al Green, this is the movie for you. Ty Burr

Slate

Guillermo del Toro is in a class with Peter Jackson as a fan-boy who gets it--a brilliant filmmaker who has a kind of metabolic connection to horror and sci-fi that helps him transform secondhand genre material into something deep and nourishing. David Edelstein

___________

Hellboy is the first comic book based movie that I've seen in which I had never actually read one of the comics. I was familiar with the comic and it's creator, Mike Mignola, I had simply never gotten around to reading one. Needless to say, I was overwhelmed with the movie and any prior knowledge of the story was unnecessary since all of the character's origins and motivations are explained perfectly.

Guillermo del Toro's direction of the film is nothing short of spectacular - every scene is realistically represented down to the most minute detail and is showcased with his flair for depth and color. By the way, del Toro is also the recent writer and director of Pan's Labyrinth which received 22 minutes of applause at the Cannes Film Festival and was nominated for an Academy Award in the category of Best Foreign Language Film along with five other nominations - winning in the categories of Art Direction, Cinematography and Makeup.

Also, I would be remiss if I failed to mention Ron Perlman's performance. He is Hellboy. Perlman was able to bring an amazing sense of style, determination and casual wit to a character that, for the most part, is made up entirely of muscles and makeup. Not an easy task but Perlman pulls off one of the best performances of his career.

For me, movies are all about being transported to a different place and I usually base a large part of my like or dislike on how adequately a film achieves that goal - be it science fiction, action or drama. The more I feel like a witness, or a fly on the wall, the more I like the movie. Hellboy truly takes you along for the ride and I know there are plenty of people who have some unexplainable aversion to comic books (the horror!) and the movies they produce but, for once, expand your mind and imagination, pretend ever so briefly that possibilities really are limitless and give in to that sense of wonder from your childhood that still resides as a flicker somewhere deep inside of you and watch this movie. You might be surprised at what your narrow point of view is capable of accommodating. However, that's just my opinion.

By the way, there are two versions of the movie - the theatrical release and the director's cut - both are very good but if you haven't seen it, I would recommend renting either version but buying the director's cut which is longer and also includes two additional discs worth of material including extensive interviews and commentaries with the cast. Also, should you have the capabilities of high definition, Hellboy comes out on blu-ray disc June 7. Yes, I've already ordered mine.

Apocalypto

As the foundation of the Mayan civilization begins to crumble, one man's previously idyllic existence is forever changed when he is chosen as a sacrifice needed to appease the gods in director Mel Gibson's mythic, end-times adventure. The Mayan kingdom is at the absolute height of opulence and power, but leaders are convinced that unless more temples are constructed and more human sacrifices made, the crops, and ultimately the people, will suffer. Jaguar Paw (Rudy Youngblood) is a peaceful hunter from a remote forest tribe whose life is about to be changed forever. When Jaguar Paw's village is raided and he is prepared as a sacrifice that the Mayan deities have demanded, the brave young hunter is forced to navigate a horrific new world of fear and oppression. Fearlessly determined to escape his captors and save his family from a harrowing demise, Jaguar Paw prepares to risk it all in one final, desperate attempt to preserve his dying way of life. However, few who have seen the sacrificial alter of the Mayans have managed to live to see another day. Now, in order to rescue his pregnant wife and young son, Jaguar Paw will have to elude the most powerful warriors of the Mayan kingdom while using his vast knowledge of the forest to turn the tables on those who would rather see him dead than set free. Inspired by such ancient Mayan texts as the Popul Vuh, Apocalypto marks a comprehensive collaboration between director Gibson, Cambridge-educated screenwriter Farhad Safinia, and world-renowned archeologist and Mayan culture expert Dr. Richard D. Hansen -- whose services as a special consultant on the film lent the production an unprecedented degree of historical accuracy.

Apocalypto was released on DVD and Blu-Ray high definition discs this past Tuesday. I usually reserve my musings of DVD's to films that have been out for a while and may have been overlooked for sometime and may be enjoyable to those "in the know," however, I felt that it was appropriate to mention this new release since I'm sure many people failed to see it during it's theatrical run.

Normally, when I write about movies that I have enjoyed, I am making an indirect recommendation based on my experience and perspective and go to great lengths to qualify my point that what I'm writing is my opinion only and leave it up to the reader to make the decision of seeing the film. I never go so far as to directly recommend the viewing of a movie, until this one. Regardless of what you think of Mel Gibson and as long as you don't have a problem seeing contextualized violence, watch this movie. I promise you will be hard pressed to find a better action movie with such a concise, but far reaching, plot and will have no trouble dealing with that fact that the dialog is an ancient Mayan dialect - so subtitles are required. This movie is so well filmed that the story and most of what transpires is extremely evident without having to actually read the subtitles.

The characters are believable, the settings are spectacular and the cinematography is amazing. This is a two hour movie that feels like ninety minutes or less. The only thing that I ask is to remember that it's only a movie - not a historical documentary or a commentary on Mayan culture.

Evolution

The spirit of the mega-hit Ghostbusters (1984) is intentionally recalled with this effects-heavy sci-fi comedy from the same director, Ivan Reitman, co-starring Dan Aykroyd and debuting on the 17th anniversary of the earlier film's release. When a meteor bearing single-celled organisms crashes to the Earth, the life forms are initially confined to a cave. Before long the creatures are evolving at an exponentially rapid rate, resulting in fearsome aliens running amok and possibly spelling mankind's doom, or at least the end of man's domination over life on Earth. Investigating the phenomenon is a community college professor, Ira Kane (David Duchovny), his geologist friend Harry Block (Orlando Jones), wannabe fireman Wayne Green (Seann William Scott), and government scientist Allison Reed (Julianne Moore).

If you're not familiar with David Duchovny's sense of comedic timing, then this is the perfect movie in which to acquaint yourself with it. Granted, some of his comedic abilities were displayed in the X-Files, but those were few and far between and only die-hard fans who watched every episode (guilty!) would have been privy to the latent talent for humor possessed by Duchovny. This movie gives Duchovny the opportunity to reveal the truth of his dry wit that we all knew was out there and wanted to believe in (sorry, I couldn't resist an X-Files reference), and even allows him to make a couple of ironic references to his past character of Fox Mulder in the face of a governmental conspiracy. Brilliant humor.

While Duchovny's performance is a pleasure, I must admit that the movie's steady humor is greatly contributed to by Orlando Jones and his interaction with Duchvony. Jones is exceptional in his singular moments, but the chemistry between Jones and Duchvony is reminiscent of some of the great comedy teams from the past. I would gladly see any movie that re-paired the two of them - without question. Additional humor is contributed by a surprisingly slapstick performance by Julianne Moore, some stellar moments by Seann William Scott, bureaucratic mastery by Dan Aykroyd and an array of contributions from supporting characters with portrayals by Ted Levine and Katharine Towne and including several actors that are a part of Professor Ira Kane's class.

I'm not saying this is a great movie, nor do I think everyone will find it particularly funny - I'm only saying that I truly enjoyed it and found it very entertaining (my opinion, only) and, in the right frame of mind, someone else might, as well.

The Man in the Iron Mask

Oscar-nominated Randall Wallace (Braveheart) made his directorial debut with this adaptation of the 1848 classic by Alexandre Dumas (1802-70), featuring Leonardo DiCaprio in a dual role. Years have passed since the Three Musketeers, Aramis (Jeremy Irons), Athos (John Malkovich), and Porthos (Gerard Depardieu) fought together with their friend D'Artagnan (Gabriel Byrne). The arrogant, tyrannical King Louis XIV (Leonardo DiCaprio) desires the beautiful Christine (Judith Godreche), so he orders her suitor Raoul (Peter Sarsgaard), the son of Athos, off to face death at the front. He also sends Aramis to kill the leader of a Jesuit rebellion. Louis is unaware that his loyal protector and informant, D'Artagnan, is the secret lover of his mother, Queen Anne (Anne Parillaud). Louis' younger twin brother, Philippe (also DiCaprio) is the man in the iron mask, imprisoned for the past six years. Arthos and Porthos plan to free Philippe, abduct Louis and replace him by putting Philippe on the throne. French location scenes include the Chateau de Fontainbleau.

Yet another Dumas classic filmed with a fine ensemble of actors. I tend to be a rather loud advocate of Dumas' because he was pretty much the inventor of the written "action movie". He had an excellent gift for weaving intrigue, romance, friendship and heroism into a relatively fast paced and untangled (for the time period) story. Getting used to the prose is the only thing slow about Dumas' books which is why I'm so constantly amazed at the difficulty displayed in producing a good script from his work. Many, many adaptations have been performed on Dumas' novels and, yet, only a hand full have even come close to capturing the spirit of his work. It seems most of the problems lie the "updating" of the stories for the modern movie patron - by trying to speed things up and simplify the intrigue so the average person can easily comprehend what's going on, most of what makes the story great gets lost in the shuffle and the movie comes across as just another average "period piece".

Fortunately, this version is able to circumvent most of the typical trappings and deliver a surprisingly good version (if not the best) of one of Dumas' greatest known works besides The Three Musketeers. A couple of the things that most impressed me about this version (along with the cast) is how seriously the film is acted and how immersed in the characters each actor became, considering some of the previous versions tended to take a lighter approach or were simply a vehicle for one or two primary actors while a bunch of unknowns populated the background. The sincerity level between this version and some of the previous attempts is similar to the difference between Batman Begins and the first Batman movie, i.e. opposite ends of the spectrum.

Nightbreed

Multimedia horror maven Clive Barker followed the success of his feature directorial debut "Hellraiser" with this equally surreal effort, based on his novella Cabal. The story involves the plight of Aaron Boone (Craig Sheffer), a young man tormented by visions of monstrous, graveyard-dwelling creatures. Seeking the aid of his clinically cold therapist Dr. Decker (played by Canadian horror auteur David Cronenberg) in deciphering his nightmares, Boone becomes convinced that his frequent blackouts are linked to a recent spate of mutilation murders in the area. His frantic search for the truth leads him to the subterranean city of Midian, the dwelling place of a mythical race of undead nocturnal monsters known as the "Nightbreed." But it is only after he is cornered and shot dead by police that Boone's real journey begins -- he finds himself resurrected as one of the Breed and initiated into Midian's inner circle, where his latent supernatural powers are unleashed, leading to his realization of Dr. Decker's sinister role in the murders for which he was framed. Though Barker's unique and graphic vision is somewhat blunted by choppy editing (thanks to relentless tampering from the studio), this is nevertheless a fine sophomore project from a talented storyteller; the central conceit of presenting the monsters as the "good guys" -- at least compared to the gun-and-bible-toting lunatics who hunt them -- is handled with verve and originality.

I've been a fan of this film since it's release in 1990 and actually owned a VHS copy shortly thereafter. The movie was considered a flop after the success of "Hellraiser" but I'm convinced that was simply because the average person was expecting the 'monsters' to follow the typical horror plot lines, which they did not. In fact, this is an excellent example of flipping stereotypes and showing that, oftentimes, the real monsters are the 'normal' people. I think most people weren't comfortable with seeing slight reflections of themselves on screen or couldn't comprehend the deeper implications of the story so they played it off as being a bad movie. On the other hand, it is a very violent and visual movie so that could have played a part, as well.

One of my favorite stories concerning the movie is how Clive Barker ended up directing it. Originally, Barker was going to produce as well as be responsible for adapting the screenplay from his novella, Cabal, and David Cronenberg (The Fly, The Dead Zone, Scanners) was going to direct. Barker had never met Cronenberg and upon their first meeting, Barker was shocked at Cronenberg's appearance because he looked exactly as he had envisioned the character of Dr. Philip K. Decker when he was writing the novella. Once he had expressed his initial unease with Cronenberg and after several more discussions, they decided that Barker should direct and Cronenberg could portray his evil twin and, by the way, his performance is the best in the film. On a side note, the name Philip K. Decker is a nod to the writer, Philip K. Dick who wrote "Do Androids Dream of Electric Sheep" which was the basis for the movie "Blade Runner," with the main character in the story and film being named, "Decker."

Another interesting fact is that the movie holds up rather well to the novella even though the studio cut almost a half an hour from the film before it's release, including what they considered the more violent scenes, many many 'monsters' and rock singer Suzi Quatro's entire role. Clive Barker recently committed to a 2-disc director's cut with an additional 25 minutes restored to the film, provided all the material can be found. All I can do is hope and wait.

Empire of the Sun

Empire of the Sun, Steven Spielberg's beautiful tale of World War II victims, was at best faintly praised as another Spielbergian tale of childhood adventure. But this earlier work by the director of Schindler's List emerges on reexamination as a celebration of enduring innocence and imagination in the face of the horrendous desperation and brutal reality of war. Like a deceptively simple symphony, its joys are revealed in repeat experiences, the subtleties that lie beneath the wide-eyed set pieces that often define Spielberg's work. Jim (Christian Bale) is the privileged child of wealthy British merchants in Shanghai in the years before World War II. He idolizes the pilots and aircraft of the war between Japan and China and dreams of soaring through the clouds, blissfully ignorant of the danger so close to his home. But when the Japanese army storms the port city, Jim is separated from his parents and faced with the bleak reality of life alone in a war zone. Falling in with an American scrounger named Basie (John Malkovich), Jim braves the hostile streets of Shanghai before being captured and dragged to the forbidding prison camps of the Japanese army. Jim's struggle to find his parents becomes secondary to the need to save himself and those around him. Adapted for the screen by Tom Stoppard (Shakespeare in Love) from J. G. Ballard's autobiographical novel, Empire of the Sun is not only one of Spielberg's most soulful movies, but also among his best. (all movie guide)

Being a big Spielberg fan, I first saw this movie within days of it's release and not only is this one of my favorite Spielberg films, but it is one of my all time favorite films in general. The movie consists of an amazing cast including the wonderful pairing of John Malkovich and Joe Pantoliano but the obvious stand-out performance would have to be that of the 13-year-old Christian Bale. This was Bale's first big production after getting his start on the London stage with Rowan Atkinson and moving on to a few small television roles including commercials. Reportedly, Bale beat out 4000 other children for the role of Jim and, afterwards, the National Board of Review created a special award to honor his performance in the film.

The other huge star of this film, for me, is the direction. This is such a quintessential Spielberg film because every surrounding element seems to have a specific part to play, and practically every shot could be 'freeze-framed' and appreciated for it's intricacy. Through the course of the film, Spielberg creates, with the use of angle, lighting, placement and action, powerful images that remain sharp and distinct long after the initial viewing. This is one of maybe 4 films that I can think of that a person could watch from beginning to end with no sound and have little or no difficulty following the story and still be awed by the beauty and scope of the film.

Granted, this is only my opinion, but I believe an average person of reasonable intelligence would be hard pressed to find a better movie to spend two and a half hours with.

Kalifornia

This debut feature film from music video director Dominic Sena is a romp through the world of serial killing, which in its bleakness and moral bankruptcy looks backwards to Terrence Malick's Badlands and forward to Oliver Stone's Natural Born Killers. Michelle Forbes plays hip, Mapplethorpe-esque photographer Carrie Laughlin, who wants to move to California for a fresh start. Her boyfriend, Brian Kessler (David Duchovny), is a writer who has an idea for a new book, a travel tome on the sites of serial murders. The two plan to go on a cross-country tour of the murder sites, with Brian writing the commentary and Carrie taking the pictures. But they need a couple to share the driving expenses; enter Grayce (Brad Pitt) and his girlfriend, Adele (Juliette Lewis, in a warm-up for her role in Natural Born Killers). Grayce is an ex-con looking to jump parole, while Adele is a childlike naïf. Soon the four are off to California, but the yuppie couple doesn't realize how close they are to their serial killer topic. It seems Grayce has murdered his landlord before their trip and bodies begin piling up disturbingly behind them as they make their way across the country. (all movie guide)

This is a rather enjoyable movie (if you're kind of warped) that showcases the acting talents of everyone involved. The interaction between the four primary actors has a very 'natural' quality (given the two, very different, sets of circumstances) and is able to produce the desired 'uncomfortable', 'innocent', or 'chilling' feeling right on cue without seeming scripted.

For me, this was the first movie where I realized that Brad Pit could truly 'act' and, I'm pretty sure, it was also the first movie I'd seen him in where he wasn't designed to be a piece of Swarovski crystal sitting on the shelf of a barn; he actually looked worse than his environment and created a very disturbing character. Juliette Lewis was equally believable as a character that she has since gone on to patent and Duchovny and Forbes were outstanding but, for the most part, ignored for their performances which seems to be their constant fate. I find it ironic that, even in staring roles, Duchovny and Forbes are usually regarded as secondary characters by 'mainstream' viewers when they are both part of a fan base that has kept actors like William Shatner in the public eye and characters like Captain Kirk young and vibrant for over forty years.

Along with the superb acting is a great car and incredibly fitting and desolate settings. Even when other people are involved, there's a sense of isolation. All of these factors combine together to provide an exceptionally skewed version of a road trip. If you like psychologically twisted characters, very good acting and non-typical story lines, then this may be an evening well spent. Give it a shot.

Lake Placid

So what's under the water in that lake deep in the Maine woods? No one is sure what it could be, but a dead and severely mutilated body was found near the shore, and the only clue is a large tooth which appears to be from a prehistoric animal resembling a huge crocodile. Jack Wells (Bill Pullman), the local fish and game warden, is investigating the case when he's assigned a helper, paleontologist Kelly Scott (Bridget Fonda). Kelly generally does office work since she hates the outdoors (a drawback in her line of work) and is recovering from a breakup with one of her co-workers. Jack would just as soon handle this matter without Kelly's help, but with time, the two get used to each other and something beyond a working relationship begins to develop. Meanwhile, Jack and Kelly also have to deal with Sheriff Hank Keogh (Brendan Gleeson), who would like to find the mystery creature and kill it; Hector Cyr (Oliver Platt), a quirky mythology expert who wants to capture and study the beast; and Mrs. Bickerman (Betty White), an eccentric older woman with dubious stories about her missing cattle -- and missing husband. Blending suspense, humor, and romance, Lake Placid was written by David E. Kelley, creator of the popular TV shows Ally McBeal, The Practice, and Boston Legal and directed by Steve Miner, whose credits range from TV's The Wonder Years to the films Forever Young and Halloween H2O. (all movie guide)

Three words sum up this movie quite nicely: Sarcasm, sarcasm and more sarcasm (oh, and there's a 'big crocodile', too, so I guess that makes 'five' words, total). This movie is a sarcasm-fest from the opening scene to the final moments before the credits roll. Bridget Fonda is surprisingly nimble in balancing her character and delivering cutting, fast and emotional dialog. Fonda is supremely effective as the out-of-her-element female determined to hold her own while Bill Pullman is the right-at-home-laid-back-take-it-easy counter weight with a more subtle sarcastic delivery.

However, for me, the real magic of the story and dialog comes from the interaction and chemistry between Brendan Gleeson and Oliver Platt. It's an absolute treat watching (and hearing) two characters develop through such heavy volleys of rapier like sarcastic wit. It's also amazing watching an actor like Gleeson who has played such serious roles as Hamish Campbell in Braveheart and Frank (the father in the apartment building) in 28 Days Later portray such a hilarious (and sarcastic) straight-man while sounding so American (he's Irish).

The supporting cast includes Meridith Salenger, who was in the 80's flick Dream a Little Dream with the two Coreys (yes, I saw it), and Betty White in a hysterically funny and unexpectedly verbal role, which makes it even more amusing.

This is, yet again, another one of those stop-taking-yourself-so-seriously-and-have-fun movies and if you're not sure if you'd like it, here's a simple test: If you've ever walked into a room dripping wet after being caught in an unexpected downpour and someone said, "Is it raining?" and you replied with something like, "No, it's National Baptism Day," then there's a good chance you'll enjoy, at least, part of this film.

The Privilege of a Sponge

After mentioning Christopher Plummer, the other day, I was excited to read about him opening on Broadway in a revival of Inherit the Wind by Jerome Lawrence and Robert E. Lee.

Inherit the Wind is based on the 1925 Tennessee trial of teacher John Scopes who was being tried for teaching Charles Darwin's theory of evolution, which was illegal under Tennessee law. The proceedings became known as the 'Scopes monkey trial'. Plummer portrays the defense attorney, Henry Drummond, who, in reality was Clarence Darrow, and Brian Dennehy plays prosecutor Mathew Harrison Brady who's real world counterpart was William Jennings Bryan. The play originally opened on Broadway in 1955 with the names having been changed because of the prevalent McCarthyism of the times.













One of my favorite films is the 1960 version of the play which starred Spencer Tracey as Drummond and Fredric March as Brady. The film is also populated with the familiar faces of Harry Morgan (pictured), Dick York (yes, Derwood), Claude Akins, Norman Fell, and Gene Kelley in an early dramatic roll. The chemistry between Tracey and March coupled with the incredible story creates a movie that can be enjoyed, as well as felt, over and over again, and judging from what I've read, so far, Plummer and Dennehy have powerfully taken over the roles.

If you're lucky enough to have the opportunity to see this wonderful play, don't be daft and pass it up and if you're not going to be in the Broadway area anytime soon, at least you can pick up the dvd and see an amazing version in the comfort of your own home.

Firefly

Joss Whedon, the executive producer behind Buffy the Vampire Slayer and Angel, reached for curious new heights in the fall of 2002 with the Fox series Firefly, and the fruits of his labor are collected in this four-disc set. Set 500 years in the future, Firefly falls in the category of sci-fi space adventure, yet its flavor is rooted in the Wild West. Earth is pretty much spent, and a totalitarian government known as the Alliance rules the planets where most of its earlier inhabitants have spread. Nathan Fillion stars as Malcolm "Mal" Reynolds, who fought for independence from the Alliance in a civil war, and now captains the Serenity, a ship of outcasts. His crew includes his second-in-command Zoe (Gina Tores), a pilot named Wash (Alan Tudyk), engineering maven Kaylee (Jewel Staite), and career soldier Jayne (Adam Baldwin). Also aboard are Inara (Morena Baccarin), a highly respected prostitute; a preacher known as Shepherd Book (Ron Glass of Barney Miller fame); and a mysterious pair of siblings -- Simon and River Tam -- portrayed by Sean Maher and Summer Glau, respectively. Although Whedon's Farscape- meets- Bonanza concept clicked straight away with many fans, the series failed to meet Fox's ratings needs, and crashed after 11 episodes, all collected here, in addition to a trio of unaired episodes. Fox could not permanently ground this crew, however; Serenity, a big-screen reunion movie directed by writer-producer Whedon, opened in theaters in September, 2005, drawing generally favorable reviews.

This one is extremely simple. If you like well written stories sprinkled with a variety of humor in multiple guises along with well filmed action and enough drama to 'keep it real,' than you've already watched this and I'm not going to be able to tell you anything you don't already know. On the flip side, if you have seen all the Firefly episodes but didn't like the show - you have my condolences and I recommend a complete psychological profile because you're obviously missing something. However, if you do happen to fall into the minority of people who have not seen Firefly and yet feel they have a good sense of humor and, on most occasions, choose not to take themselves (or anything else) too seriously, then please dash out and pick up a copy of this fun well written show that was definitely too short lived. I'm convinced there's a Browncoat in most of us.

This show is one of the few examples of movies/shows that, while I wish everyone who might enjoy it could have to opportunity to see it, I'm extremely jealous of those who haven't because of the simple fact that they get to have the fun and surprise of the 'first-time' experience that I remember so well from my first viewing but, unfortunately, rarely get to experience on any kind of regular basis.

Night Watch

Two bands of warriors, one good and one evil, battle to keep the peace in Moscow in this cat's cradle thriller from Russia. In 1342, the Warriors of Light (led by Gesser, Lord of Light) and the Warriors of Darkness (led by Zavulon, General of Darkness) declare a truce under which each side will form a law enforcement team to monitor the other side's activities. The Warriors of Light, who enforce the powers of good, patrol the Night Watch, while the Warriors of Darkness, who openly embrace evil, staff the Day Watch. Each watch group also contains "Others," mortals with supernatural powers from both sides that include vampires, shapeshifters, witches, and the like. Prophecy suggests that one day, a Great One will surface and permanently extinguish the threat of an apocalyptic war between the two sides by upsetting the balance, lending greater power to either good or evil (depending on his or her choice) and thus determining the future of mankind forever.

In 1992, Night Watch member and Warrior of Light Anton Gordesky (Konstantin Khabensky) discovers he's an "other" amid a sting on a witch. Cut to twelve years later. In 2004, Anton still works the Night Watch, but now he's a vampiric warrior who drinks blood. One night, while on patrol, he rescues a young boy named Egor (Dima Martinov) from a handful of Dark Warriors, but in the process, he encounters Svetlana (Maria Poroshina), a woman who acts as a "funnel" -- a conduit for the powers of evil. Anton reflects on the prophecy regarding "The Great One," and begins to suspect that Svetlana and Egor may be harbingers of this fateful event. As the first installment in a Russian trilogy, Night Watch (aka Nochnoj Dozor) was a massive box-office success in its native Russia, and is followed by the second installment, Day Watch; it was released in the U.S. with a heavy prologue and epilogue, and animated subtitles that alternately scuttle across the screen, dissolve, shudder, and explode. (all movie guide)

The only thing left for me to say is that this is one of the most original and inventive movies that I've seen in quite some time. The movie is based on a series of popular books by Sergy Lukyanenko with a second film already released and a third in the early planning stages. The release of Night Watch actually set a new box office record (in Russia) which was previously held by The Lord of the Rings: The Return of the King. The story borrows from classic material while, at the same time, re-imagining old and creating new techniques of 'vampire' story telling.

Another thing that really appealed to me was, because of not being familiar with any of the actors, the story and each individual are of equal importance and given time to develop. As anyone who's read a few of my movie picks could tell you, I'm not big on 'celebrity' movies or movies that simply function as a vehicle for one particular actor (but I do have my guilty pleasures).

Anyway, if you like twisty vampire have-to-pay-attention-and-think trippy kind of action flicks with very very cool subtitles, this dvd is right up your alley. Just don't forget to bring a mirror with you.

Leon: The Professional

As visually stylish as it is graphically violent, this thriller directed by Luc Besson concerns Mathilda (Natalie Portman), a 12-year-old girl living in New York City who has been exposed to the sordid side of life from an early age: her family lives in a slum and her abusive father works for drug dealers, cutting and storing dope. Mathilda doesn't much care for her parents, but she has a close bond with her four-year-old brother. One day, she returns from running an errand to discover that most of her family, including her brother, have been killed in a raid by corrupt DEA agents, led by the psychotic Stansfield (Gary Oldman). Mathilda takes refuge in the apartment of her secretive neighbor, Leon (Jean Reno), who takes her in with a certain reluctance. She discovers that Leon is a professional assassin, working for Tony (Danny Aiello), a mob kingpin based in Little Italy. Wanting to avenge the death of her brother, Mathilda makes a deal with Leon to become his protege in exchange for work as a domestic servant, hoping to learn the hitman's trade and take out the men who took her brother's life. However, an affection develops between Leon and Mathilda that changes his outlook on his life and career. Besson's first American film boasted a strong performance from Jean Reno, a striking debut by Natalie Portman, and a love-it-or-hate-it, over-the-top turn by Gary Oldman. Léon was originally released in the U.S. in 1994 as The Professional, with 26 minutes cut in response to audience preview tests. Those 26 minutes were restored in the director's preferred cut, released in 1996 in France as Léon: Version Intégrale and in the U.S. on DVD as Léon: The Professional in 2000. (all movie guide)

This really is one of my favorite movies. I originally saw the edited American version which I thoroughly enjoyed but after seeing the original director's cut, I liked it even more. The American release was shortened, I'm sure, to bring the action sequences closer together because the average American movie patron can't or doesn't want to be bothered by annoying things like dialog or character development - particularly if it deals with the relationship between a grown man and a young girl. My point is that, for me, the developing relationship between Leon and Mathilda as well as the growth of each character is as engaging a story as the sinister plot and resulting action involving the drug dealers.

Jean Reno is amazingly uncomfortable and focused, shy and straightforward and clumsy and coldly precise depending on whether his character is in the everyday world of human interaction or his singular world of assassin. Mathilda is extremely well acted by Natalie Portman and, considering her age (11 years) at the time and the required range of the character, unusually believable. However, my absolute favorite performance in the movie is, without a doubt, that of Gary Oldman and it is, as mentioned in the synopsis, completely over-the-top, but, in my opinion, it was glorious. I so enjoy a movie where the antagonist has some type of flare and doesn't simply go through the motions of being the 'bad guy.' There are times in the movie where I found Oldman be scary but not so over the line as to become a caricature like certain 'Bond' villains have been known to do. My best description of Oldman's character would have to be, flamboyantly psychotic.

If you haven't seen the movie, give it a shot and, as usual, this is all merely my opinion and while I'm not trying to be definitive, I am hoping to possibly expand some horizons or give someone a couple hours of enjoyment that they would have otherwise missed out on.

The Three/Four Musketeers

Richard Lester's adaptation of The Three Musketeers was only the latest of many when released in 1974, but it arrived with a spirit all its own, one influenced as much by Lester's '60s work as the Alexandre Dumas classic. Even so, it followed the plot of Dumas' novel fairly closely, its liberties in interpretation taken elsewhere. Coming off the success of Cabaret, Michael York plays D'Artagnan, the provincial, would-be swashbuckler who travels to Paris to make his name. There he encounters the eponymous heroes: cynical Athos (Oliver Reed), dashing Aramis (Richard Chamberlain), and arrogant Porthos (Frank Finlay). The trio introduces him to the world of court intrigue as they work to protect the Queen (Geraldine Chaplin) from the schemes of the villainous Richelieu (Charlton Heston) and his followers, Rochefort (Christopher Lee) and Milady (Faye Dunaway).

The Four Musketeers picks up where 1974's The Three Musketeers left off, as D'Artagnan, Athos, Aramis, and Porthos scuttle the plans of Lady de Winter to remove Queen Anne from the seat of power. De Winter is determined to get revenge against the Musketeers, and when she learns that D'Artagnan is infatuated with the lovely Constance, she first tries to foil their romance by seducing D'Artagnan herself, and then by persuading Rochefort to kidnap Constance. She then engineers the assassination of the Duke of Buckingham (Simon Ward), a close friend of D'Artagnan; when word of the Duke's death and Constance's imprisonment reaches D'Artagnan and his comrades, the foursome ride off to rescue the fair lady and see that justice is done against de Winter. The Four Musketeers was filmed concurrently with The Three Musketeers; it was originally intended to be one film, but when director Richard Lester realized the movie would be over three and a half hours long, the decision was made to release it as two separate features instead. This led to lawsuits filed by several of the stars, claiming that they were hired under false pretenses and entitled to be paid for making two films rather than one. The actors won their case, but their settlement was significantly less than the salary they hoped to receive. (All movie guide)

The best way, for me, to sum up this film (or films - depending on your perspective) is: Fun, fun and more fun. I have been a fan of this version of the Musketeers since I first saw the film as a kid in the '70's. As I grew older, I began to appreciate the scope of the cast as well as the fact that it was a huge joint effort which was equally shared by everyone involved - though I will say that, personally, Oliver Reed was my favorite and I feel that he amazingly brought an underlying sense of melancholy (which is explained near the end) to his scenes even when surrounded by comedy or action. You don't even need to be familiar with Dumas' book to enjoy this theatrical outing - just wait for a day where you don't mind being in for the afternoon, make sure you have a load of 'comfort food' - turn off the phones, sit back and enjoy.

Richard Lester, by the way, also directed The Beatles' 'A Hard Day's Night' and 'Help' as well as 'Superman II' and 'Superman III' and, one of my favorites, 'Juggernaut' with Richard Harris. On a sad note, Lester quite directing films in 1989 following the sequel to The Three/Four Musketeers. The movie was based on Dumas' book, Twenty Years Later which bought the Musketeers back together because of a new plot. The movie brought together the original Musketeers as well as Christopher Lee with newcomers Kim Cattrall as the daughter of Milady De Winter and C. Thomas Howell as Athos' adopted son. Another original cast member was Roy Kinnear who had played D'Artagnan's manservant and was known throughout England for his portrayal of a variety of comedic and sympathetic characters. Tragically, Roy fell from a horse during filming causing an injury to his pelvis which lead to his death. Since that time, Lester has only directed one project which was a concert documentary for his friend Paul McCartney.

Murder by Decree

In this 1979 film, the murders by the infamous British criminal, Jack the Ripper, catch the attention of Sherlock Holmes (Christopher Plummer), but he does not receive the expected call from Scotland Yard because he is being purposefully excluded from the investigation. Instead, Robert Lees (Donald Sutherland), a psychic who volunteered information to the police about the murders, provides the Great Detective with the necessary incitement to action. As the murders proceed, it becomes clear to all concerned that it is more important to stop them than to announce their solution, and Holmes enters the fray with the help of his trusty aide, Dr. Watson (James Mason). The former mistress of a "prominent personage," Annie Crook (Genevieve Bujold), provides crucial information leading to a final confrontation on London's docks. - All Movie Guide

This is an excellent non-Conan Doyle "Holmes" story and I'm always particularly intrigued by the thought of Holmes investigating the Ripper murders. Interestingly, the man whom most scholars agree was the inspiration for the character of Sherlock Holmes, Dr. Joseph Bell, Conan Doyle’s professor of clinical surgery at Edinburgh University, was actually asked to help with the Ripper investigation, but that is another fascinating post for a later date.

I would normally make some reference to the actors, at this point, but it's Christopher Plummer and James Mason. However, they're both always wonderful so there's not a lot that I can say. The only concern for the two actors could have pertained to their chemistry together as their characters and that, I'm glad to say, is not an issue. The two actors have the type of rapport that actually seems to come from being friends for many years and my only regret is that they didn't perform together as these characters again before James Mason's death in 1984. Ironically, the original casting of Peter O'Toole as Holmes and Laurence Olivier as Watson never came to fruition because, having not worked well together in the past, O'Toole and Olivier were unable to overcome their differences.

The film is well made, the period is properly represented and, most importantly, the "solution" is based on several popular theories concerning Jack the Ripper rather than taking "creative license" to an exaggerated extreme. There are a few action sequences but this movie is primarily a visual Sherlock Holmes story - meaning that the movie will stimulate your brain more than your adrenal glands.