Showing posts with label Danny DeVito. Show all posts
Showing posts with label Danny DeVito. Show all posts

Saturday, 25 April 2026

Movie Review: Throw Momma From The Train (1987)


Genre: Comedy  
Director: Danny DeVito  
Starring: Billy Crystal, Danny DeVito, Anne Ramsey, Kim Greist  
Running Time: 88 minutes  

Synopsis: Aspiring writer and college teacher Larry (Billy Crystal) is suffering from severe writer's block, and is openly outraged that his ex-wife Margaret stole his book idea and produced a best seller. Owen (Danny DeVito) is one of Larry's students and living under the thumb of his domineering and verbally abusive Momma (Anne Ramsey). Inspired by Hitchcock's Strangers On A Train, Owen plots the murder of Margaret, presuming that in return Larry will murder Momma.

What Works Well: Danny DeVito and Billy Crystal establish good comic rapport, and Anne Ramsey is memorably monstrous as Momma. The production values are high, and DeVito adds interesting (if sometimes obtrusive) directorial touches.

What Does Not Work As Well: None of the characters are likeable, and the script unfortunately surrenders to a single derivative idea torpedoed by weak execution. Even with the short running time, the lack of wit surfaces through tired repetition (Larry stuck on the opening line of his book; and repeatedly losing all control at the mere mention of his ex-wife); and scenes that just add padding (Owen intruding on Margaret's amorous activities in Hawaii). The tone is often awkwardly caught between evil intent, satire, shouty slapstick, dark comedy, and cutesiness.

Key Quote:
Owen: Larry! I can't breathe!
Larry: Yes! That's because I'm choking you!



All Ace Black Movie Blog reviews are here.

Sunday, 21 September 2025

Movie Review: Even Money (2006)


Genre: Gambling Drama  
Director: Mark Rydell  
Starring: Kim Basinger, Danny DeVito, Kelsey Grammer, Tim Roth, Forest Whitaker, Ray Liotta, Carla Gugino  
Running Time: 113 minutes  

Synopsis: Aspiring author Carolyn (Kim Basinger) is addicted to slot machines, but keeps her problem a secret from husband Tom (Ray Liotta). At the casino she meets and forms an empathy bond with has-been magician Walter (Danny DeVito). Clyde (Forest Whitaker) is deep in gambling debts owed to bookie Augie (Jay Mohr), and pressures his brother Godfrey (Nick Cannon), a star college basketball athlete, into shaving points. Both Augie and Walter have reasons to connect with ruthless criminal Victor (Tim Roth), who controls the biggest illegal gambling network on behalf of the reclusive Ivan. Meanwhile, police detective Brunner (Kelsey Grammer) tries to keep a lid on escalating violence in the gambling world.

What Works Well: This anthology benefits from the pervasive down-but-keep-digging psychology of gambling, with key characters deep into the addiction morass and far from seeking help. Kim Basinger and Forest Whitaker add star power to the doldrums, and allow the separate stories of Carolyn and Clyde to quickly develop within the efficient running time. Tim Roth contributes venom to Victor's heartless dean of crime, while Kelsey Grammer fits perfectly into a frumpled detective's overcoat, his defeated attitude saluting the human propensity for self-destruction.

What Does Not Work As Well: A sub-plot featuring Augie's partner in the bookie business Murph and his girlfriend (Carla Gugino) just gets in the way. Overall, emotions are confined to plastic predictability, and the resolutions default to tidyness carrying bags of faux poignancy.

Key Quote:
Detective Brunner (narrating): The question is...what are you willing to lay on the line?



All Ace Black Movie Blog reviews are here.

Saturday, 22 April 2023

Movie Review: Tin Men (1987)


Genre: Dramedy
Director: Barry Levinson
Starring: Richard Dreyfuss, Danny DeVito, Barbara Hershey
Running Time: 112 minutes

Synopsis: In Baltimore of 1963, rival aluminum siding salesmen Bill "BB" Babowsky (Richard Dreyfuss) and Ernest Tilley (Danny DeVito) get into an escalating feud after a fender bender damages their Cadillacs. Both men deploy scams to close sales as a routine part of business, but while BB is a smooth and single ladies' man, Tilley is on a losing streak and in a thorny marriage with Nora (Barbara Hershey). With a newly-created commission investigating the industry's devious sales tactics, BB heaps further misery on Tilley by seducing Nora.

What Works Well: Writer and director Barry Levinson recreates an era of unscrupulous door-to-door salesmen preying on naïve homeowners, and the early 1960s milieu is beautifully enriched with stellar production design and a large selection of Cadillacs. The script's energy is derived from a culture of tangential banter between male co-workers, the sense of camaraderie smoothing the job's euphoria peaks and despondency valleys. A stellar supporting cast includes John Mahoney, Bruno Kirby, and J.T. Walsh.

What Does Not Work As Well: The feud between BB and Tilley is juvenile and quickly becomes tiresome, the two men failing to evolve past repetitive childish antics and overexcited threats. Similarly, the romantic triangle is more convenient than convincing. The dialogue exchanges are hit-and-miss at best, and the opportunity to delve into the psychology of closing sales fades in the second half.

Conclusion: The sales pitch is promising but eventually falters.



All Ace Black Movie Blog reviews are here.

Friday, 7 April 2023

Movie Review: Heist (2001)


Genre: Crime Thriller
Director: David Mamet
Starring: Gene Hackman, Danny DeVito, Delroy Lindo, Sam Rockwell, Rebecca Pidgeon
Running Time: 109 minutes

Synopsis: A specialist in high-value heists, Joe (Gene Hackman) leads a gang consisting of wife Fran (Rebecca Pidgeon) and long-time associates Bobby (Delroy Lindo) and Pinky (Ricky Jay). After his face is exposed during a jewelry store robbery, Joe seeks to retire but has a falling out with criminal financier Mickey (Danny DeVito). He is pressured to proceed with a gold heist and forced to include Mickey's nephew Jimmy (Sam Rockwell) in the plan. 

What Works Well: David Mamet directs with cold efficiency, the dialogue lines are packed with zing, and the action scenes are coiled with tension. Gene Hackman is dependably cerebral.

What Does Not Work Well: The remarkably obscure plot details enable limitless opportunities for requisite backstabbing and double-crossing, which means all the displayed actions and motivations are immediately labeled dubious. The characters remain stubbornly superficial, with Danny DeVito phoning in his performance. The plot is riddled with logic gaps and the final act unravels into an anything-goes muddled mess.

Conclusion: The quest for postured cleverness sacrifices plot fundamentals.



All Ace Black Movie Blog reviews are here.

Wednesday, 1 September 2021

Movie Review: Living Out Loud (1998)

A romantic comedy-drama, Living Out Loud explores middle-aged loneliness and regrets. Alternating between morose and humorous, the film settles for the vagaries of middle ground.

In New York City, Judith (Holly Hunter) discovers her husband Robert (Martin Donovan), a celebrated surgeon, cheating with a younger doctor. They divorce, and Judith, a trained nurse, plunges into loneliness, now wealthy but single. 

Pat (Danny DeVito) is the elevator operator in her building. He is divorced and has just lost his daughter to cancer. He is also a gambler and having trouble repaying his debts. His brother Philly (Richard Schiff) runs a bar, but Pat is too proud to accept working as a bartender.

In a surreal encounter, Judith shares a kiss with a mysterious man (Elias Koteas) she bumps into at the nightclub where Liz Bailey (Queen Latifah) performs. She also starts a friendship with Pat. He quickly gets attached and seeks a romance; but Judith is not sure what she wants.

Written and directed by Richard LaGravenese, Living Out Loud is more cerebral than the typical romantic comedy. This an exploration of life's cross-roads for two disappointed adults, where the mistakes of the past are undeniable and the future unclear. Potential love and pursuits of lust are part of the agenda, but only as accessories to overwhelming self-doubt.

LaGravenese does not aim for easy answers or quick resolutions. Judith and Pat will only stumble their way out of the doldrums, and in fact may have trouble even defining what they want next. And accepting the uncertainty is part of the journey, especially for Judith. Beset by anxieties, questioning who she is and how she got here, and still capable of irrational eruptions in ex-husband Robert's presence, Judith's step one is getting re-acquainted with herself.

And her quest finds a highlight through the friendship with nightclub singer Liz, who convinces Judith to join her at an all-female after-hours club. In a fluid and frisky sequence, Judith takes the first steps of the rest of her life on the dance floor.

DeVito co-produced and his role is less interesting. Pat is good at talking about getting things done but most effective at gambling away his money. He is far from a good fit for Judith, but oblivious to the gap between them. Thanks to her pragmatism their romance never gets going, which is a realistic outcome but also detrimental to the film.

Stylistically LaGravenese sprinkles brief imaginary scenes from Judith's frazzled head into the structure, slyly casting doubt on what is real and what is not. When the objective is to push life's big reset button, fantasies are part of the process.



All Ace Black Movie Blog reviews are here.

Saturday, 6 April 2019

Movie Review: Twins (1988)


A buddy comedy about mismatched men discovering they are brothers, Twins draws some laughs from its kooky premise but otherwise struggles to build a meaningful narrative.

Julius Benedict (Arnold Schwarzenegger) is the perfect human being, a product of a US government science experiment mixing the DNA of six carefully selected men with one remarkable woman, who unfortunately died in childbirth. Physically superior, emotionally mature and well educated, Julius has spent his sheltered life working with scientists on a tropical island.

Julius is shocked to learn he has a twin brother Vincent, an unwanted byproduct of the experiment who was sent to an orphanage upon birth. He ventures to Los Angeles and finds Vincent (Danny DeVito), a scrappy car thief owing money to loan sharks. They eventually team up and learn that not everything they were told about their parents is true. Meanwhile, Vincent steals a car with valuable merchandise in the trunk, and has an opportunity to finally get rich.

After firmly establishing his credentials as one of the world's premier action movie superstars, Arnold Schwarzenegger branches out into his first comedy role. Twins is built on a simple big-man small-man buddy concept, adding in simple themes of nature versus nurture and the benefits of a privileged upbringing.

Of course director Ivan Reitman isn't too interested in seriously exploring of any social topics. Twins goes after pretty basic humour portraying Julius as strong and book smart but naive and Vincent as a street survivor with a chip on his shoulder because life offered him nothing. The MacGuffin item-in-the-trunk leads to poorly defined bad guy Webster (Marshall Bell), and some bland action in the final quarter to satisfy Arnold's core fan base.

Enroute, plenty of momentum is lost with a sidequest romance featuring Vincent's girlfriend Linda (Chloe Webb) and her knockout sister Marnie (Kelly Preston). Once Vincent learns Julius is a virgin, setting him up with Marnie becomes an obsession occupying way too much screen time. The two women are overall treated badly by a script surrendering to male fantasy exploitive tendencies.

Schwarzenegger is quickly at ease in the lighter milieu, more than adept at making fun of his own image and deploying his muscular presence to serve a steady stream of humour. The partnership with DeVito is a natural fit, the two immediately sharing chemistry built on having nothing in common and therefore everything to learn from each other.

Twins is a classic exercise in broadening a star's audience, the quality of the content less important than the appeal of the concept.






All Ace Black Blog Movie Reviews are here.


Wednesday, 13 March 2019

Movie Review: The Comedian (2016)


A romantic comedy and drama, The Comedian is frequently foul mouthed but rarely funny or romantic.

In New York City, Jackie Burke (Robert De Niro) is an aging and caustic stand-up comic, well past his prime and best known for starring in the sitcom Eddie's Home from 30 years ago. His agent Miller (Edie Falco) struggles to find him work, and things get much worse when he assaults a heckler at a nostalgia night performance and is sentenced to 30 days in jail and 100 hours of community service. Upon his release Jackie is forced to borrow money from his brother Jimmy (Danny DeVito), whose wife Flo (Patti LuPone) cannot stand Jackie.

While fulfilling his community service hours Jackie meets Harmony Schiltz (Leslie Mann), who is also serving a community sentence for assaulting her cheating husband. They start a tentative friendship, she accompanies him to his niece's wedding, and he meets her overbearing father Mac (Harvey Keitel). But Harmony relocates to Florida, and Jackie is invited by his longtime rival Dick D'Angelo (Charles Grodin) to perform at an appreciation event for comedy legend May Conner (Cloris Leachman), where further surprises await.

At a running time of two hours, The Comedian is a solid 30 minutes too long. And most of these minutes are consumed by Jackie unspooling stand-up routines, most of them impromptu, but all of them exceptionally vulgar. Jackie is a deserved has-been, and his brand of humour is to insult as many people as possible as quickly as possible. Instead of making the point once and moving on, director Taylor Hackford repeatedly surrenders the microphone to De Niro as Jackie, and he proceeds to hurl an endless stream of bathroom and body function "jokes", consigning the film to the same gutter as the lead character.

Elsewhere four different script writers could not conjure up much of a story. This is bland older-man-meets-younger-woman-and-quickly-loses-her territory. The presence of stalwarts from the 1970s and 1980s in almost every role threatens to rescue patches of the film, but the combined talent of Harvey Keitel, Cloris Leachman, Danny DeVito and Charles Grodin is ultimately insufficient and they too run aground on the rocks of the mostly witless material.

Given the film's bloated length, it's remarkable how little is revealed about Jackie and Harmony, other than they are both short-tempered refugees from broken relationships and enjoy a full-throated screaming match. Perhaps they deserve each other, but these two abrasive characters cannot sustain much of a movie.






All Ace Black Blog Movie Reviews are here.


Saturday, 12 January 2019

Movie Review: Wise Guys (1986)


A witless comedy, Wise Guys fails to find humour in the story of two bumbling low-level mob operatives.

In New Jersey, Harry Valentini (Danny DeVito) and his sidekick and neighbour Moe Dickstein (Joe Piscopo) are non-violent and none-too-bright members of the crew run by mobster Anthony Castelo (Dan Hedaya). The gruff Frank "Fixer" Acavano (Lou Albano) gives the pair menial daily assignments. When Harry and Moe manage to botch a horse racing bet and lose a bundle of Castelo's money, the pair get into a heap of trouble.

Harry and Moe steal Acavano's Cadillac and make their escape to Atlantic City, where Harry hopes his connected Uncle Mike will help. But instead they tangle with casino owner Bobby DiLea (Harvey Keitel), who has an agenda of his own.

A lightweight and inconsequential comedy, Wide Guys threatens to drift off at the mere hint of a puff. In one of his least inspired outings, director Brian De Palma constructs a breathlessly unfunny premise riding solely on the antics of dimwits and idiots. A couple of chuckles just about escape from the dross, but otherwise this is a distressingly poor effort.

Danny DeVito tries to compensate with a frantic over-acting fast-talking performance, all to no avail. Joe Piscopo is all wide-eyed vibratory expressions and nothing else. The rest of the cast hide behind stock characterizations, and late on Harvey Keitel mails in one of his  blandest characters, raising doubt as to whether he even cared enough to read the script.

Wise Guys celebrates a special kind of stupid. The sloppy script offers gems such as Harry and Moe destroying Fixer's Cadillac while driving it at highway speeds, prematurely celebrating a race win when the horses are barely out of the gate, and leaving a massive credit card trail when theoretically on the run.

The one small mercy is the compact running time of 100 minutes. The short length cannot disguise Wise Guys as hopelessly short of talent and desperately short of inspiration.






All Ace Black Blog Movie Reviews are here.


Sunday, 25 February 2018

Movie Review: Junior (1994)


A routine comedy, Junior carries a single joke but surrounds it with decent production values.

In San Francisco, Dr. Alex Hesse and Dr. Larry Arbogast (Arnold Schwarzenegger and Danny DeVito) are fertility research partners. When the Federal Drug Administration turns down their request to start human trials on Expectane, a promising fertility drug, their funding dries up. Head of research Dr. Noah Banes (Frank Langella) shuts down Alex's university lab, and replaces him with accident-prone Dr. Diana Reddin (Emma Thompson), an expert in cryogenics.

Larry decides to push on with one human trial anyway, and convinces Alex to be the subject. Larry steals one egg from Diana's lab, Alex fertilizes it, the embryo is planted in Alex's stomach cavity and he starts taking regular doses of Expectane. Meanwhile, Larry's ex-wife Angela (Pamela Reed) reappears in his life, and she is pregnant and wants Larry to be her doctor. Alex starts to enjoy the  pregnancy experience and unexpectedly falls in love with Diana.

Directed by Ivan Reitman, Junior reteams Schwarzenegger and DeVito after the success of 1988's Twins. The big-and-small, scrappy-and-cool contrasts still play well, but Junior has limited ambition. "Schwarzenegger is pregnant" pretty much starts and ends the summary of the film, and while Reitman milks the premise for all its worth, the film clearly struggles to maintain momentum.

So Alex, injected full of large doses of estrogen, goes through morning sickness, wonders about his sensitive nipples, experience the glow of pregnancy, enjoys the feel of his skin, starts eating for two, and becomes overly emotional. By the end of his pregnancy term Alex is dressed up as a woman and is going through prenatal classes. Funny, yes, but in a most predictable way.

Despite all of these emotional transformations Alex still finds the capacity to fall in love with a clumsy woman, but the romance between Alex and Diana is anyway wedged in to the script, and never convinces. Also unexceptional and unnecessary is Dr. Banes as the limp villain of the piece.

Schwarzenegger fully buys into the role and clearly has fun exploring the extreme opposite end of his tough screen persona. DeVito gets all the one liners and expressed exasperation as his research partner goes well past the initial limits of their experiment. A few clever role reversal lines make their way into the dialogue.

As for the science, Reitman does not even go there. Apart from planting an embryo in Alex's stomach and having him gulp down drugs, how that baby grows and develops in the body of a man is left up to the unexplained weird logic of simpleton comedies.

Junior delivers harmless laughs in a glossy package, but remains as superficial as a bad wig.






All Ace Black Blog Movie Reviews are here.


Saturday, 4 June 2016

Movie Review: L.A. Confidential (1997)


A film noir masterpiece set in Los Angeles of the early 1950s, L.A. Confidential features a convoluted, multi-layered and character-rich story of crime, corruption and conspiracy.

The arrest and imprisonment of crime boss Mickey Cohen creates a vacuum at the top of the Los Angeles underworld. The police department tries to project a clean cut image through the sanitized television show Badge of Honor, but the reality is that the force, under the command of Captain Dudley Smith (James Cromwell), is rife with corruption.

Three officers go about their careers with very different attitudes. Jack Vincennes (Kevin Spacey) loves the glamorous life and colludes with scum journalist Sid Hudgens (Danny DeVito), who publishes the Hush- Hush tabloid, to stage high profile narcotics arrests. Ambitious Ed Exley (Guy Pearce) has a strong moral compass inherited from his father, a deceased cop, and wants to be promoted to Detective Lieutenant as quickly as possible. Bud White (Russell Crowe) is a hot head, quick to settle disputes with physical violence, but he also may be smarter than he looks. When a jail cell brawl gives the police department a black eye, Exley earns the wrath of his colleagues, and a promotion, by naming names.

Despite Cohen's arrest the department struggles to put a lid on increasing levels of street violence. Cohen's former associates are methodically gunned down, then a bloody multiple murder is committed at the Nite Owl coffee shop, with ex-cop and White's former partner Dick Stensland among the victims, as well as porn starlet Susan Lefferts (Amber Smith). A trio of Negroes is suspected of committing the Nite Owl murders and Exley becomes a hero for bringing them conclusively to justice.

But White pursues the Lefferts angle and uncovers a high-class pornography, prostitution and blackmail ring operated by businessman Pierce Patchett (David Strathairn), who forces his girls to undergo plastic surgery to resemble famous movie stars. White starts a steamy relationship with Lynn Bracken (Kim Basinger), the Patchett girl made to look like Veronica Lake. Exley starts to have doubts about the perpetrators behind the Nite Owl case, White starts to feel used by Smith, and Vincennes finally gets disgusted with his own attitude when a gay sting operation goes wrong. The three men still don't like each other but have to start cooperating to uncover what is really going on in the L.A. crime world.

Directed by Curtis Hanson, who co-wrote the the Academy Award winning script with Brian Helgeland, L.A. Confidential oozes style, substance and attitude. The adaptation of the James Ellroy book remains coherent despite the various narrative threads, multiplicity of characters, and various personal and hidden agendas. Curtis and Helgeland expertly weave together a hard-hitting story of uncompromising violence and sex that celebrates unique characters, avoids buddy movie trappings, and maximizes the value out of strong and opposing personalities forced to co-exist.

In focusing almost equally on three protagonist, none of them too likable, L.A. Confidential sets itself apart from most other crime films. Vincennes, Exley and White have quite a few more flaws than redeeming features, and it is fascinating to watch these men evolve, grapple with their own personalities and then overcome their mutual resentment just enough to cooperate, without ever giving up on who they are. Russell Crowe and Guy Pearce were relative unknowns but quickly establish a strong screen presence. Spacey is the perfect fit for the role of Vincennes, the cop possessing a perfect understanding of what Los Angeles is all about: show business and personal promotion first, everything else for sale.

Further adding to the potent mix of masculinity are Dudley Smith as the uncompromising police captain and Pierce Patchett as the shadowy businessman with a side business. Smith and Patchett are power brokers in a city intoxicated by power and sex, and they have long since learned that bending the rules under the veneer of respectability is the way to get things done.

Even minor characters prove to be important. Sleazy narrator Sid Hudgens stages and reports on arrests in equal measure, less interested in the news and much more interested in serving up scandalous headlines and photos. Former police officer Buzz Meeks and the disgraced Dick Stensland leave the force but don't leave the criminal world too far. Tough, big but dim, they both find themselves over their heads as the crime wave intensifies.

Not exactly a femme fatale but more of a willing victim with the irresistible weapon of seductiveness, Lynn Bracken is the one woman in a plot dominated by aggressive men. Kim Basinger is surprisingly effective combining unconstrained sexuality with vulnerability and was rewarded with the Best Supporting Actress Academy Award.

While it is a challenge to keep track of the many characters and plot complexities, the payoff is immense. As the threads come together, the film soars to heights of proficiency, the bodies are uncovered, the conspiracies revealed, the criminals and crime fighters emerge from the shadows and collide in an exhilarating climax.

The cinematography by Dante Spinotti captures a Los Angeles still growing into itself, baking under the sun, selling an image manufactured by the Hollywood dream factory but also consumed by corruption at every level. An evocative, jazz-infused Jerry Goldsmith score perfectly complements the ambiance.

Under the harsh sunshine and in the West Coast heat, L.A. Confidential is dark, moody, and magically compelling.






All Ace Black Blog Movie Reviews are here.



Sunday, 3 January 2016

Movie Review: Get Shorty (1995)


A comedy gangster thriller, Get Shorty throws everything at the screen with plenty of attitude, but finally gets muddled enough to lose its own vibe.

Chili Palmer (John Travolta) works as a collector on behalf of loan sharks, and manages to insult Miami Beach mobster Ray "Bones" Barbone (Dennis Farina). But when Chili's boss Momo dies suddenly, he finds himself employed by Bones, and his first assignment is to track down dry cleaner Leo Devoe (David Paymer) who owes Bones money and has committed insurance fraud. Chili tracks Leo from Las Vegas to Los Angeles, and along the way picks up another assignment to collect an outstanding loan from Z-movie producer Harry Zimm (Gene Hackman).

Zimm is dreaming of producing a big-league script, and is using starlet Karen Flores (Rene Russo) to try and get her former husband and movie star Martin Weir (Danny DeVito) interested in starring. Chili is a fan of films and fancies himself as a producer, and starts to sweet-talk his way into the deal. Meanwhile Zimm has big problems with limousine company owner Bo "Cat" Catlett (Delroy Lindo) and his henchman Bear (James Gandolfini), a veteran stuntman. Zimm owes Cat money for an unproduced film, and Cat wants to either collect or get a cut of Zimm's new project. Cat himself is tangling with Colombian drug lords, with a $500,000 payment from Cat to the Colombians sitting in an airport locker, under the close scrutiny of federal drug enforcement agents.

An adaptation of an Elmore Leonard novel directed by Barry Sonnenfeld, Get Shorty has obvious intentions to build on the success of 1994's Pulp Fiction. With multiple overlapping story lines, a script more witty than real, Travolta in fine form as a likable criminal and violence never far from everyone's mind or intention, Get Shorty lines up all the requisite elements. The film is fun, sharp and exudes a confidence that mostly comes from the attractively hip and uncommonly cerebral Chili Palmer character, but it's also a film too packed and too short for its own good.

The Scott Frank screenplay takes plenty of shots at the movie industry, including the running theme that nobody seems to care enough to actually read the much coveted script of Zimm's dream project. Chili has his own story in mind inspired by the fugitive Leo, and he seems to assume that as a self-appointed producer, his thoughts will work their way into the script.

Get Shorty eventually buckles under its own weight. Bette Midler makes a rather late appearance as the widow of the screenwriter, Colombia drug lords enter the picture, Bones makes his way to Los Angeles, people start getting beat up while other characters die untimely deaths, and rather than driving towards a satisfying ending, the film gets away from both Sonnenfeld and Frank. The ending is abrupt, almost as if the money ran out, leaving story debris scattered all over the place and sacrificed for the sake of a cheap laugh.

While Travolta is smooth, Hackman, DeVito, Russo and Midler play their roles almost strictly for dry laughs. Lindo and Gandolfini go the other way but reach the same destination, hissing with intensity that borders on comical.

Moderately amusing, Get Shorty is ultimately overstuffed and truncated.






All Ace Black Blog Movie Reviews are here.

Friday, 3 July 2015

Movie Review: The Jewel Of The Nile (1985)


A sequel to 1984's Romancing The Stone, The Jewel Of The Nile reunites author Joan Wilder and adventurer Jack Colton for another madcap adventure, this time in the Arabian desert. The attitude and quality are good, but this is a purely derivative project.

Six months after chasing a massive jewel in the South American jungles, Joan (Kathleen Turner) and Jack (Michael Douglas) are cruising the Mediterranean and getting on each other's nerves. She wants to head back to New York while he is happy to live the good life of doing nothing. Joan is approached by the mysterious wealthy tribal leader Omar (Spiros Focás), who asks her to accompany him to his unnamed kingdom and write a puff piece to bolster his popularity. Jack is then approached by Omar's enemies, who want him to find the "jewel of the Nile", apparently the inspirational source of mystical inspiration. Also making a sudden reappearance is treasure hunter Ralph (Danny DeVito), seeking revenge on Jack after ending up with nothing but prison time at the end of the South American escapade.

Joan soon finds herself effectively a prisoner in Omar's sprawling compound, and realizes that he has fascist-like evil intentions to grab more power by pretending to have supernatural powers. Jack and Ralph arrive just in time along with Omar's opponents to help rescue Joan, who in the meantime has stumbled upon a humble prisoner (Avner Eisenberg) who holds the key to stop Omar's power grab. But Jack is still intent on finding the precious large jewel, causing continued tension in his relationship with Joan.

Quickly launched into production after the unexpected success of Romancing The Stone, The Jewel Of The Nile reunites Douglas, Turner and DeVito, but without director Robert Zemeckis. Lewis Teague takes over directing duties and delivers a functional effort that ticks off all the boxes of action and romance, but never finds any new angles of originality.

The Jewel Of The Nile slips into a succession of set-piece highlights, most notably Jack conniving an escape and destroying Omar's compound into the bargain behind the controls of an F-16 fighter jet that never leaves the ground but nevertheless causes destructive and comic havoc. Other cliffhangers include a train-top battle, Jack and Joan suspended over an endless pit of death while rats and acid gradually degrade the ropes keeping them alive, and a grand finale with Omar putting on a cheesy special effects show to convince the masses of his powers.

But there is an unshakable sense of going through the motions, emphasized by Jack and Joan often reduced to the role of spectators rather than protagonists. The action is mostly instigated by others, and our heroes rarely do much more than clumsily find a way out the latest mess. The humour is there but it's also obvious, as is the hissing villainy of Omar and his grim henchmen.

The film is saved by the unmistakable chemistry between Douglas and Turner, and the ups and downs of their relationship rise above all the noisy bullets and explosions to create a decent romantic anchor. DeVito also hits his stride and gets the best laughs in his quest to get the better of Jack, if only once. The lack of depth in the story and the stereotypical portrayal of Arabian tribal culture is balanced by the original twist on the true nature of the jewel that sets Jack off on his quest.

The Jewel Of The Nile wins no prizes for inventiveness, but does provide a pleasant enough romp through the desert.






All Ace Black Blog Movie Reviews are here.


Wednesday, 24 June 2015

Movie Review: Romancing The Stone (1984)


An action adventure romance, Romancing The Stone carries a lighthearted attitude into a jungle romp and emerges with plenty to smile about.

Joan Wilder (Kathleen Turner) is a New York-based best-selling author of soapy romances. Lonely and timid, Joan's quiet life could not be more different than Angelina's, the resourceful and fearless heroine of her books, but she still aspires to find the perfect chivalrous husband.

One day Joan receives a mysterious package in the mail containing an arcane map. In Colombia, Joan's brother-in-law is killed by thugs working for the brutal Colonel Zolo (Manuel Ojeda), who is looking for the map. Meanwhile, in Cartagena Joan's sister Elaine (Mary Ellen Trainor) is kidnapped by treasure-hunting cousins Ralph (Danny DeVito) and Ira (Zack Norman). Joan has to travel to Colombia to exchange the map for Elaine's freedom.

From the moment Joan steps off the plane she is in a lot of trouble, boarding the wrong bus, heading in the wrong direction, and being pursued by both Zolo and Ralph. Stranded in the remote mountains and about to be harmed by Zolo, Joan is rescued by Jack T. Colton (Michael Douglas), a mysterious and somewhat conceited adventurer. Joan buys Jack's services to escort her to Cartagena, but there are plenty of wild adventures to be had avoiding bad guys and discovering clues to the buried treasure before Joan can try and save Elaine's life.

With Raiders Of The Lost Ark (1981) having revived the old-fashioned thrill-a-minute adventure genre, Romancing The Stone arrived just in time to take full advantage, although the script was actually written by waitress Diane Thomas before Raiders ever hit the screens. With his career in a bit of a lull Douglas took on production duties and appointed relative unknown Robert Zemeckis to direct. The film sparkles with a sense of fun and boasts an attitude that straddles a fine line between irreverent and sincere. Romancing The Stone rides the wave of Turner's sultry sex appeal, Douglas' suddenly re-emergent leading man status, and Danny DeVito's comic relief.

The script lacks a sharp wit and dry edge, instead focusing on a more feminine perspective as Joan breaks out of a self-imposed shell to find her risk-taking spirit. In the bargain she discovers passion with Jack, and Romancing The Stone works because of the surprisingly good attraction between the novelist uncovering her wild side and the maverick learning that it feels good to have a companion.

Zemeckis keeps the action hopping in the Colombia jungle (actual filming took place in Mexico), but with a notable over-reliance on routine chase-and-shoot scenes, with almost all bullets missing their target. Ojeda as Zolo makes for an effective if utterly cartoonish villain, and DeVito establishes his credentials as a bumbling sidekick riding his luck with a greedy reach exceeding his capabilities.

Romancing The Stone does not necessarily offer much that is new, but it delivers on its simple promises with a toothy crocodile smile.






All Ace Black Blog Movie Reviews are here.


Monday, 25 May 2015

Movie Review: Terms Of Endearment (1983)


A family life drama-comedy with spectacular acting performances by a dream cast, Terms Of Endearment is a masterpiece of authentic emotions.

In Texas, Aurora Greenway (Shirley MacLaine) has always been slightly paranoid and definitely overprotective of her only daughter Emma. Aurora was widowed at a young age, leaving her relationship with Emma as the one true connection in her life. When Emma (Debra Winger) grows into a young woman and decides to marry school teacher Flap Horton (Jeff Daniels), Aurora certainly does not approve, believing Flap to be unworthy. Around the same time, retired astronaut Garrett Breedlove (Jack Nicholson) moves into the house next door. A party-loving, womanizing and free-spirited bachelor, Garrett is a man denying his age.

Emma and Flap push ahead and get married anyway, and eventually start a family and move to Des Moines. As the years pass Aurora remains in close touch with her daughter, the two sharing their lives over frequent phone calls, and despite plenty of arguments and no shortage of agitation, their love and commitment to each other never wavers. Seeking physical closeness, Aurora finally works up the courage to start a relationship with Garrett, about 15 years after he became her neighbour. With three kids to raise and Flap's limited earning power causing a financial burden, Emma's marriage starts to seriously fray, and both she and Flap are subjected to extramarital temptations. The threat of another relocation and a serious illness are yet to come.

Directed and written by James L. Brooks in his directorial debut, and based on the Larry McMurtry book, Terms Of Endearment is a perfectly polished gem. For the full 131 minutes, not a scene is wasted, Brooks trusting his audience to keep up as the film gallops through the years using short, often funny and frequently poignant scenes. Chronicling the bond between Aurora and Emma from birth and through about 40 years of life, Brooks nails the ups and downs that define the unique cycles of frustration and happiness between mother and daughter, with undying love providing the sturdy foundation upon which two lives are lived.

Brooks' singular achievement is in creating uniquely memorable characters and then treating them with utmost realism. Aurora, Emma and Garrett are a simply unforgettable trio, three people living life on their own stubborn terms but yet behaving fully within the normal rules where selfishness, sacrifice and life's surprises require a steady stream of critical decisions. There are no heroics in Terms Of Endearment; just happiness and heartache generated by the life's little successes and failures.

And because laughs and tears punctuate life's milestones, Brooks includes plenty of both. The emotions are always there, but even at the darkest moments they rarely veer towards exaggerated agitation. In a peak moment of frustration Aurora does let loose at a hospital nurse station, but it's a scene that is equally funny and heartbreaking, capturing a devoted mother willing to move mountains for her daughter.

Terms Of Endearment features astounding acting from the three principals. Shirley MacLaine and Jack Nicholson deliver some of their best work in their long and celebrated careers. MacLaine won the Best Actress Academy Award for what may have been her last great performance, bringing to life Aurora as a proud woman of the South dealing with the changing times and her own evolving needs. Nicholson took a step back from the madness and murderous urges that had began to define him after The Shining and The Postman Always Rings Twice, and nabbed the Best Supporting Actor Academy Award as Garrett the astronaut, a man determined to turn his past celebrity into a life of irresponsible pleasure.

And Emma was undoubtedly Debra Winger's finest on-screen moment. Winger celebrates Emma as a feisty woman full of love, laughter and a singular determination to meet life on her own terms while forging friendships, sharing every moment with Aurora and adoring and tolerating Flap in equal measures. It's a performance for the ages, and Winger was also nominated as Best Actress but lost out to MacLaine.

In addition to Daniels, Danny DeVito as Aurora's long-time admirer and John Lithgow as Emma's amorous banker round out the cast.

Towards the end of Terms Of Endearment, Emma and Aurora share a moment. It's a brief locking of the eyes, without a word being spoken, Winger and MacLaine pouring their characters into a few seconds representing a lifelong bond, a breathtaking ending, a sorrowful beginning, a heartfelt thank you, and the meaning of love itself. It's an unforgettable instant in an enduring treasure of a movie.






All Ace Black Blog Movie Reviews are here.

Sunday, 1 March 2015

Movie Review: The Virgin Suicides (1999)


A tender story of how girlhood can go terribly wrong, The Virgin Suicides is a wispy tragedy, softly unfolding with a sentient style.

It's 1975, in the suburbs of Detroit. Mr. and Mrs. Lisbon (James Woods and Kathleen Turner) have five daughters ranging in age from 13 to 17. Mr. Lisbon is a schoolteacher, his wife a homemaker, and they are deeply religious, keeping their daughters sheltered and away from social activities. Therese (Leslie Hayman), Mary (A. J. Cook), Bonnie (Chelse Swain), Lux (Kirsten Dunst), and Cecilia (Hanna R. Hall) become the subject of fascination bordering on obsession for the boys in their neighbourhood. The level of curiosity is amplified when the youngest girl Cecilia attempts suicide by slashing her wrists, but she is saved.

Dr. Horniker (Danny DeVito) advises the Lisbons that they need to allow their daughters to mingle more with their classmates. The first party hosted by the girls ends tragically when Cecilia does indeed succeed in killing herself. The surviving sisters tentatively start to socialize more, but when the free-spirited Lux falls under the spell of Trip Fontaine (Josh Hartnett), the coolest boy in the school, Mr. and Mrs. Lisbon clamp down harder, triggering grim consequences.

Sofia Coppola's directorial debut, adapting the Jeffrey Eugenides novel, is a hypnotizing journey into the perilous world of growing up. The Virgin Suicides is a bleak story delivered with a delicate touch, capturing the suburban melancholia that emerges with the loss of innocence. Coppola bathes the film in happy colours, soft light, and an airy, remarkably open atmosphere, contrasting the image of flourishing suburbia with the suffocation within families behind closed doors. Death is hovering nearby, the disease-infested neighbourhood elm trees the subject of much agony: should they be left to die naturally or chopped to avoid infecting others.

Seen through the eyes of teenaged boys, The Virgin Suicides treats girls in adolescence as a fragile mystery fraught with peril. They are easily knocked off course by good intentions tarnished with religious dogma, misguided parental rules metastasizing into a horror show of desperation fuelled by confinement. And the film stands outside the girls and observes them as objects of fascination, young women emerging as enigmas to their parents, and most acutely to the boys who would, under normal circumstances, become the men in their lives.

Despite the raging drama of girls fighting to breathe the oxygen of adulthood, Coppola constructs The Virgin Suicides with remarkable calm, and the film avoids guilt trips, finger pointing and recriminations. Below the seemingly staid surface, the tension may boil, but in the day to day lives of the girls, their school and their neighbourhood, the emotions are in check. Smatterings of gossip and interludes of uneasy silences hint at the turmoil; most of what is wrong is left unsaid. The soundtrack by French duo Air perfectly captures the dolefulness of the film, Playground Love a devastatingly evocative theme song.

In addition to Woods, Turner and DeVito, the supporting cast is sprinkled with interesting faces. As Trip Fontaine, Josh Hartnett delivers a refreshingly assured and animated performance. Michael Paré plays the adult Trip, Scott Glenn has a small role as a priest, and Giovanni Ribisi provides low-key narration. A young Hayden Christensen appears as one of the neighbourhood boys.

But this is a story of five sisters, and as the most adventurous of the Lisbon daughters, Kirsten Dunst shines in a role that lives in the twilight zone between individualism and calamity. Never outwardly rebellious, Dunst allows Lux to smile through life's limits as her young mind assesses ever dwindling options, from breaking a strict curfew to exploring what the roof has to offer when the outdoors are off limits. And when the conditions of growing up become even more stifling, she invites the curious boys indoors, to discover for themselves the images of truncated hope.






All Ace Black Blog Movie Reviews are here.