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An interesting adaptation of John Le Carre's novel, which introduces the audience to the fact that-despite the policy of Glasnost in Russia-the spying business is neither dead nor buried in the world at large. A British book publisher (Sean Connery) gets caught in the espionage game, when a Russian woman (Michelle Pfeiffer) sends him a copy of a book that might expose certain secrets that the Soviet Union does not want to expose.An intriguing look at the spying game of the present, the story takes some time for you to get into, but it's well worth the wait. Many of the performers give some of their finest roles to date. Connery and Pfeiffer are quite good and have great chemistry with one another. The supporting cast is equally fine. James Fox and notorious director Ken Russell give some standout performances, as two cynical veterans of the British Intelligence, who at times don't take spying all that seriously. Mainly, you should see this if you're in the mood for a good spy yarn.
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A totally hilarious film, which builds it's comic moments from an unbelievable premise. Director-star Woody Allen plays a nebbish (big surprise), who goes south of the border and ends up in a bizarre revolution. Allen eventually becomes, unwillingly of course, the leader of the cause for freedom.Allen has assembled a brilliant comedy, with outrageous sight gags galore and some truly memorable one liners. You have to remember that this was before Allen got into the part of his career, which most film historians dub his "chamber film" period. The comedy here is mostly impressive use of slapstick and pantomime, the likes of which Buster Keaton and Charlie Chaplin would be proud. It has to be seen to be believed! And don't forget to catch Howard Cosell's hysterical play-by-play coverage of an assassination.
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Woody Allen's most controversial film so far (mainly for the hullabaloo surrounding the split-up of Woody and longtime mate, Mia Farrow around the time of release), this perceptive drama looks at two seemingly happy couples. One of the couples (director Sydney Pollack and Judy Davis) is planning on separating and this news shocks the second couple (Allen and Farrow), who thought that Pollack and Davis were great together. While Allen and Farrow ponder this new development and begin to wonder about their own marriage, Pollack and Davis search for new mates. Pollack starts going out with a beautiful aerobics instructor (Lysette Anthony), while Davis is fixed up by Farrow with a co-worker (Liam Neeson), who Farrow she really seems to want for herself. While all this is going on, Allen who teaches creative writing Columbia University, becomes increasingly infatuated with a bright young student of his (Juliette Lewis).A masterstroke from Allen, as he delves into the insights and perceptions of marriage, romance, life after divorce and yes, a little death thrown in as well. Most of the actors put on some of their best performances ever, especially Davis as the cool-as-a-cucumber Sally, who sees this divorce as a chance for the freedom she didn't have while married. As an added bonus, Allen goes to huge lengths to make this not look like a regular Allen picture. The jumpy hand-held camera work clashes wonderfully with the turmoil going around the characters lives. There are some scenes of violent physical brutality, including one frightening moment when Pollack and Anthony get drunk at a party and then start a fight with one another. You'd think you were watching an Ingmar Bergman film, instead of the usual whimsical Woody Allen fare. For that reason alone, you should try this.
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A hilarious mockumentary from Woody Allen, about a strange chameleon-like person, Leonard Zelig (Allen), who became a media star in 1920's and 1930's. Dr. Fletcher (Mia Farrow) attempts to delve into the mystery of this character, who is a complete enigma to the world at large.Sometimes the humor doesn't work and sometimes it does. What you should really see this for is the brilliant technical achievements, as Allen and Farrow are integrated into old newsreels and footage with graceful ease. This is all the more amazing when you realize that this was before special effects wizards started using computers to do stuff like that. It's not a great Allen film, but you will still find some enjoyable moments to tide you over.
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In this movie Woody Allen takes a look at murder, lust, greed and the guilt that surrounds such acts. The film is two separate stories in one. Martin Landau stars in the more somber of the two tales, as a married optometrist who wants to end an affair with a flight attendant (Anjelica Huston), who has become enraged because Landau will not leave his wife for her. After a series of threats from Huston to end both Landau's relationship with her and his wife (Claire Bloom), he sets up a deal with his estranged brother (Jerry Orbach), who has connections with the mob and who suggests a hit on Huston.This tragic tale is perfectly balanced by a more humorous one, as director Allen plays an unhappy filmaker, who wishes to woo his attractive producer (Mia Farrow) while he makes a film about Farrow's egotistical boss (Alan Alda). Both stories end up taking tragic turns, though Allen's predicament is a lot funnier than Landau's. Drama and Comedy couldn't have been more beautifully put together, and by none other than Allen himself. Landau, Farrow, Allen, Huston and (surprisingly) Alda give wonderful performances and the story is a real grabber. No other film of Allen's has caused so much furor and debate among his fans as this has.
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The pairing of Kurt Russell and Sylvester Stallone may have seemed like a good idea at a time, but the two action stars seem to add to the excess baggage of the overall film. The story is basically this: Two headline making cops, who compete with each other on and off the job, take on Mr. Big. In the course of an hour and a half, Kurt and Sly blow up various buildings, vehicles and baddies; Escape from prison; Bust some drug dealers; And rescue Sly's stripper sister (Teri Hatcher in a truly demeaning role) from a cartoonish villain (Jack Palance). Not in that order of course!This mind-boggelingly awful, violently repellent film made even the most avid Russell-Stallone fans run for the exits. Much of the dialogue is hilariously (but unintentionally) funny and the lines that are meant to be funny, well...you get the picture. Much of the blood-and-guts violence is there for violence sake, so you'll either be repelled or bored. Maybe a bit of both at the same time.
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I'm glad to hear that Sylvester Stallone is thinking of quitting action films and going for something more meatier (like the first Rocky, which is still his best film work by far). After huge hits from the likes of Schwarzenegger, Van Damme, Seagal and Willis that have trampled Stallone's work and left him in the dust, this movie doesn't seem to help him much. Sly and Antonio Banderas play two hit-men, who become rivals after Banderas interferes with a hit that Stallone was attempting to pull off. The rivalry heats up, when Stallone rescues Banderas' next intended victim, a computer expert (Julianne Moore). Things keep getting stickier and stickier as the two are constantly interfering with each other's plans.I'll admit, it has good action scenes, but most of it is nothing you haven't seen before and some of it is downright dull. Stallone is more restrained than usual and Banderas is good as the hot-headed killer, but Moore (like many women in action films) is given nothing to do. The film's most exciting scenes happen in the last 20 minutes, so if you feel you should hang in there, be my guest. For those who don't have patience, I suggest you bail out early.
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