Gary-Busey Movie Reviews

32. STRAIGHT TIME (action-drama, 1978) After 6 years in prison for theft Max Dumbo (Dustin Hoffman) is finally released. On parole from San Quentin Prison he's assigned a nosy, beaurecratic parole officer (Emmett M. Walsh) who oversees his every move. Having spent most of his juvenile life in prisons, Max finds it hard to adapt to the outside world but he nonetheless tries. He meets a young secretary (Theresa Russell) who helps him land a job. She falls in love with him but is unable to help Max deal with the nosy parole officer, who constantly harasses him. When he wrongly suspects Max of breaking his parole, Max finally breaks free on goes on the lam again. He finds an old ex-convict buddy, Willie (Gary Busey) and they plan to pull one last heist. But Willie's lackluster criminal expertise will prove fatal.

Critique: This sleeper film went practically unnoticed inspite of a brilliant, natural performance from Dustin Hoffman. The first part, in which Max tries to follow the 'right' path, is totally unique. It expertly captures the alienation and exploitation that ex-convicts have to deal with after being 'institutionalized' for so long. Max's unsympathetic parole officer makes his efforts a living nightmare. The fine supporting cast includes Theresa Russell, Gary Busey and Emmett Walsh's amoral parole officer (I'm yet to see a bad role from him). The film, however, belongs to Hoffman. He brings a depth of character to the part that makes him totally apathetic when compared to the rest of 'society's righteous'.

Gather around, for there is a story I would tell about the best movie that you have never seen in your life. That would be Ulu Grosbard's "Straight Time." This is the story of Max Dembo (expertly portrayed by Dustin Hoffman), a parolee who has just been released from a six-year prison stint on a burglary rap. What follows is a primer on what not to do as an ex-con fresh out of the joint. Immediately on the heels of his release from prison, Max looks up an old cronie, Willie (Gary Busey, looking so dirty and disheveled you can almost smell his sweaty black T-shirt and greasy, stringy brown hair). Max is having a hard time playing it straight in the street and is actively seeking his next big score. He soon hooks up with a more stable ex-partner in crime, Jerry (Harry Dean Stanton), and he and Max plan and successfully execute a bank job. Here we learn something very telling about Max: He is greedy to the point that he is willing to take foolish chances (or perhaps he just WANTS to get caught). While the alarm is blaring and Jerry is screaming for him to leave the bank, Max is opening every drawer, refusing to leave until every last penny in the bank's reserve is in his white cotton sack. I will spare you the results of the jewelry store heist that is to follow, but I would warn you that it is a masterfully directed and acted scene that is suspenseful to the point where you will find that your toes are curled at an angle 90 degrees from the floor. "Straight Time" was released in 1978 to an indifferent public and critics alike. It was gone from the theaters after about a two-week run, relegated to obscurity. Despite the somewhat dry, drawn-out and overlong denouement, I would urge all of you within the sound of my voice to rise up, be a champion of the underappreciated, and for the love of God, give "Straight Time" a much-deserved look-see.

Dustin Hoffman did a fine job portraying a low-life career thief who deserved nothing more than to be locked safely away in prison for 100 years. Goodness knows we don't need this type of criminal running free in society, voting for Democrats as they invariably do (birds-of-a-feather principle).

Not what I expected (I'm not sure what I expected) but it was pretty good. It was a bit heavy on bashing and bad-mouthing one style or another that, in retrospect, were a lot of fun, but overall it's not bad.

this video is a great summary of the music of the seventies. They cover the excesses, the great bands, and disco. I would reccomend this video to anyone who wants to know what the music of the seventies is like.

Either way Let's Get Harry is a worthy time killer for your Sunday afternoon. Mark Harmon is an oilfield worker on an assignment South of the border when he gets kidnapped along with an American diplomat by narco-terrorists. When the US government fails to respond Harmon's siblings and friends decide to do the job themselves. To get the operation off the ground they need two things - money, provided by a car dealer who is also a Gung-Ho big game hunter, played by Gary Busey. They also need a professional soldier to show them the ins and outs, played by Robert Duvall. Busey figures since it's his money he should come along and it is the Busey and Duvall performances that mostly carry the film. This one sure isn't going to get any Oscars but you will get a kick out of it, I did.

It's a shame this video is no longer available in stores! I've only read poor reviews of this movie, but Gary Busey fans will delight at his most colourful characterisation of all time as car salesman Smilin' Jack Abernaugthy. A touch unbelievable at times - well maybe all the time - but delivers a fine serving of action. Robert Duval contributes his talents as the short-lived mercenary Shrike. We also discover that the would-be tough guy of group turns into a chicken when asked to kill.

Trust me, this one's a must for all B-grade action fans!

"Let's Get Harry" is a one-way ticket to the jungles of Columbia! Action-packed plus humor! Glenn Frey soars as an actor!

Here's something for Brandon DiSabatino (reviewer): I have read Joyce, Nietzsche, Sartre AND Burroughs.
I have never considered "Ulysses" to be a reason not to make exciting art just for the heck of it. Jim's whole story is just a ramble. A beautiful sprawling wonder of a ramble, but a ramble nonetheless. Do you accuse Joyce's work of being empty?
I have never considered "Thus Spoke Zarathustra" to be a bible for the supression of fast paced fiction (remembering here that Thompson has repeatedly hinted that this 'autobiographical' piece is far more a novel than anything else).
I did not find anything that denounced good cinema in "Existentialism"; exactly the opposite, to be frank.
And as for Burroughs (consider "The Naked Lunch"): Do you REALLY think that Old Bull Lee would be at odds with Hunter S.?...REALLY??? It was part of this old heroine addict's dream for the world to see people like Thompson running around a tarnished America without a leash.
I realise that in this instance, what I am about to say could be seen as something of a "pot-calling-the-kettle-black" statement, but did you honestly think that your review would be helpful to anyone that wasn't a so-called 'intellectual'?
I loved this film. I loved it BECAUSE it wasn't about anything; BECAUSE it was different, and although all the classic reading of past years is of course still applicable to modern living, it just isn't, in fact couldn't be, anything like "Fear and Loathing."
Bloom's exploits in "Ulysses" are indeed interesting and frequently bizarre, but to the general public today, it simply won't mean as much as it did when it was written. The vocabulary used by Dublin's bohemian residants of bygone days was indeed got down pat by Mr. Joyce, but when it comes to recounting hallucinatory experiances in a desert, surrounded by some of the world's most venal and destructive ideals, Leopold Bloom and his kidney breakfasts just do not--cannot--pass muster!
On more than one occasion, I have actually mentioned Ulysses as a valid latter day comparison to Fear and Loathing and other films of it's ilk, but I've never tried to set the two up as competitors. Kerouac's "On the Road" also strikes a similar chord.
This is a film that you need to relax into from the writer's point of view (this being, after all,the whole point of reading((and watching movies)). The writing flows, if only you let it. People who seek to debunk Thompson in the way that DiSabatino does in his review are invariably anal people without any sense of creative fun; the kind of creative fun that all the best writers of bygone eras expounded until their voices were horse with the shouting.
You need to chill. I mean, "Erasehead" for crying out loud! Get a grip.
If you're not stunted in all the ways that Thompson hates, then you have to see this film. Totally brilliant, and at times, totally misunderstood.
(Mr. DiSabatino has since replied in another review on this page and made clearer his original review's intent. We understand eachother better than I first thought. Well met, sir.)

This DVD finally gives one of Terry Gilliam's lesser-loved (but brilliant!) films the red carpet treatment. The commentary from Gilliam is crazed and passionate; Depp and Del Toro really show off their wit, charm, and intelligence along with producer Laila Nabulsi's back-stage insight, and the last commentary is a rather odd and screwball one from Thompson himself. I won't tell you a thing about the last commentary. You've got to buy this and check it out on your own. (Here's a hint: 'Screeee-ahhhh! Raaaaaaaagh!' *other assorted sounds*)

The second disc is crammed with some great goodies as well - Depp reads letters written to/from Thompson. There's a great BBC documentary showing HST and Ralph Steadman undertaking a trip from Las Vegas to Los Angeles. Another gem is a snippet from an audio-book recording of Fear & Loathing with Jim Jarmusch as Raoul Duke! All definitely worth it.

Fear and Loathing isn't just a drug movie (as all the extras on the DVD will reiterate over and over again) - it's a truthful, imaginative, twisted, and subversive take on the death of the most idealistic decade and generation. We get to see it all through the eyes of two renegade professionals, one a journalist and the other a lawyer, both fighting the good fight against scum and villainy.

We can't stop here! THIS IS BAT COUNTRY.

I believe the quote at the begining of the movie and a quote HST used quite a bit throughout his career pretty much sums up the crux of the movie and it goes something like..."He who makes a beast of himself gets rid of the pain of being a man." I would also recommend that if you are going to watch the movie, that you also read the book as well. To me the movie is totally insane, funny and whether you like it or not will make you deal with certain issues that you may find disturbing to your sensibilities, don't panic, this is normal. If you are a true red blooded american who likes to follow the rules( at least when people are looking which incidentaly is the american way) then there is a possibility that you may find this movie offensive. But this should not stop you from watching the movie and finding a way to deal with it as did Mr. Duke and Dr Gonzo. Now it is also imperative for me to bring out at this time that what is also overlooked by the "critics" and casual observers as well is the tremendous work done by both Johnny Depp and Benicio Del Toro which in itself is worth watching this movie. Next, do not try to make sense of this movie, that would be a mistake, simply experience it as did the good Doctor and his Attourney and then decide for yourself how it effects you or affects you for that matter, but whatever you do, do not dismiss it, the decision must be made. Really there is no reason for judgement or maybe there is, but that is up to the viewer to deal with and deal with it you should. The bottom line is this, You should take two things away from this movie: 1. It is important, no matter what the circumstances are to always get the "story". And 2. If you buy the ticket then you must take the ride. If the viewer can keep these things in mind before, during and after this movie then I think you will be doing just fine and dare I say have a new found appreciation of what the good Dr. and the movie are trying to achieve.

Here's something for Brandon DiSabatino (reviewer): I have read Joyce, Nietzsche, Sartre AND Burroughs.
I have never considered "Ulysses" to be a reason not to make exciting art just for the heck of it. Jim's whole story is just a ramble. A beautiful sprawling wonder of a ramble, but a ramble nonetheless. Do you accuse Joyce's work of being empty?
I have never considered "Thus Spoke Zarathustra" to be a bible for the supression of fast paced fiction (remembering here that Thompson has repeatedly hinted that this 'autobiographical' piece is far more a novel than anything else).
I did not find anything that denounced good cinema in "Existentialism"; exactly the opposite, to be frank.
And as for Burroughs (consider "The Naked Lunch"): Do you REALLY think that Old Bull Lee would be at odds with Hunter S.?...REALLY??? It was part of this old heroine addict's dream for the world to see people like Thompson running around a tarnished America without a leash.
I realise that in this instance, what I am about to say could be seen as something of a "pot-calling-the-kettle-black" statement, but did you honestly think that your review would be helpful to anyone that wasn't a so-called 'intellectual'?
I loved this film. I loved it BECAUSE it wasn't about anything; BECAUSE it was different, and although all the classic reading of past years is of course still applicable to modern living, it just isn't, in fact couldn't be, anything like "Fear and Loathing."
Bloom's exploits in "Ulysses" are indeed interesting and frequently bizarre, but to the general public today, it simply won't mean as much as it did when it was written. The vocabulary used by Dublin's bohemian residants of bygone days was indeed got down pat by Mr. Joyce, but when it comes to recounting hallucinatory experiances in a desert, surrounded by some of the world's most venal and destructive ideals, Leopold Bloom and his kidney breakfasts just do not--cannot--pass muster!
On more than one occasion, I have actually mentioned Ulysses as a valid latter day comparison to Fear and Loathing and other films of it's ilk, but I've never tried to set the two up as competitors. Kerouac's "On the Road" also strikes a similar chord.
This is a film that you need to relax into from the writer's point of view (this being, after all,the whole point of reading((and watching movies)). The writing flows, if only you let it. People who seek to debunk Thompson in the way that DiSabatino does in his review are invariably anal people without any sense of creative fun; the kind of creative fun that all the best writers of bygone eras expounded until their voices were horse with the shouting.
You need to chill. I mean, "Erasehead" for crying out loud! Get a grip.
If you're not stunted in all the ways that Thompson hates, then you have to see this film. Totally brilliant, and at times, totally misunderstood.
(Mr. DiSabatino has since replied in another review on this page and made clearer his original review's intent. We understand eachother better than I first thought. Well met, sir.)

This DVD finally gives one of Terry Gilliam's lesser-loved (but brilliant!) films the red carpet treatment. The commentary from Gilliam is crazed and passionate; Depp and Del Toro really show off their wit, charm, and intelligence along with producer Laila Nabulsi's back-stage insight, and the last commentary is a rather odd and screwball one from Thompson himself. I won't tell you a thing about the last commentary. You've got to buy this and check it out on your own. (Here's a hint: 'Screeee-ahhhh! Raaaaaaaagh!' *other assorted sounds*)

The second disc is crammed with some great goodies as well - Depp reads letters written to/from Thompson. There's a great BBC documentary showing HST and Ralph Steadman undertaking a trip from Las Vegas to Los Angeles. Another gem is a snippet from an audio-book recording of Fear & Loathing with Jim Jarmusch as Raoul Duke! All definitely worth it.

Fear and Loathing isn't just a drug movie (as all the extras on the DVD will reiterate over and over again) - it's a truthful, imaginative, twisted, and subversive take on the death of the most idealistic decade and generation. We get to see it all through the eyes of two renegade professionals, one a journalist and the other a lawyer, both fighting the good fight against scum and villainy.

We can't stop here! THIS IS BAT COUNTRY.

I believe the quote at the begining of the movie and a quote HST used quite a bit throughout his career pretty much sums up the crux of the movie and it goes something like..."He who makes a beast of himself gets rid of the pain of being a man." I would also recommend that if you are going to watch the movie, that you also read the book as well. To me the movie is totally insane, funny and whether you like it or not will make you deal with certain issues that you may find disturbing to your sensibilities, don't panic, this is normal. If you are a true red blooded american who likes to follow the rules( at least when people are looking which incidentaly is the american way) then there is a possibility that you may find this movie offensive. But this should not stop you from watching the movie and finding a way to deal with it as did Mr. Duke and Dr Gonzo. Now it is also imperative for me to bring out at this time that what is also overlooked by the "critics" and casual observers as well is the tremendous work done by both Johnny Depp and Benicio Del Toro which in itself is worth watching this movie. Next, do not try to make sense of this movie, that would be a mistake, simply experience it as did the good Doctor and his Attourney and then decide for yourself how it effects you or affects you for that matter, but whatever you do, do not dismiss it, the decision must be made. Really there is no reason for judgement or maybe there is, but that is up to the viewer to deal with and deal with it you should. The bottom line is this, You should take two things away from this movie: 1. It is important, no matter what the circumstances are to always get the "story". And 2. If you buy the ticket then you must take the ride. If the viewer can keep these things in mind before, during and after this movie then I think you will be doing just fine and dare I say have a new found appreciation of what the good Dr. and the movie are trying to achieve.

Here's something for Brandon DiSabatino (reviewer): I have read Joyce, Nietzsche, Sartre AND Burroughs.
I have never considered "Ulysses" to be a reason not to make exciting art just for the heck of it. Jim's whole story is just a ramble. A beautiful sprawling wonder of a ramble, but a ramble nonetheless. Do you accuse Joyce's work of being empty?
I have never considered "Thus Spoke Zarathustra" to be a bible for the supression of fast paced fiction (remembering here that Thompson has repeatedly hinted that this 'autobiographical' piece is far more a novel than anything else).
I did not find anything that denounced good cinema in "Existentialism"; exactly the opposite, to be frank.
And as for Burroughs (consider "The Naked Lunch"): Do you REALLY think that Old Bull Lee would be at odds with Hunter S.?...REALLY??? It was part of this old heroine addict's dream for the world to see people like Thompson running around a tarnished America without a leash.
I realise that in this instance, what I am about to say could be seen as something of a "pot-calling-the-kettle-black" statement, but did you honestly think that your review would be helpful to anyone that wasn't a so-called 'intellectual'?
I loved this film. I loved it BECAUSE it wasn't about anything; BECAUSE it was different, and although all the classic reading of past years is of course still applicable to modern living, it just isn't, in fact couldn't be, anything like "Fear and Loathing."
Bloom's exploits in "Ulysses" are indeed interesting and frequently bizarre, but to the general public today, it simply won't mean as much as it did when it was written. The vocabulary used by Dublin's bohemian residants of bygone days was indeed got down pat by Mr. Joyce, but when it comes to recounting hallucinatory experiances in a desert, surrounded by some of the world's most venal and destructive ideals, Leopold Bloom and his kidney breakfasts just do not--cannot--pass muster!
On more than one occasion, I have actually mentioned Ulysses as a valid latter day comparison to Fear and Loathing and other films of it's ilk, but I've never tried to set the two up as competitors. Kerouac's "On the Road" also strikes a similar chord.
This is a film that you need to relax into from the writer's point of view (this being, after all,the whole point of reading((and watching movies)). The writing flows, if only you let it. People who seek to debunk Thompson in the way that DiSabatino does in his review are invariably anal people without any sense of creative fun; the kind of creative fun that all the best writers of bygone eras expounded until their voices were horse with the shouting.
You need to chill. I mean, "Erasehead" for crying out loud! Get a grip.
If you're not stunted in all the ways that Thompson hates, then you have to see this film. Totally brilliant, and at times, totally misunderstood.
(Mr. DiSabatino has since replied in another review on this page and made clearer his original review's intent. We understand eachother better than I first thought. Well met, sir.)

This DVD finally gives one of Terry Gilliam's lesser-loved (but brilliant!) films the red carpet treatment. The commentary from Gilliam is crazed and passionate; Depp and Del Toro really show off their wit, charm, and intelligence along with producer Laila Nabulsi's back-stage insight, and the last commentary is a rather odd and screwball one from Thompson himself. I won't tell you a thing about the last commentary. You've got to buy this and check it out on your own. (Here's a hint: 'Screeee-ahhhh! Raaaaaaaagh!' *other assorted sounds*)

The second disc is crammed with some great goodies as well - Depp reads letters written to/from Thompson. There's a great BBC documentary showing HST and Ralph Steadman undertaking a trip from Las Vegas to Los Angeles. Another gem is a snippet from an audio-book recording of Fear & Loathing with Jim Jarmusch as Raoul Duke! All definitely worth it.

Fear and Loathing isn't just a drug movie (as all the extras on the DVD will reiterate over and over again) - it's a truthful, imaginative, twisted, and subversive take on the death of the most idealistic decade and generation. We get to see it all through the eyes of two renegade professionals, one a journalist and the other a lawyer, both fighting the good fight against scum and villainy.

We can't stop here! THIS IS BAT COUNTRY.

I believe the quote at the begining of the movie and a quote HST used quite a bit throughout his career pretty much sums up the crux of the movie and it goes something like..."He who makes a beast of himself gets rid of the pain of being a man." I would also recommend that if you are going to watch the movie, that you also read the book as well. To me the movie is totally insane, funny and whether you like it or not will make you deal with certain issues that you may find disturbing to your sensibilities, don't panic, this is normal. If you are a true red blooded american who likes to follow the rules( at least when people are looking which incidentaly is the american way) then there is a possibility that you may find this movie offensive. But this should not stop you from watching the movie and finding a way to deal with it as did Mr. Duke and Dr Gonzo. Now it is also imperative for me to bring out at this time that what is also overlooked by the "critics" and casual observers as well is the tremendous work done by both Johnny Depp and Benicio Del Toro which in itself is worth watching this movie. Next, do not try to make sense of this movie, that would be a mistake, simply experience it as did the good Doctor and his Attourney and then decide for yourself how it effects you or affects you for that matter, but whatever you do, do not dismiss it, the decision must be made. Really there is no reason for judgement or maybe there is, but that is up to the viewer to deal with and deal with it you should. The bottom line is this, You should take two things away from this movie: 1. It is important, no matter what the circumstances are to always get the "story". And 2. If you buy the ticket then you must take the ride. If the viewer can keep these things in mind before, during and after this movie then I think you will be doing just fine and dare I say have a new found appreciation of what the good Dr. and the movie are trying to achieve.

Kathryn Bigelow's adrenaline-fuelled thriller "Point Break" (1991) - co-produced by James Cameron - combines Californian mysticism with pulse-pounding action set-pieces and toplines the iconic figure of Keanu Reeves (fetishized here by Don Peterman's expansive cinematography) as an undercover FBI agent who infiltrates a group of itinerant surfers (led by Patrick Swayze) responsible for a series of daring bank raids. Despite the film's relentless macho swagger, "Point Break" aims for something more profound than your average summer blockbuster and is distinguished by some extraordinary visual conceits: From the glorious surfing scenes to the action highlights (most notably, Reeves' heart-stopping pursuit of a fleeing bank raider through a suburban landscape) to a show-stopping sky-dive sequence which lifts the film onto another plane altogether, far removed from the typical excesses of American commercial cinema.

Lori Petty ("Tank Girl") provides the nominal love interest - and very good she is, too - but W. Peter Iliff's script focuses almost exclusively on the ambiguous relationship between 'good guy' Reeves and 'villain' Swayze, drawing them together in adversity, while the supporting cast is rounded out by the likes of Gary Busey ("The Buddy Holly Story"), John C. McGinley, James LeGros ("Drugstore Cowboy"), and experienced surfers John Philbin ("North Shore") and Bojesse Christopher (co-writer and director of "Out in Fifty" [1999]), both exquisitely beautiful. However, Reeves dominates the movie with typical economy and grace, balancing his trademark 'cool dude' persona against the heavier dramatic requirements of his role as a dedicated FBI agent. The narrative stumbles badly toward the end (Swayze's abrupt deviation from established procedure during one of the climactic sequences is totally inexplicable, and the subsequent body count would almost certainly have prompted the FBI to dismiss Reeves from the service long before his final showdown with Swayze), but the film survives primarily as a unique combination of surfing, action and ultra-sexy young actors. Whether by accident or design, "Point Break" has 'cult movie' written all over it.

Not quite the collector's edition that some viewers might have been expecting, 20th Century Fox's region 1 DVD - which runs 121m 56s - reproduces the wide Super 35 frame in letterbox format (2.35:1), anamorphically enhanced. Picture quality is grainy in places, but generally OK. Subtitles and captions are provided, along with three audio options - 4.1 and 2.0 Dolby and 5.1 DTS, all of which are reasonably aggressive, though not quite as challenging as the 70mm version (blown-up from 35mm) which played theatrically during the film's premiere engagements. There's a number of trailers and an extremely brief (3m 30s) 'making of' featurette, and nothing more.

When this movie was released in the theatres, T2 was the #1 movie. I loved T2 and when someone told me Point Break was a better movie, I thought they were crazy. Now I own both movies and I watch Point Break all the time while T2 gathers dust. Point Break is about a struggle between a rebellious surfer tribe with chief Boudy (Patrick Swazye), who lives life by their own terms, and 'the system' lead byFBI agent Johnny Utah (Keanu Reeves), who wants them to become productive members of society. You're never quite sure whom to rute for. You'll love to love these bad guys. Packed with action and even some comedy ..., this underrated movie ranks among my all-timefavorites. The beautiful beaches with powerful surf, one of the best chase scenes ever (right up there with Raising Arizona's) and high flying skydiving scenes make this movie perfect for DVD. I'm glad the producers have taken the time to create a quality DVD withwidescreen anamorphic picture and DTS sound. Pick this one up when you get the chance, it's a great movie with excellent replay value.

This 1991 film stars Keanu Reeves as Johnny Utah, an FBI agent trying to solve a series of bank robberies in the Los Angeles area. His partner has a theory that these robberies were committed by surfers. And so our hero goes undercover in the surfing world.

First, of course, he has to learn how to surf. And there just happens to be an attractive female surfer, played by Lori Petty, to teach him. Naturally a romance develops but what is surprising is the remarkably short time it takes him to learn to surf. There's conflict with the other surfers too, but as he was once a football hero, he plays football on the beach with them and wins the respect of Bodhi, played by Patrick Swayzee. Bodhi's into the spiritual side of surfing. And he's also into free fall sky diving, night surfing and the ultimate thrills riding the waves. The two men learn to respect each other. It's too bad that Bodhi is also a bank robber. And that he just happens to be Lori Petty's ex-boyfriend.

What follows is an action packed ride including chases on foot and with cars. There's several false leads and a bit of violence. The story follows a formula, which is to be expected, but yet it is done very well. The best part of the film though is the surfing. It was able to make me feel the thrill of it all while I was sitting comfortably in front of my TV. I'm sure they used a lot of stunt doubles and special effects. But I didn't care. I just let myself be swept into the excitement of it all.

Recommended -- especially for action film buffs.

"Lost Highway" presents several of David Lynch's trademarks: dark environments, inexplicable situations, sexually obsessed characters and a non-linear story.

Always is interesting to see a movie from the experimental director David Lynch, so "Lost Highway" has interesting parts, however, sometimes it gives the sensation that the only person in the world that is pleased with the events on-screen is David Lynch, and that is a bad thing because the movie fans are the main reason why the movies are made.

But putting that aside, "Lost Highway" is an interesting exercise of film experimentation. The highlight may be Robert Blake as "The Mystery Man", he is really a creepy character.

I'm glad other reviewers have seen the same thing in this story - that Bill Pullman's character is in a kind of personal hell, reliving his murder of his own wife.

Just listen to the song by Hank Williams. I heard for the first time a year and a half after I saw the movie and it put the whole thing into perspective for me.

I saw this years ago in the theatre, so beyond that, all I remember are beautiful colors, Robert Blake calling himself on the phone (and looking just like Richard Benson - The Avenger!), and a stunning Patricia Arquette. However, I'm game for another viewing after these reviews.

If you're just starting out with David Lynch, a good jump off point is The Elephant Man and Wild At Heart, then segue into the wierder stuff with Blue Velvet and Eraserhead (that movie makes me ill), maybe even Dune if that's your cup of tea.

To Amazon and David Lynch: I'll buy a copy of "Lost Highway" when it comes out on DVD, okay? The home theater setup that my partner and I have invested in has spoiled us, and we don't even bother with VHS anymore. Videotape pales in comparison to the superior audio and visual quality of DVD.

The first time I saw "Lost Highway" was by way of a very poorly transferred preview tape with a timecode at the bottom of the screen. The lousy video and audio quality combined with the extremely oblique plot and narrative structure left me scratching my head and saying, "HUH?" Later, when the film made its way to one of our local movie theaters, I decided to give it another chance. That the audio and visual quality was vastly better goes without saying ... and I was also able to mull over the story and at least try to piece together the puzzle. After I viewed the film yet a third time, having rented a copy from a video store, my opinion of it had improved greatly.

But make no mistake about it: Viewers who like their movies spoon-fed to them and want plot and narrative to be tidy and neat will not like this film. In "Lost Highway" David Lynch has given us a world in which the notions of cause and effect are not QUITE was we are accustomed to, a world in which one might literally assume a new identity if pushed to emotional extremis, a world in which one might come face to face with his own doppleganger in the darkened hallway of one's own home.

You can watch "Lost Highway" over and over, and each time you might feel like you've come a little closer to putting all the pieces together and solving the puzzle ... but the solution forever evades your grasp ... just barely. It's frustrating and provocative all at once, an enigmatic Rubik's Cube of a film. Many people don't like movies like this, but I do. The best works of art are often the most intellectually challenging, and in David Lynch's universe a good mystery doesn't necessarily have to have a solution.

The original Predator set the standard for sci-fi action pics while having Arnold Schwarzenegger in the role of the hero. This much underrated sequel takes place in L.A. years after the original film concluded. Danny Glover stars as a burned out detective on the trail of a series of grusome murders, only to find that the Predator is back on the hunt. While Predator 2 is no where as good as the original, it is a very good film on its own, plus we get to see more of the Predator culture and some rather cool weaponry, plus more insight on their hunting rituals. A decent cast is here as well, featuring Gary Busey, and Bill Paxton. A little side note: when Glover is on board the Predator ship looking at the skulls, you'll notice the skull of an Alien from the Alien series of films on the wall.

This film has been so under-rated for too long a time. I wish to clear all the fuss up right now with this review.

When this film came out in 1990 everyone knew what the Predator was so there was no point in having him hide in the shadows. And when you can't have the Predator hide in the shadows what else can you do with him? Glorify him, exploit him and give him and awesome arsenal of weapons he can use to cut to shreds Columbian cartels, Voodoo-Mad Jamaicans and the LAPD...

The ferocious pace in this film is incredible. The speed it moves with from scene to scene without being over-edited or confusing is sublime. Stephen Hopkins' direction is top-notch and Peter Levy's cinematography is amazing...

Alan Silvestri's score is a major improvement over the original (which was still way cool) and some of the music chills to the bone. All 3 of these guys teamed up for Judgement Night and Blown Away.

I look forward to a special edition DVD and a Predator 3. If the DVD does come out I hope it shows the film in the 2.05:1 aspect ratio that my widescreen VHS tape was.

This is a good alien-invasion movie in general, and a terrific sequel in particular. Setting the story in L.A. with protagonists Glover, Paxton and Busey made for quite a tale.

However, the film raises some extremely serious questions. When the predator first attacked, and people realized what they were dealing with, why didn't any of them pause and ask, "Why does he hate us?" The people acted terrorized by the violent actions of the predator, and struck back for the purpose of killing him. Was that sort of response compassionate, diverse, tolerant or inclusive? Rather than unilaterally attacking the predator with an army headed by three cowboys, shouldn't everyone have attempted to form a coalition (perhaps involving the United Nations) and worked to appease the predator? Shouldn't they have settled for passing some resolutions against the predator, then employing inspectors to verify his compliance? The people gave no thought whatever to the predator's cultural or religious background -- they just tried to kill him as soon as possible, apparently thinking that was the only way to protect themselves from a totally irrational being. Can you imagine how things would be in real life, if the good guys merely killed terrorists as quickly as possible, as was done in this movie? Obviously if you kill them, they can't harm anyone any more -- but is that a compassionate, inclusive, tolerant and diverse manner in which to react to a murderous terrorist?

This is a good alien-invasion movie in general, and a terrific sequel in particular. Setting the story in L.A. with protagonists Glover, Paxton and Busey made for quite a tale.

However, the film raises some extremely serious questions. When the predator first attacked, and people realized what they were dealing with, why didn't any of them pause and ask, "Why does he hate us?" The people acted terrorized by the violent actions of the predator, and struck back for the purpose of killing him. Was that sort of response compassionate, diverse, tolerant or inclusive? Rather than unilaterally attacking the predator with an army headed by three cowboys, shouldn't everyone have attempted to form a coalition (perhaps involving the United Nations) and worked to appease the predator? Shouldn't they have settled for passing some resolutions against the predator, then employing inspectors to verify his compliance? The people gave no thought whatever to the predator's cultural or religious background -- they just tried to kill him as soon as possible, apparently thinking that was the only way to protect themselves from a totally irrational being. Can you imagine how things would be in real life, if the good guys merely killed terrorists as quickly as possible, as was done in this movie? Obviously if you kill them, they can't harm anyone any more -- but is that a compassionate, inclusive, tolerant and diverse manner in which to react to a murderous terrorist?

I did enjoy this movie. Danny Glover did a great job in this movie. He also had a great supporting cast. It's very rare the sequel is as good as the first movie, this one is.

This is one of those strange cases in which the sequel is actually better than the original. The plot involving the city hunts makes the character more menacing in this one, as he kills a lot more people than in the first film. Danny Glover is great as Mike Harrigan, and there is even a brief reference to what happened at the end of "Predator". All the cast shines, and so does the special effects. I strongly recommend that you see it.