Giovanni-Ribisi Movie Reviews
SubUrbia centers on a group of bored, aimless, post-high-school kids who spend an inordinate amount of time hanging out in the parking lot of a local convenience store. It all takes place over a single night, when a fellow classmate by the name of Pony (Jayce Bartok), who has become a hot pop star since graduation, returns with his limo and his publicist (Posey) to do a little slumming in his hometown. Giovanni Ribisi (Saving Private Ryan) as the introspective Jeff, Ajay Naidu as the proprietor of the Circle A (for "anarchy"), and Steve Zahn (Out of Sight) as the buffoonish Buff, are also very impressive in a movie that's a real showcase for its terrific actors. --Jim Emerson
Put back the Leprechaun!
Oh Man!
great movie
Surprisingly good
Far too good to be lost in an ocean of [bad] movies...
Far too good to be lost in an ocean of (...) movies...
What a Great Movie!With this being the writing and directing debut ofHanks, it is one incredible piece of work. This film has a rapid firestory line. It includes many events of the bands rise to fame in ashort amount of time, but also shows what can ultimatly happen to anoverworked band. This film does well by the superb acting jobs by allof the band members, most notably Jimmy (Jonathan Schaech) and theincredible performance by Tom Everett Scott as Guy "Shades"Paterson.
This film is also noteworthy due to the fact that it israted PG. So many movies feel that they need to be rated R to get adecent point across. Not this film. It can show the real life of aband in a way that includes very little adult language and no violenceor sexuality. This is one refreshing film that goes at its own paceand takes the viewer to new places. A great film for Tom Hanks on hisdebut. It was overlooked in theaters but it deserves a home in everyvideo collection.
How can you not love this film?
THAT Thing this movie does
A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.
The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. --Doug Thomas
Well-made film, but poorly writtenIt needs to be gory. As one veteran put it in the 25 minute documentary (paraphrasing from memory), "It's good to know the horrors of war. That way, we think twice about engaging in it." Politics aside, that certainly has special meaning today. There are lots of additional points about the reality of day-to-day war, in all its unpleasantness.
However, I did not enjoy this movie. I'm a WW2 enthusiast. In fact, I recently came back from a trip to Normandy. I'm not going to go on about pointy factual historical inaccuracies, that exists in any film.
However, I found it truly offensive that the story involves only American soldiers, enemy German soldiers, and feeble French civilians. I've no problem with the point of view from an American unit, but in the story all the units get mixed up, intermingle with others, etc. But they don't seem to mix with British and Canadian troops for some reason. They never meet any members of the French Resistance, which numbered in the hundreds of thousands and were crucial to the Battle's success. Ditto for the Free French Forces, Polish forces, all of whom were also involved. In fact, the only mention of other Allied troops is through the nickname "Monty" referring to the British forces led by general Montgomery, that they called "overrated". They were not overrated. It's okay if one character says that, but it's insulting if it's the only mention of other countries' troops.
This is not only insulting to other veterans who also died in the war, but is a continuation of the propaganda that only America liberated France. Of the five Normandy beaches, only two were American, two more were British, and one was Canadian. We were all in this.
Responsible for this is the historical consultant, "historian" Ambrose. In the documentary recalling the context of D-Day, he doesn't even mention that its purpose was creating a 2nd front, to the Russian front, in fact he nor anyone else doesn't mention the Russians participation, and went so far as to say that without D-Day that Nazis would still be there today. Such blatant nationalist arrogance from a historian is simply not acceptable.
For decent retelling of D-Day, watch "The Longest Day", filmed on location, telling multiple sides of the story; it's not as well-made as Saving Private Ryan from a production standpoint, and the characters feel thin, but it's accurate. Also check out "A Bridge Too Far". Sadly, no recent film manages to adequately capture WW2; they're either biased, glorifying of war, touchy-feely, or generally demonising of German soldiers. If you're really serious about D-Day, go to Normandy, at Caen, Bayeux, Pointe-du-Hoc, Colleville-sur-mer, and the tons of museums there, especially the Caen Memorial.
best dts sound on movie so faras far as movie goes... it's a typical hollywood movie, I feel happy ending forced at the end so the saturday night movie goers don't walk out grump. SpielBERG also made his point with biased portrait of german soldiers and jewish star at the cemetery. (when will it stop aigh?)
people complained the video quality is lacking in this movie. I would remind it's done in purpose to reproduce the documental atmostphere. 1.85:1 anamorphic enhanced video looks perfect on my 16X9 50" screen. colors look washed out through out the film on purpose, and lens were kept dirty in certain parts to look more real. I even noticed cirular smoke filter used to focus in center of screen. to create feeling that I'm watching the battle through a view finder, as if I'm running around holding the camera.
over all it's a pretty cool dts demonstration dvd. cinematograph is brilliant. story? hmmm... could've been better.
Speilberg has done it again!!!Saving Private Ryan, see it tonight... remember it forever.
A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.
The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. --Doug Thomas
Well-made film, but poorly writtenIt needs to be gory. As one veteran put it in the 25 minute documentary (paraphrasing from memory), "It's good to know the horrors of war. That way, we think twice about engaging in it." Politics aside, that certainly has special meaning today. There are lots of additional points about the reality of day-to-day war, in all its unpleasantness.
However, I did not enjoy this movie. I'm a WW2 enthusiast. In fact, I recently came back from a trip to Normandy. I'm not going to go on about pointy factual historical inaccuracies, that exists in any film.
However, I found it truly offensive that the story involves only American soldiers, enemy German soldiers, and feeble French civilians. I've no problem with the point of view from an American unit, but in the story all the units get mixed up, intermingle with others, etc. But they don't seem to mix with British and Canadian troops for some reason. They never meet any members of the French Resistance, which numbered in the hundreds of thousands and were crucial to the Battle's success. Ditto for the Free French Forces, Polish forces, all of whom were also involved. In fact, the only mention of other Allied troops is through the nickname "Monty" referring to the British forces led by general Montgomery, that they called "overrated". They were not overrated. It's okay if one character says that, but it's insulting if it's the only mention of other countries' troops.
This is not only insulting to other veterans who also died in the war, but is a continuation of the propaganda that only America liberated France. Of the five Normandy beaches, only two were American, two more were British, and one was Canadian. We were all in this.
Responsible for this is the historical consultant, "historian" Ambrose. In the documentary recalling the context of D-Day, he doesn't even mention that its purpose was creating a 2nd front, to the Russian front, in fact he nor anyone else doesn't mention the Russians participation, and went so far as to say that without D-Day that Nazis would still be there today. Such blatant nationalist arrogance from a historian is simply not acceptable.
For decent retelling of D-Day, watch "The Longest Day", filmed on location, telling multiple sides of the story; it's not as well-made as Saving Private Ryan from a production standpoint, and the characters feel thin, but it's accurate. Also check out "A Bridge Too Far". Sadly, no recent film manages to adequately capture WW2; they're either biased, glorifying of war, touchy-feely, or generally demonising of German soldiers. If you're really serious about D-Day, go to Normandy, at Caen, Bayeux, Pointe-du-Hoc, Colleville-sur-mer, and the tons of museums there, especially the Caen Memorial.
best dts sound on movie so faras far as movie goes... it's a typical hollywood movie, I feel happy ending forced at the end so the saturday night movie goers don't walk out grump. SpielBERG also made his point with biased portrait of german soldiers and jewish star at the cemetery. (when will it stop aigh?)
people complained the video quality is lacking in this movie. I would remind it's done in purpose to reproduce the documental atmostphere. 1.85:1 anamorphic enhanced video looks perfect on my 16X9 50" screen. colors look washed out through out the film on purpose, and lens were kept dirty in certain parts to look more real. I even noticed cirular smoke filter used to focus in center of screen. to create feeling that I'm watching the battle through a view finder, as if I'm running around holding the camera.
over all it's a pretty cool dts demonstration dvd. cinematograph is brilliant. story? hmmm... could've been better.
Speilberg has done it again!!!Saving Private Ryan, see it tonight... remember it forever.
A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.
The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. --Doug Thomas
Well-made film, but poorly writtenIt needs to be gory. As one veteran put it in the 25 minute documentary (paraphrasing from memory), "It's good to know the horrors of war. That way, we think twice about engaging in it." Politics aside, that certainly has special meaning today. There are lots of additional points about the reality of day-to-day war, in all its unpleasantness.
However, I did not enjoy this movie. I'm a WW2 enthusiast. In fact, I recently came back from a trip to Normandy. I'm not going to go on about pointy factual historical inaccuracies, that exists in any film.
However, I found it truly offensive that the story involves only American soldiers, enemy German soldiers, and feeble French civilians. I've no problem with the point of view from an American unit, but in the story all the units get mixed up, intermingle with others, etc. But they don't seem to mix with British and Canadian troops for some reason. They never meet any members of the French Resistance, which numbered in the hundreds of thousands and were crucial to the Battle's success. Ditto for the Free French Forces, Polish forces, all of whom were also involved. In fact, the only mention of other Allied troops is through the nickname "Monty" referring to the British forces led by general Montgomery, that they called "overrated". They were not overrated. It's okay if one character says that, but it's insulting if it's the only mention of other countries' troops.
This is not only insulting to other veterans who also died in the war, but is a continuation of the propaganda that only America liberated France. Of the five Normandy beaches, only two were American, two more were British, and one was Canadian. We were all in this.
Responsible for this is the historical consultant, "historian" Ambrose. In the documentary recalling the context of D-Day, he doesn't even mention that its purpose was creating a 2nd front, to the Russian front, in fact he nor anyone else doesn't mention the Russians participation, and went so far as to say that without D-Day that Nazis would still be there today. Such blatant nationalist arrogance from a historian is simply not acceptable.
For decent retelling of D-Day, watch "The Longest Day", filmed on location, telling multiple sides of the story; it's not as well-made as Saving Private Ryan from a production standpoint, and the characters feel thin, but it's accurate. Also check out "A Bridge Too Far". Sadly, no recent film manages to adequately capture WW2; they're either biased, glorifying of war, touchy-feely, or generally demonising of German soldiers. If you're really serious about D-Day, go to Normandy, at Caen, Bayeux, Pointe-du-Hoc, Colleville-sur-mer, and the tons of museums there, especially the Caen Memorial.
best dts sound on movie so faras far as movie goes... it's a typical hollywood movie, I feel happy ending forced at the end so the saturday night movie goers don't walk out grump. SpielBERG also made his point with biased portrait of german soldiers and jewish star at the cemetery. (when will it stop aigh?)
people complained the video quality is lacking in this movie. I would remind it's done in purpose to reproduce the documental atmostphere. 1.85:1 anamorphic enhanced video looks perfect on my 16X9 50" screen. colors look washed out through out the film on purpose, and lens were kept dirty in certain parts to look more real. I even noticed cirular smoke filter used to focus in center of screen. to create feeling that I'm watching the battle through a view finder, as if I'm running around holding the camera.
over all it's a pretty cool dts demonstration dvd. cinematograph is brilliant. story? hmmm... could've been better.
Speilberg has done it again!!!Saving Private Ryan, see it tonight... remember it forever.
ANOTHER SURREALIST FILM FROM THE DIRECTOR DAVID LYNCH.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.
A Woman's Life Makes A Life Like Mine...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.
Confusing, disobedient, nauseating, and I liked it very muchThis film's terrain is even more deeply subconscious than "Mulholland Drive", because its ultimate subject seems to be the act of watching a narrative movie itself, as channeled through a paragon of truth in our society: Crime scene photos. This is what makes it interesting. It's so open-ended, though, that it allows every viewer their own personal interpretation, because the "surface plot" is mixed up with its own interpretative clues...My take is that Fred Madison believes he was convicted of murdering his wife based on the images contained in the last videotape which is delivered to he and Renee (Patricia Arquette); during the first act, the most crucial line is his declaration that he doesn't like cameras because he prefers to remember things his own way--"not necessarily the way they happened." This entire first section of the film is the way Fred remembers his life before being incarcerated, and takes place in the space of a second--after he is punched in the face by the arresting police officer. Believing in the mysterious tapes which preceded the murder is his way of trying to convince himself that he didn't do it--that the Mystery Man (Robert Blake as wifekiller--ironic, eh?) actually did.
The second part, less effective due to its lighter tone, is Madison's way of escaping the reality of the electric chair. The light above his cell flickers and buzzes as presumably someone is being executed, which triggers his fantasy of escaping by physically becoming another person. Yet even in the life of this younger man, Renee returns (as a double...?) and he is free to begin a life with her without the memory of his marriage, but learns the sordid truth about her life...The Mystery Man again shows up, this time helping him commit conscious murder of her former pimp--and allowing it to be videotaped to convince himself that this murder (which Fred may have committed before the movie begins) was right. But who the hell knows...The plot? I mapped this film out after I saw it the first time, and there are too many doubles of whose nature we as viewers cannot trust as either physical reality or mental projection. Each interpretation points at the other--like the Moebius strip Lynch claims the film embodies. It's more like a puzzle structured around themes, mostly a subtext involving photography--the photo of the twins, the porn movies, the creepy videotapes which show up on their doorstep like evil calling cards.
Be sure to get a letterboxed version of this film; Lynch's visual compositions are based upon horizontal angles all throughout, and there are many extreme close-ups in which the tops of heads are truncated (for some malevolent intent, I'm sure). The cinematography is great, and the sound track (not the music, but the atmospherics which Lynch always meticulously makes himself) is as important as the images, just as in "Eraserhead."
And after watching a particular scene in this film, you'll be very careful around glass tables with sharp edges for the rest of your life...
Seth Davis (Giovanni Ribisi) is a 19-year-old college dropout who strives for approval from his father (Ron Rifkin), a judge who is horrified that his son operates a 24-hour illicit casino. When an old friend visits the casino with a fellow broker, Davis is impressed by their wads of money and yellow Ferrari, and decides to join the firm. In no time he's making sales and settling into the groove of the office and all the after-hours perks, but the dream fades when Davis discovers the scam that is making all of the brokers wealthy beyond their dreams.
Borrowing heavily from Wall Street and Glengarry Glen Ross, Boiler Room is at its best when dealing with matters of money, and powerful scenes of Davis learning to be a "closer" showcase the significant talent of Ribisi, Nicky Katt, and Vin Diesel. The movie flounders when developing the relationship between Davis and his father, becoming sentimental and trite. However, as a fable of modern society and a nostalgic vehicle about the days of yuppies past, Boiler Room is right on the money. --Jenny Brown
There's no such thing as a no-sale call.On the surface, this sounds like a re-telling of "Wall Street," but don't dismiss this film so easily. "Boiler Room" soars on the strength of performances of Nicky Katt, Scott Caan (son of James), Nia Long, and the then-unknown Vin Diesel. The film moves at a brisk pace and, for the most part, avoids melodrama and other formulaic touches. Definitely worth a look.
Boiler Room; Affleck, Diesel and Giovanni Ribisi
Hang up
Seth Davis (Giovanni Ribisi) is a 19-year-old college dropout who strives for approval from his father (Ron Rifkin), a judge who is horrified that his son operates a 24-hour illicit casino. When an old friend visits the casino with a fellow broker, Davis is impressed by their wads of money and yellow Ferrari, and decides to join the firm. In no time he's making sales and settling into the groove of the office and all the after-hours perks, but the dream fades when Davis discovers the scam that is making all of the brokers wealthy beyond their dreams.
Borrowing heavily from Wall Street and Glengarry Glen Ross, Boiler Room is at its best when dealing with matters of money, and powerful scenes of Davis learning to be a "closer" showcase the significant talent of Ribisi, Nicky Katt, and Vin Diesel. The movie flounders when developing the relationship between Davis and his father, becoming sentimental and trite. However, as a fable of modern society and a nostalgic vehicle about the days of yuppies past, Boiler Room is right on the money. --Jenny Brown
There's no such thing as a no-sale call.On the surface, this sounds like a re-telling of "Wall Street," but don't dismiss this film so easily. "Boiler Room" soars on the strength of performances of Nicky Katt, Scott Caan (son of James), Nia Long, and the then-unknown Vin Diesel. The film moves at a brisk pace and, for the most part, avoids melodrama and other formulaic touches. Definitely worth a look.
Boiler Room; Affleck, Diesel and Giovanni Ribisi
Hang up
Seth Davis (Giovanni Ribisi) is a 19-year-old college dropout who strives for approval from his father (Ron Rifkin), a judge who is horrified that his son operates a 24-hour illicit casino. When an old friend visits the casino with a fellow broker, Davis is impressed by their wads of money and yellow Ferrari, and decides to join the firm. In no time he's making sales and settling into the groove of the office and all the after-hours perks, but the dream fades when Davis discovers the scam that is making all of the brokers wealthy beyond their dreams.
Borrowing heavily from Wall Street and Glengarry Glen Ross, Boiler Room is at its best when dealing with matters of money, and powerful scenes of Davis learning to be a "closer" showcase the significant talent of Ribisi, Nicky Katt, and Vin Diesel. The movie flounders when developing the relationship between Davis and his father, becoming sentimental and trite. However, as a fable of modern society and a nostalgic vehicle about the days of yuppies past, Boiler Room is right on the money. --Jenny Brown
There's no such thing as a no-sale call.On the surface, this sounds like a re-telling of "Wall Street," but don't dismiss this film so easily. "Boiler Room" soars on the strength of performances of Nicky Katt, Scott Caan (son of James), Nia Long, and the then-unknown Vin Diesel. The film moves at a brisk pace and, for the most part, avoids melodrama and other formulaic touches. Definitely worth a look.
Boiler Room; Affleck, Diesel and Giovanni Ribisi
Hang up
I'm giving this 4 stars because the first half hour or so is pretty dumb; there isn't many laughs, and not too much happens before Pony shows up. But since this movie is two hours long, it has plenty of time to redeem itself and succeeds in doing so.