Jack-Nicholson Movie Reviews

What on EARTH possessed Shirley Maclaine to go along with this? Was she just desparate for work that she didn't mind completely dishonoring Term of Endearment???? This movie was horrid. Absolutely horrid. If I could turn back time, I would never have seen this film at all. I felt it was out of the bounds of tradition with the first film and should not have been a sequel at all.

Even on its own merits, the film cannot stand alone.

I see that this film, the sequel to "Terms of Endearment," has recieved either great reviews or awful reviews in this forum. The truth is, it is somewhere in between. Shirley MacLaine is a delight as Aurora Greenway, Marion Ross holds her own as Aurora's Maid, and I thought Ben Johnson's performance was beautifully understated and effective. But the plot founders in several areas: the affair between Aurora and her Therapist (Bill Paxton) is unbelievable and borders on nasty (think "Autumn in New York" in reverse); there are too many characters that don't get developed as needed; and some scenes drown in pathos. The ash-scattering scene on the beach is way over the top (with deafening music to accompany it) and Aurora's grandchildren range from annoying to unbearable. Juliet Lewis' character vitually disappears half way through and Miranda Richardson's phony Texas accent is painfully overdone. This film is worth a look for sure, but it is'nt in the same league with "Terms."

If you enjoy watching people's lives, you will probably enjoy this movie. There doesn't seem to be a plot, per se, but simply an unfolding of the years through various characters' lives. The acting and dialogue are superb.If you were a fan of "Terms of Endearment," then you may feel a sense of closeness to the characters - you WANT their lives to go well. It is touching to see the years pass and the "family" draw closer together (some friends in the film are as much a part of the family as if they were blood kin.) If you are really into the film, you will laugh and you will cry. Although it's not your typical story type with a definite beginning and ending, it is well worth watching. After it is over it leaves you with some things to think about - important things about life.

Tim Burton outdoes himself with this silly, but funny, spoof of 1950s flying saucer/alien invasion movies. It is absolutely zany and quite funny. There is also nothing politically correct about it, as there are no sacred cows. The film is totally irreverent of American culture and icons. Everything and everyone is fair game.

Martians have come to Earth, and they do not come in peace. Diabolical and deadly, they are bent on wreaking havoc wherever they go with their death ray guns, which serve to incinerate living beings. These bulbous headed martians with their own brand of deadly humour are hell bent on destroying Earth, while laughing and cackling maniacally.

The special effects are meant to to be reminiscent of those found in 1950s UFO flicks and in this it certainly succeeds. The cast is stellar with Jack Nicholson playing dual roles, that of President James Dale and that of entrepreneur Art Dale. Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Jim Brown, Natalie Portman, Sylvia Sydney, Paul Winfield, Pam Grier, Lisa Marie, Christine Applegate, Lukas Haas, and Tom Jones round out the star studded cast. With tongue in cheek performances, the viewer is bound to get a good laugh out of this film.

A wonderful pastiche on the campy and cheesy B-grade sci-fi movies of the 50's and 60's, MARS ATTACKS! features a pin-sharp script and a star-studded cast.

Heading the lineup are Jack Nicholson, Glenn Close, Annette Bening and Pierce Brosnan, but there is also the game support of Danny DeVito, Sarah Jessica Parker, Lukas Haas, Natalie Portman, Rod Steiger, Martin Short, Michael J. Fox, Lisa Marie, Tom Jones and the veteran Sylvia Sidney.

The whole plot is, of course, Mars attacking Earth after a seemingly bungled translation job. The President and First Lady (played by Nicholson and Close with aplomb) and their young daughter Taffy (Natalie Portman) are taken seige in the White House when the aliens nuke the entire House of Congress.

The key to the alien's downfall belongs to the senile yet lovable old Grandma Norris (Sylvia Sidney). I won't spoil the surprise for those who have yet to see this hilarious film.

A fantastic DVD transfer is given here, with a fair few extra features.

Ensemble comedy is just plain difficult to pull off. This is particularly true when most of the characters are self-centered and vapid, lending little emotional support for the poor viewer to hang onto. Mars Attacks! proved too user unfriendly to garner much enthusiasm on its release.

But after further review, the ruling on the field is reversed. Tim Burton has put together a just about perfect homage to his beloved cheesey sci-fi roots. The film just requires lowering pre-concieved notions and more attention to detail. As H Ross said "The devil's in the details." and truely, the humor here is diabolical. (This begins with just trying to get the darn thing to play. It seems like the little martians are determined to torment right from the start, which is actually quite funny once you realize you're being messed with a little.)

While it may have been fathered 100 years ago by H G Wells, and certainly styled from latent boomerism, the film actually might seem more relevant now than when first released. (We've seen some of these characters in the news the past couple of years.) Some things happen to age very well.

So go ahead and throw this thing into the new home theatre, or slap it into the Powerbook with a pair of headphones, and try to figure out why it looks so much better now than when you first saw it. There's something to be said for late boomers.

Tim Burton outdoes himself with this silly, but funny, spoof of 1950s flying saucer/alien invasion movies. It is absolutely zany and quite funny. There is also nothing politically correct about it, as there are no sacred cows. The film is totally irreverent of American culture and icons. Everything and everyone is fair game.

Martians have come to Earth, and they do not come in peace. Diabolical and deadly, they are bent on wreaking havoc wherever they go with their death ray guns, which serve to incinerate living beings. These bulbous headed martians with their own brand of deadly humour are hell bent on destroying Earth, while laughing and cackling maniacally.

The special effects are meant to to be reminiscent of those found in 1950s UFO flicks and in this it certainly succeeds. The cast is stellar with Jack Nicholson playing dual roles, that of President James Dale and that of entrepreneur Art Dale. Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Jim Brown, Natalie Portman, Sylvia Sydney, Paul Winfield, Pam Grier, Lisa Marie, Christine Applegate, Lukas Haas, and Tom Jones round out the star studded cast. With tongue in cheek performances, the viewer is bound to get a good laugh out of this film.

A wonderful pastiche on the campy and cheesy B-grade sci-fi movies of the 50's and 60's, MARS ATTACKS! features a pin-sharp script and a star-studded cast.

Heading the lineup are Jack Nicholson, Glenn Close, Annette Bening and Pierce Brosnan, but there is also the game support of Danny DeVito, Sarah Jessica Parker, Lukas Haas, Natalie Portman, Rod Steiger, Martin Short, Michael J. Fox, Lisa Marie, Tom Jones and the veteran Sylvia Sidney.

The whole plot is, of course, Mars attacking Earth after a seemingly bungled translation job. The President and First Lady (played by Nicholson and Close with aplomb) and their young daughter Taffy (Natalie Portman) are taken seige in the White House when the aliens nuke the entire House of Congress.

The key to the alien's downfall belongs to the senile yet lovable old Grandma Norris (Sylvia Sidney). I won't spoil the surprise for those who have yet to see this hilarious film.

A fantastic DVD transfer is given here, with a fair few extra features.

Ensemble comedy is just plain difficult to pull off. This is particularly true when most of the characters are self-centered and vapid, lending little emotional support for the poor viewer to hang onto. Mars Attacks! proved too user unfriendly to garner much enthusiasm on its release.

But after further review, the ruling on the field is reversed. Tim Burton has put together a just about perfect homage to his beloved cheesey sci-fi roots. The film just requires lowering pre-concieved notions and more attention to detail. As H Ross said "The devil's in the details." and truely, the humor here is diabolical. (This begins with just trying to get the darn thing to play. It seems like the little martians are determined to torment right from the start, which is actually quite funny once you realize you're being messed with a little.)

While it may have been fathered 100 years ago by H G Wells, and certainly styled from latent boomerism, the film actually might seem more relevant now than when first released. (We've seen some of these characters in the news the past couple of years.) Some things happen to age very well.

So go ahead and throw this thing into the new home theatre, or slap it into the Powerbook with a pair of headphones, and try to figure out why it looks so much better now than when you first saw it. There's something to be said for late boomers.

Tim Burton outdoes himself with this silly, but funny, spoof of 1950s flying saucer/alien invasion movies. It is absolutely zany and quite funny. There is also nothing politically correct about it, as there are no sacred cows. The film is totally irreverent of American culture and icons. Everything and everyone is fair game.

Martians have come to Earth, and they do not come in peace. Diabolical and deadly, they are bent on wreaking havoc wherever they go with their death ray guns, which serve to incinerate living beings. These bulbous headed martians with their own brand of deadly humour are hell bent on destroying Earth, while laughing and cackling maniacally.

The special effects are meant to to be reminiscent of those found in 1950s UFO flicks and in this it certainly succeeds. The cast is stellar with Jack Nicholson playing dual roles, that of President James Dale and that of entrepreneur Art Dale. Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Jim Brown, Natalie Portman, Sylvia Sydney, Paul Winfield, Pam Grier, Lisa Marie, Christine Applegate, Lukas Haas, and Tom Jones round out the star studded cast. With tongue in cheek performances, the viewer is bound to get a good laugh out of this film.

A wonderful pastiche on the campy and cheesy B-grade sci-fi movies of the 50's and 60's, MARS ATTACKS! features a pin-sharp script and a star-studded cast.

Heading the lineup are Jack Nicholson, Glenn Close, Annette Bening and Pierce Brosnan, but there is also the game support of Danny DeVito, Sarah Jessica Parker, Lukas Haas, Natalie Portman, Rod Steiger, Martin Short, Michael J. Fox, Lisa Marie, Tom Jones and the veteran Sylvia Sidney.

The whole plot is, of course, Mars attacking Earth after a seemingly bungled translation job. The President and First Lady (played by Nicholson and Close with aplomb) and their young daughter Taffy (Natalie Portman) are taken seige in the White House when the aliens nuke the entire House of Congress.

The key to the alien's downfall belongs to the senile yet lovable old Grandma Norris (Sylvia Sidney). I won't spoil the surprise for those who have yet to see this hilarious film.

A fantastic DVD transfer is given here, with a fair few extra features.

Ensemble comedy is just plain difficult to pull off. This is particularly true when most of the characters are self-centered and vapid, lending little emotional support for the poor viewer to hang onto. Mars Attacks! proved too user unfriendly to garner much enthusiasm on its release.

But after further review, the ruling on the field is reversed. Tim Burton has put together a just about perfect homage to his beloved cheesey sci-fi roots. The film just requires lowering pre-concieved notions and more attention to detail. As H Ross said "The devil's in the details." and truely, the humor here is diabolical. (This begins with just trying to get the darn thing to play. It seems like the little martians are determined to torment right from the start, which is actually quite funny once you realize you're being messed with a little.)

While it may have been fathered 100 years ago by H G Wells, and certainly styled from latent boomerism, the film actually might seem more relevant now than when first released. (We've seen some of these characters in the news the past couple of years.) Some things happen to age very well.

So go ahead and throw this thing into the new home theatre, or slap it into the Powerbook with a pair of headphones, and try to figure out why it looks so much better now than when you first saw it. There's something to be said for late boomers.

Tim Burton outdoes himself with this silly, but funny, spoof of 1950s flying saucer/alien invasion movies. It is absolutely zany and quite funny. There is also nothing politically correct about it, as there are no sacred cows. The film is totally irreverent of American culture and icons. Everything and everyone is fair game.

Martians have come to Earth, and they do not come in peace. Diabolical and deadly, they are bent on wreaking havoc wherever they go with their death ray guns, which serve to incinerate living beings. These bulbous headed martians with their own brand of deadly humour are hell bent on destroying Earth, while laughing and cackling maniacally.

The special effects are meant to to be reminiscent of those found in 1950s UFO flicks and in this it certainly succeeds. The cast is stellar with Jack Nicholson playing dual roles, that of President James Dale and that of entrepreneur Art Dale. Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Jim Brown, Natalie Portman, Sylvia Sydney, Paul Winfield, Pam Grier, Lisa Marie, Christine Applegate, Lukas Haas, and Tom Jones round out the star studded cast. With tongue in cheek performances, the viewer is bound to get a good laugh out of this film.

A wonderful pastiche on the campy and cheesy B-grade sci-fi movies of the 50's and 60's, MARS ATTACKS! features a pin-sharp script and a star-studded cast.

Heading the lineup are Jack Nicholson, Glenn Close, Annette Bening and Pierce Brosnan, but there is also the game support of Danny DeVito, Sarah Jessica Parker, Lukas Haas, Natalie Portman, Rod Steiger, Martin Short, Michael J. Fox, Lisa Marie, Tom Jones and the veteran Sylvia Sidney.

The whole plot is, of course, Mars attacking Earth after a seemingly bungled translation job. The President and First Lady (played by Nicholson and Close with aplomb) and their young daughter Taffy (Natalie Portman) are taken seige in the White House when the aliens nuke the entire House of Congress.

The key to the alien's downfall belongs to the senile yet lovable old Grandma Norris (Sylvia Sidney). I won't spoil the surprise for those who have yet to see this hilarious film.

A fantastic DVD transfer is given here, with a fair few extra features.

Ensemble comedy is just plain difficult to pull off. This is particularly true when most of the characters are self-centered and vapid, lending little emotional support for the poor viewer to hang onto. Mars Attacks! proved too user unfriendly to garner much enthusiasm on its release.

But after further review, the ruling on the field is reversed. Tim Burton has put together a just about perfect homage to his beloved cheesey sci-fi roots. The film just requires lowering pre-concieved notions and more attention to detail. As H Ross said "The devil's in the details." and truely, the humor here is diabolical. (This begins with just trying to get the darn thing to play. It seems like the little martians are determined to torment right from the start, which is actually quite funny once you realize you're being messed with a little.)

While it may have been fathered 100 years ago by H G Wells, and certainly styled from latent boomerism, the film actually might seem more relevant now than when first released. (We've seen some of these characters in the news the past couple of years.) Some things happen to age very well.

So go ahead and throw this thing into the new home theatre, or slap it into the Powerbook with a pair of headphones, and try to figure out why it looks so much better now than when you first saw it. There's something to be said for late boomers.

Tim Burton outdoes himself with this silly, but funny, spoof of 1950s flying saucer/alien invasion movies. It is absolutely zany and quite funny. There is also nothing politically correct about it, as there are no sacred cows. The film is totally irreverent of American culture and icons. Everything and everyone is fair game.

Martians have come to Earth, and they do not come in peace. Diabolical and deadly, they are bent on wreaking havoc wherever they go with their death ray guns, which serve to incinerate living beings. These bulbous headed martians with their own brand of deadly humour are hell bent on destroying Earth, while laughing and cackling maniacally.

The special effects are meant to to be reminiscent of those found in 1950s UFO flicks and in this it certainly succeeds. The cast is stellar with Jack Nicholson playing dual roles, that of President James Dale and that of entrepreneur Art Dale. Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Jim Brown, Natalie Portman, Sylvia Sydney, Paul Winfield, Pam Grier, Lisa Marie, Christine Applegate, Lukas Haas, and Tom Jones round out the star studded cast. With tongue in cheek performances, the viewer is bound to get a good laugh out of this film.

A wonderful pastiche on the campy and cheesy B-grade sci-fi movies of the 50's and 60's, MARS ATTACKS! features a pin-sharp script and a star-studded cast.

Heading the lineup are Jack Nicholson, Glenn Close, Annette Bening and Pierce Brosnan, but there is also the game support of Danny DeVito, Sarah Jessica Parker, Lukas Haas, Natalie Portman, Rod Steiger, Martin Short, Michael J. Fox, Lisa Marie, Tom Jones and the veteran Sylvia Sidney.

The whole plot is, of course, Mars attacking Earth after a seemingly bungled translation job. The President and First Lady (played by Nicholson and Close with aplomb) and their young daughter Taffy (Natalie Portman) are taken seige in the White House when the aliens nuke the entire House of Congress.

The key to the alien's downfall belongs to the senile yet lovable old Grandma Norris (Sylvia Sidney). I won't spoil the surprise for those who have yet to see this hilarious film.

A fantastic DVD transfer is given here, with a fair few extra features.

Ensemble comedy is just plain difficult to pull off. This is particularly true when most of the characters are self-centered and vapid, lending little emotional support for the poor viewer to hang onto. Mars Attacks! proved too user unfriendly to garner much enthusiasm on its release.

But after further review, the ruling on the field is reversed. Tim Burton has put together a just about perfect homage to his beloved cheesey sci-fi roots. The film just requires lowering pre-concieved notions and more attention to detail. As H Ross said "The devil's in the details." and truely, the humor here is diabolical. (This begins with just trying to get the darn thing to play. It seems like the little martians are determined to torment right from the start, which is actually quite funny once you realize you're being messed with a little.)

While it may have been fathered 100 years ago by H G Wells, and certainly styled from latent boomerism, the film actually might seem more relevant now than when first released. (We've seen some of these characters in the news the past couple of years.) Some things happen to age very well.

So go ahead and throw this thing into the new home theatre, or slap it into the Powerbook with a pair of headphones, and try to figure out why it looks so much better now than when you first saw it. There's something to be said for late boomers.

The Crossing Guard is a pyschological drama and study. I don't think it set out to be the most meaningful or important movie of the year. And it doesn't need to be. It explains itself neatly and on time - it doesn't drag along. We are well introduced to all the characters and their points of view - and as audience members are treated to some outstanding performances. I dare say even better than Jack Nicholson is David Morse, easily the best role of his career. The story concerns the pending release of John Booth (played by Morse) who was convicted of the hit and run drunk driving death of Nicholson's little girl. Since the tradgedy Nicholson and his wife (played by Angelica Huston) have split. Nicoholson now tries to kill time, and his memories, in a local strip joint - somtimes trying to get through to his fellow patrons, other times exploding in rages and all the while carefully marking the days off on a calender until John Booth is a free man so he can turn him into a dead one. Two other brief, but well turned roles are the almost totally inexperienced actor Robbie Robertson as Huston's new husband and Richard Brandford, who has made a career of playing 'heavies' as the convict's sympathetic father. I don't think Crossing Guard set out to be a masterpiece, and it need not be, it keeps us well within it's grip throughout, making us think, observe and wonder. This would make a nice double bill with 'The Pledge', in which we see a much more intense Nicholson performance. The Crossing Guard would make a nice warm up. Enjoy.

It's too long, too unfocused and way too self-indulgent. But in the end, none of this matters. Sean Penn's second effort as a director-screenwriter is compelling and emotionally resonant ways that more conventionally well-made films never manage to be. Jack Nicholson gives one of his finest performances as Freddy Gale, a jewelry store owner whose daughter was killed by a drunken driver six years before the story begins. Since then, the devastated Freddy has remained alive only by nursing the hope that he will be able to kill John Booth (David Morse), the man who accidentally killed his daughter. But as the guilt-racked Booth is released from prison, it becomes very clear that perhaps neither man really wants to live much longer. Throughout "Crossing Guard," Penn has a tendency to sledgehammer his way through walls rather than simply opening doors. Even so, he always gets where he wants to go -- to that dark corner of our hearts where we can forgive no one, not even ourselves. Co-star Anjelica Huston has a couple of terrific scenes as Freddy's ex-wife, a woman with her own share of guilt, fear and loathing.

...And David MORSE ! ... This tall man has killed his child, his son, and ever since this time he has ONE idea ! ONE project in his mind: " KILL HIM WHEN HE WILL GO OUT THE PRISON " He has lost anything, his wife, his comfort, his welfare when this man who was drunken at the time of facts and his revenge is puting near day after day this is an obsession for him, he go to advertise his almost former wife who he is outdoors but after a follow-up he doubt of himself, because his enemy goes around the tomb of his child while him himself has never made that this is a sort of redemption for these two men and mostly a forgiveness for the killer ! Jack NICHOLSON and David MORSE are perfects in this DVD MOVIE FILM ! ********** A GOOD TEAM

I saw this movie hoping to see a steamy love story involving Jack Nicholson and Jessica Lange. It fell short to me. While the performances from Nicholson and Lange are both good, I thought the story just didn't back them up. Basically Nicholson, a con, wanders into this gas station/resturant where Lange is working, he thinks she is hot so he hangs around. Her husband is the owner and a good provider, but he and Lange don't have much in common. She hooks up with Jack(who is now working for them), things start to go wrong, and they end up on the wrong side of the law. To it's credit the end of the picture did surprise me. Nicholson can put a picture on his back and carry it, but in this case there is just not enough going on for him to do it. The movie is painfully slow and the characters while well acted are really not very interesting. Two stars for the two stars.

This movie was much closer to the book than the original movie, which for me was a treat. Filled with torrid sex and self centered reckless abandon, the two main characters convey those in the book as they were meant to be. This fleshes out the story quite nicely and keeps it moving through the twists and turns in the plot. Though there were a couple of minor changes in the story, what surprised me, and really let me down was the very ending. Though viewers should pick up on the irony of the situation, it is really driven home in the book!

This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.

I saw this movie hoping to see a steamy love story involving Jack Nicholson and Jessica Lange. It fell short to me. While the performances from Nicholson and Lange are both good, I thought the story just didn't back them up. Basically Nicholson, a con, wanders into this gas station/resturant where Lange is working, he thinks she is hot so he hangs around. Her husband is the owner and a good provider, but he and Lange don't have much in common. She hooks up with Jack(who is now working for them), things start to go wrong, and they end up on the wrong side of the law. To it's credit the end of the picture did surprise me. Nicholson can put a picture on his back and carry it, but in this case there is just not enough going on for him to do it. The movie is painfully slow and the characters while well acted are really not very interesting. Two stars for the two stars.

This movie was much closer to the book than the original movie, which for me was a treat. Filled with torrid sex and self centered reckless abandon, the two main characters convey those in the book as they were meant to be. This fleshes out the story quite nicely and keeps it moving through the twists and turns in the plot. Though there were a couple of minor changes in the story, what surprised me, and really let me down was the very ending. Though viewers should pick up on the irony of the situation, it is really driven home in the book!

This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.

I saw this movie hoping to see a steamy love story involving Jack Nicholson and Jessica Lange. It fell short to me. While the performances from Nicholson and Lange are both good, I thought the story just didn't back them up. Basically Nicholson, a con, wanders into this gas station/resturant where Lange is working, he thinks she is hot so he hangs around. Her husband is the owner and a good provider, but he and Lange don't have much in common. She hooks up with Jack(who is now working for them), things start to go wrong, and they end up on the wrong side of the law. To it's credit the end of the picture did surprise me. Nicholson can put a picture on his back and carry it, but in this case there is just not enough going on for him to do it. The movie is painfully slow and the characters while well acted are really not very interesting. Two stars for the two stars.

This movie was much closer to the book than the original movie, which for me was a treat. Filled with torrid sex and self centered reckless abandon, the two main characters convey those in the book as they were meant to be. This fleshes out the story quite nicely and keeps it moving through the twists and turns in the plot. Though there were a couple of minor changes in the story, what surprised me, and really let me down was the very ending. Though viewers should pick up on the irony of the situation, it is really driven home in the book!

This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.