James-Rebhorn Movie Reviews

The film is preceded by the lead actors' plea for donations, as funding for researching rare diseases is virtually non-existant. The far reaching implications of curing the particular ailement discussed would go beyond curing ALD, affecting many millions of people suffering from various kinds of deteroration of myelin, without which all brain functions become impossible. A cure for countless diseaes and disorders could be within reach of our current generation. The concluding testimonials blended in like pieces of a large puzzle will bring tears to your eyes. To read about the continuing progress made by "Lorenzo", who was to die within 24 months, but at close of production had survived for more than 8 years is a most encouraging message for everyone not to give up hope.

This is a rare example of film making, where acting and the main element of "entertainment" are not important. Instead of looking for Academy Award recognition, the film clearly is meant to educate and inform. I say BRAVO! More such projects are needed to return our society to a people of thinkers and problem solvers rather than continue the trend of turning intelligent minds to mere entertainment-starved-putty. I am at awe of all who were involved in the production of this enlightning film. I recommend this film without reservations, especially for viewing in high school classrooms and other educational settings.*****

As two college friends, Billy (Ralph Macchio) and Stan (Mitchell Whitfield), are traveling through Alabama, they are wrongfully arrested for murder. The only legal represention that they can afford is Billy's cousin Vincent Gambini (Joe Pesci), a former New York City auto mechanic-turned lawyer, who has never tried a case before, much less been outside the city of Brooklyn. With his fiancee Lisa (Marisa Tomei) in tow, Vinny must not only deal with local customs, but he also goes head to head with a well known DA (Lane Smith), and a by the book Judge (Fred Gwynne), who has little time for any antics in his courtroom.

Directed with a "breezy" style by Jonathan Lynn, and with a very funny script by Dale Launer, the film already had a lot going for it. The performances from Pesci Tomei (for which she won an Oscar) and the late Gwynne are all pitch perfect and made the film so much more than it had any right to be Gwynne was the perfect straight man, while Pesci got to prove that he could be more than a second fiddle.

The DVD could have used a few more extras to help make it rate a fifth star. The commentary track with Lynn is enjoyable to be sure. But I would have liked to have heard from either Launer, Pesci, Tomei, or all three as well. Standard theatrical trailers and television spots top off the disc. Special edition anyone?

The story revolves around two boys, Bill Gambini (Ralph Macchio) and Stan Rothenstein (Mitchell Whitfield) who while driving through Alabama are arrested for murder. Although innocent they are sent to jail and Bill's cousin Vinny (Joe Pesci) drives down from New York to defend them. Unfortunately Vinny has never tried a murder case before, has never actually been in a courtroom and has only been practising law for six weeks!! This does not deter him from taking on the case however nor the many courtroom clashes he has with the redoubtable Judge Haller. The Judge is not too impressed with this oddly dressed character from New York although what Vinny lacks in courtroom experience he more than makes up for with his enthusiasm and his belief that the two boys are innocent. As well as studying the local bulky law technique manuals, sifting through the evidence, interviewing prospective witnesses and trying to build some kind of defence, Vinny also has the problem of keeping one step ahead of Judge Haller who is trying to obtain confirmation of the lawyer's qualifications from sources in New York (which are of course non existent!).

Some favourite lines from the film:

Mitchell Whitfield (to Ralph Macchio): "Ridiculous, all this over a can of tuna!".

Fred Gwynne (to Joe Pesci): "Once again the communication process is broken down".

Pesci (to Gwynne): "You were serious about that?".

Well written, expertly acted, this is one of the funniest courtroom comedies you will see in a long time.

The film does remind one of "Dead Poet's Society," but quickly diverges into a rich character exploration while both Lt. Col. Slade and Charlie live it up in New York City. One question I have for the defense of Charlie: why, in the end, does he want to be associated with the institution that grinds against his principles? It seems that Slade's advice should be for him to join an institution that he feels proud to be a part of. Regardless, the ending scenes of the film are wonderful to watch time and time again, particularly if you enjoy moving speeches as much as I do.

The film is a bit long; it has several climaxes that confuse the audience as to when the film should end. But this film is worth watching, if only to hear Pacino speak about women in a way that completely validates his character.

Charlie(O' Donnell) takes a job caring for Slade(Pacino), a washed-up, decorated military man who clings to his Jack Daniels, so he can earn enough money to go home for the Christmas Holidays. Along the way, Slade takes the young man through different turns during the Thanksgiving Day weekend in New York City not knowing what the boy will expect. While the unpredictable occurs, Charlie contemplates his fate with his school honor--a conflict of interest with who is your real friends and who are not.

The entire movie wraps around relationships and how strangers can make a difference in a little over 2 hours and 37 minutes. For one weekend, Charlie and Slade discover that they need each other more than they thought, with different circumstances. You'd have to see the movie to know what I'm talking about, especially the finale.

The director, Martin Brest(Beverly Hills Cop and Meet Joe Black), has the knack of bringing out the best in the characters even in unpleasant situations. The soft sides always show in those who don't appear to have it.

If this film had a theme it would be, living is worth living.

This is one of my favorite movies of all time. Al Pacino at one of his very best moments. Playing a role unlike any other of his career. Chris O'Donnell at a perfect stage--before he his head became too big to fit through doorways (as the result of such travesties as Batman or The Bachelor).

This is a very moving movie. One that never fails to endear itself further to me. I've seen it more times than I care to remember, but just yesterday, happened to catch it again on TNT. The channel surfing stopped there, and I watched what (little) remained.

I wager you will love this movie as well. One can't help but love it as they watch an aging, blind Pacino come from despair to....well, I won't give away too much for those of you who haven't seen it.

But, a few scenes to look for that are, by themselves, worthy of the price of this beauty: (a) the tango; (b) the test-drive; and (c) the speech. Hopefully that is cryptic and vague enough to not give anything away. However, those in the know, know very well what I speak/write of.

Get it. Enjoy it a million times over.

The film does remind one of "Dead Poet's Society," but quickly diverges into a rich character exploration while both Lt. Col. Slade and Charlie live it up in New York City. One question I have for the defense of Charlie: why, in the end, does he want to be associated with the institution that grinds against his principles? It seems that Slade's advice should be for him to join an institution that he feels proud to be a part of. Regardless, the ending scenes of the film are wonderful to watch time and time again, particularly if you enjoy moving speeches as much as I do.

The film is a bit long; it has several climaxes that confuse the audience as to when the film should end. But this film is worth watching, if only to hear Pacino speak about women in a way that completely validates his character.

Charlie(O' Donnell) takes a job caring for Slade(Pacino), a washed-up, decorated military man who clings to his Jack Daniels, so he can earn enough money to go home for the Christmas Holidays. Along the way, Slade takes the young man through different turns during the Thanksgiving Day weekend in New York City not knowing what the boy will expect. While the unpredictable occurs, Charlie contemplates his fate with his school honor--a conflict of interest with who is your real friends and who are not.

The entire movie wraps around relationships and how strangers can make a difference in a little over 2 hours and 37 minutes. For one weekend, Charlie and Slade discover that they need each other more than they thought, with different circumstances. You'd have to see the movie to know what I'm talking about, especially the finale.

The director, Martin Brest(Beverly Hills Cop and Meet Joe Black), has the knack of bringing out the best in the characters even in unpleasant situations. The soft sides always show in those who don't appear to have it.

If this film had a theme it would be, living is worth living.

This is one of my favorite movies of all time. Al Pacino at one of his very best moments. Playing a role unlike any other of his career. Chris O'Donnell at a perfect stage--before he his head became too big to fit through doorways (as the result of such travesties as Batman or The Bachelor).

This is a very moving movie. One that never fails to endear itself further to me. I've seen it more times than I care to remember, but just yesterday, happened to catch it again on TNT. The channel surfing stopped there, and I watched what (little) remained.

I wager you will love this movie as well. One can't help but love it as they watch an aging, blind Pacino come from despair to....well, I won't give away too much for those of you who haven't seen it.

But, a few scenes to look for that are, by themselves, worthy of the price of this beauty: (a) the tango; (b) the test-drive; and (c) the speech. Hopefully that is cryptic and vague enough to not give anything away. However, those in the know, know very well what I speak/write of.

Get it. Enjoy it a million times over.

All the characters possess a richness that enables the film to stand on its own merits. But when viewed several times, it becomes obvious that Brian DePalma & Martin Bregman have anchored this film into their prior history. (Scarface) Many of the same actors appear in both films.

One scene stands out as offering the viewer such tight attention to detail that I could barely believe it. -At the disco, Benny Blanco (John Leguizamo) is making a noticeable entry into the front door with his gang. The reaction by the people who know AND don't know his is big. Benny Blanco is walking briskly and swinging his body back & forth. Discogoers who are flanking his entry down the hall all make flagrant notice of his entry, turning heads and turning around to see who this obviously important person is. Then there's Saso's (Jorge Porcel) reaction. He looks shocked when he sees Benny. Benny Blanco walks quickly right up to Saso, grabs Saso by the throat and demands his money and that he's not screwing around. Saso looks terrified and, with his throat held by Blanco's hand, shifts his eyes sideways to see what his gang is suggesting by Blanco's actions. Saso unconvincingly says to Blanco, "Are you kidding?" Blanco then says that he IS kidding, and kisses Saso on the cheek. You have to see Saso's reaction at this point; it is priceless.

I recommend watching this scene in slow motion.

Penelope Ann Miller is excellent as Carlito's girlfriend and confidante.

All the characters possess a richness that enables the film to stand on its own merits. But when viewed several times, it becomes obvious that Brian DePalma & Martin Bregman have anchored this film into their prior history. (Scarface) Many of the same actors appear in both films.

One scene stands out as offering the viewer such tight attention to detail that I could barely believe it. -At the disco, Benny Blanco (John Leguizamo) is making a noticeable entry into the front door with his gang. The reaction by the people who know AND don't know his is big. Benny Blanco is walking briskly and swinging his body back & forth. Discogoers who are flanking his entry down the hall all make flagrant notice of his entry, turning heads and turning around to see who this obviously important person is. Then there's Saso's (Jorge Porcel) reaction. He looks shocked when he sees Benny. Benny Blanco walks quickly right up to Saso, grabs Saso by the throat and demands his money and that he's not screwing around. Saso looks terrified and, with his throat held by Blanco's hand, shifts his eyes sideways to see what his gang is suggesting by Blanco's actions. Saso unconvincingly says to Blanco, "Are you kidding?" Blanco then says that he IS kidding, and kisses Saso on the cheek. You have to see Saso's reaction at this point; it is priceless.

I recommend watching this scene in slow motion.

Penelope Ann Miller is excellent as Carlito's girlfriend and confidante.

If you liked Dead Poet's Society (DPS is better because of Robin Williams) or A Separate Peace by John Knowles, you will like this movie. It is a movie that leads you on a journey, using a group of rich kids that signed up for a year at sea. Jeff Bridges is the tough captain that sets out to instill discipline and teach them that they must respect him, the ship, and, most importantly, each other.

I won't give away the ending, but the movie succeeds in delivering its messages of honor and individual responsibility. It does a fantastic job of delivering this message while leading you along a journey with Jeff Bridges and the crew of the ship.

In THE GAME, Douglas is Nicholas Van Orton; a man of great wealth and power and totally devoid of any human compassion (as evidenced by the cold and callous way in which he fires a longtime employee). If this sounds like Gordon Gekko to you, it's because Michael Douglas, at this stage in his career, plays cold callousness like no one else. Call it typecasting; I call it brilliant acting ability and being smart enough to stick with what works. However, Gordon Gekko in the legendary Oliver Stone-directed WALL STREET (1987) didn't have a younger brother; Nicholas Van Orton does. On Nick's 48th birthday (the same age at which his father died, hint hint), his black-sheep-of-the-family brother Conrad, as brilliantly played by Sean Penn, visits him in his sprawling, cherry-wood office and hands his older sibling his birthday present: a business card with the name Consumer Recreation Services (CRS) on it. "What is this," Nicholas cynically asks. The sly answer given by Penn is one of my favorite lines in the film, and one that tells us that his elder bro's life will never be the same, once he begins to play THE GAME.

Along the way, Nicholas Van Orton encounters CRS and its primary spokesman (or so he thinks) Jim Feingold (played with disarming confidence by character actor James Rebhorn), a mouthy cocktail waitress (Deborah Kara Unger) who seems to hold the secret to THE GAME, and a spooky-looking full-size inanimate clown who appears to watch everything he does. Also along the way are near-brushes with death that culminate with Conrad Van Orton's tearful admission that he "didn't know what the $#@! he had gotten them into" when he had signed his brother up for THE GAME. But that's still just the beginning...

Everyone is superbly cast in this film, including BABY DOLL (1956) herself, Carroll Baker, and the always-watchable Armin Mueller-Stahl. But the real star here is David Fincher; he is so adept at guiding us down a labyrinthic path of which only he knows the end, that all we can do is hang on and enjoy the rollercoaster ride on which he breathlessly takes us. He primarily relies on small, subtle signs of foreboding to generate suspense, as opposed to full-blown violence and gore. Although this is one of those films that relies on first-time viewers' lack of knowledge of what to expect, and thusly loses something on repeated viewings, it is still a very good film to re-visit on occasion, if only to experience Fincher's unique style (this film and A PERFECT MURDER are miles apart in this respect, believe me), Douglas and Penn's acting and the production values, which are first-rate.

See and experience THE GAME for yourself.

HIGHLY RECOMMENDED

Don't get me wrong, the videos here are really good, but it's like eating a piece of chocolate cake with no cherry on the top. What happened Madonna? You know it's not fair.

I don't believe that Madonna would've excluded 'Erotica' on the collection since she initially chose that video, the choice was stupidly made by WARNER. So it doesn't have 'Erotica', big deal. Her 'Sex' Book pretty much illustrates the video.

And it wouldn't have made sense to include 'I'll Remember' and 'This Used to Be my Playground' because the videos pretty much show more of the movie scenes than Madonna, so they were no special. And the 'Justify My Love' video is still sold in stores like Tower Records as a separate video, so you can still get that.

Though a few look like they were edited over, you'll be dazzled by the visual effects you see in such videos like 'BedTime Story' and 'Ray of Light'and 'Fever'; and some great choreography in 'Human Nature' and 'Beautiful Stranger'. There's also some great cinematography in videos like 'Rain', each video is very well themed.

I could have given it 5 stars but I only gave it 4 due to the 'Love Don't Live Here Anymore' video. While the lighting was all right in it, it was boring. Oh well, they can't all be great.

But it's still a wonderful keeper and carefully illustrates Madonna as the true performance artist that she is, hopefully in another few years she'll have a third collection out.