James-Russo Movie Reviews

I was just watching Desperado with Antonio Banderas for the third or fourth time and it occured to me that this dangerous Mexican saloon town formula goes way back to the eighties (or maybe even before) and that there was a stylish movie I saw over a decade ago in the theater that was the quintessence of that whole "Urban Spaghetti Western" as I call it. That movie was the Blue Iguana, a movie where the women are as dangerous as they are delectable, the stone-faced hombres will kill you for your shoes, the fuzz are as obsessive as they are incompetent and life is cheaper than drugstore chocolate. Movies like the Blue Iguana are really Film Noir but set in sun-scorched (in this case tropical) frontier towns. They are loaded with gangster/cowboy kitsch in front of a filigree of Flamenco. I think I'm gonna paint my living room lime green, get some red, wooden furniture and chill with this cult classic!

A couple days ago at like 2 AM, I was soooooo bored... so I sat down in front of my good friend the television and this movie had just barely started. Maybe it was just because I didnt' want to flip by anymore fat trapper infomercials, but I found myself totally hooked! Dylan's character was so unbelievably suave, and his sarcastic humor made me laaaaaaaaugh :D but then again I always laugh harder when affected by lack of sleep.. ~L~ but either way, I found this movie funny as hell.

This is a movie that is underrated and although it didnt make much at the box office it was still a good movie. Dylan McDermott plays Vince and he looks so young in this movie....Yano Anaya who helps him along the way plays himself...Yano in the credits it says that.The ending was pretty cool with the donkey and they end up riding it. Good movie now where is the DVD???

Jimmy Smitts plays a Miami Detective who gets involved with a beautiful lounge singer(Markie Post)in the midst of a homicide investigation.Just like the name it's a very stylish movie that's well worth watching!!

Along the lines of other off-the-beaten path movies- this one is a gem. A "Deal" gone bad in the middle of the desert. Where else can you find drugs, amateur dealers, cons, prostitutes, and Jeff Fahey. If you liked Buffalo '66, Truth or Consequences N.M., or Outside Ozona - you MUST see Smalltime!

Along the lines of other off-the-beaten path movies- this one is a gem. A "Deal" gone bad in the middle of the desert. Where else can you find drugs, amateur dealers, cons, prostitutes, and Jeff Fahey. If you liked Buffalo '66, Truth or Consequences N.M., or Outside Ozona - you MUST see Smalltime!

If you haven't seen this fantastic movie, let me tell you that you are missing what it's perhaps the best movie of all time. It's just perfect. You just can't miss when you put together the direction of Francis Ford Coppola at the top of his game, superb performances from great actors like Al Pacino, Marlon Brando, James Caan, Robert Duvall and John Cazale, beautiful music from the composer Nino Rota, and a memorable cinematography courtesy of Gordon Willis.

There are a lot of timeless scenes in this mob film ("I believe in America"), plenty of quoting lines ("I'm gonna make him an offer he can't refuse"), fabulous supporting characters (Luca Brasi), and the list can go on and on and on. In my opinion, this is the movie that beats all the rest of the films. I think that all movie fan collection must include "The Godfather". If you haven't seen it yet and you are looking for a fantastic film, go see a classic film, go see "The Godfather".

Absolutely recommendable.

I stumbled across this classic on cable TV a few evenings ago and that was it: I abandoned all other plans for the evening and watched the movie. Then I retrieved Mario Puzo's novel from my book collection and plowed through it, savoring and relishing this extraordinary piece of literature that had such an impact on our cultural landscape thirty-plus years ago.

Francis Ford Coppola's THE GODFATHER is a triumphant, magnificent screen portrayal of Puzo's epic book. The story of an Italian-American mob "family" entrenched in inherent and often desperate violence, Coppola weaves this film with compelling, moving, and haunting visuals that are as beautiful as they are disturbing. The scenes are at once simplistic and complex, yet such a dichotomy is not lost on the viewer, but embraced--appreciated for its overwhelming genius.

I've seen more than my fair share of Marlon Brando films, and in my opinion the character of Don Vito Corleone is this actor's signature role. Brando effectively portrays the Godfather's compassion, love and devotion to his family, and calm acumen to make "business" decisions that literally mean life or death to countless men. Don Vito is both a family man and a killer: two seemingly inconsistent characteristics that make Brando's portrayal even more remarkable. The rest of the cast, including James Caan and Robert Duvall, is exceptional, but it is Al Pacino as young Michael Corleone--Don Vito's "baby boy" who was not meant to enter the family business--who provides the most telling role in this film. Before our very eyes, we see Michael change from a man eager to remain at arms-length to the Corleone family ventures to a ruthless, cold-blooded Godfather himself--a transformation both astounding and eery.

THE GODFATHER is a feast of unforgettable cinematic moments: from an ambush at a toll booth to a bloody horse head wrapped in satin sheets. Puzo's story is told--told through filmmaking as good as it gets.
--D. Mikels

One of the best films I have ever seen with a lot of memorable scenes and classic lines. On top of that probably the best directing ever and a perfect cast.

Don Corleone, I honor you!

Memorable dialogue to the last word (Michael is it true? No!).

If you haven't seen this fantastic movie, let me tell you that you are missing what it's perhaps the best movie of all time. It's just perfect. You just can't miss when you put together the direction of Francis Ford Coppola at the top of his game, superb performances from great actors like Al Pacino, Marlon Brando, James Caan, Robert Duvall and John Cazale, beautiful music from the composer Nino Rota, and a memorable cinematography courtesy of Gordon Willis.

There are a lot of timeless scenes in this mob film ("I believe in America"), plenty of quoting lines ("I'm gonna make him an offer he can't refuse"), fabulous supporting characters (Luca Brasi), and the list can go on and on and on. In my opinion, this is the movie that beats all the rest of the films. I think that all movie fan collection must include "The Godfather". If you haven't seen it yet and you are looking for a fantastic film, go see a classic film, go see "The Godfather".

Absolutely recommendable.

I stumbled across this classic on cable TV a few evenings ago and that was it: I abandoned all other plans for the evening and watched the movie. Then I retrieved Mario Puzo's novel from my book collection and plowed through it, savoring and relishing this extraordinary piece of literature that had such an impact on our cultural landscape thirty-plus years ago.

Francis Ford Coppola's THE GODFATHER is a triumphant, magnificent screen portrayal of Puzo's epic book. The story of an Italian-American mob "family" entrenched in inherent and often desperate violence, Coppola weaves this film with compelling, moving, and haunting visuals that are as beautiful as they are disturbing. The scenes are at once simplistic and complex, yet such a dichotomy is not lost on the viewer, but embraced--appreciated for its overwhelming genius.

I've seen more than my fair share of Marlon Brando films, and in my opinion the character of Don Vito Corleone is this actor's signature role. Brando effectively portrays the Godfather's compassion, love and devotion to his family, and calm acumen to make "business" decisions that literally mean life or death to countless men. Don Vito is both a family man and a killer: two seemingly inconsistent characteristics that make Brando's portrayal even more remarkable. The rest of the cast, including James Caan and Robert Duvall, is exceptional, but it is Al Pacino as young Michael Corleone--Don Vito's "baby boy" who was not meant to enter the family business--who provides the most telling role in this film. Before our very eyes, we see Michael change from a man eager to remain at arms-length to the Corleone family ventures to a ruthless, cold-blooded Godfather himself--a transformation both astounding and eery.

THE GODFATHER is a feast of unforgettable cinematic moments: from an ambush at a toll booth to a bloody horse head wrapped in satin sheets. Puzo's story is told--told through filmmaking as good as it gets.
--D. Mikels

One of the best films I have ever seen with a lot of memorable scenes and classic lines. On top of that probably the best directing ever and a perfect cast.

Don Corleone, I honor you!

Memorable dialogue to the last word (Michael is it true? No!).

If you haven't seen this fantastic movie, let me tell you that you are missing what it's perhaps the best movie of all time. It's just perfect. You just can't miss when you put together the direction of Francis Ford Coppola at the top of his game, superb performances from great actors like Al Pacino, Marlon Brando, James Caan, Robert Duvall and John Cazale, beautiful music from the composer Nino Rota, and a memorable cinematography courtesy of Gordon Willis.

There are a lot of timeless scenes in this mob film ("I believe in America"), plenty of quoting lines ("I'm gonna make him an offer he can't refuse"), fabulous supporting characters (Luca Brasi), and the list can go on and on and on. In my opinion, this is the movie that beats all the rest of the films. I think that all movie fan collection must include "The Godfather". If you haven't seen it yet and you are looking for a fantastic film, go see a classic film, go see "The Godfather".

Absolutely recommendable.

I stumbled across this classic on cable TV a few evenings ago and that was it: I abandoned all other plans for the evening and watched the movie. Then I retrieved Mario Puzo's novel from my book collection and plowed through it, savoring and relishing this extraordinary piece of literature that had such an impact on our cultural landscape thirty-plus years ago.

Francis Ford Coppola's THE GODFATHER is a triumphant, magnificent screen portrayal of Puzo's epic book. The story of an Italian-American mob "family" entrenched in inherent and often desperate violence, Coppola weaves this film with compelling, moving, and haunting visuals that are as beautiful as they are disturbing. The scenes are at once simplistic and complex, yet such a dichotomy is not lost on the viewer, but embraced--appreciated for its overwhelming genius.

I've seen more than my fair share of Marlon Brando films, and in my opinion the character of Don Vito Corleone is this actor's signature role. Brando effectively portrays the Godfather's compassion, love and devotion to his family, and calm acumen to make "business" decisions that literally mean life or death to countless men. Don Vito is both a family man and a killer: two seemingly inconsistent characteristics that make Brando's portrayal even more remarkable. The rest of the cast, including James Caan and Robert Duvall, is exceptional, but it is Al Pacino as young Michael Corleone--Don Vito's "baby boy" who was not meant to enter the family business--who provides the most telling role in this film. Before our very eyes, we see Michael change from a man eager to remain at arms-length to the Corleone family ventures to a ruthless, cold-blooded Godfather himself--a transformation both astounding and eery.

THE GODFATHER is a feast of unforgettable cinematic moments: from an ambush at a toll booth to a bloody horse head wrapped in satin sheets. Puzo's story is told--told through filmmaking as good as it gets.
--D. Mikels

One of the best films I have ever seen with a lot of memorable scenes and classic lines. On top of that probably the best directing ever and a perfect cast.

Don Corleone, I honor you!

Memorable dialogue to the last word (Michael is it true? No!).

A movie need not have high-tech imagery, nor an explosion every 30 minutes to be a good movie. This movie proved this theory.

This movie showed that in life, some people can adapt and overcome the most horrific of life events, and others can't.

I won't give away the plot. You really need to see it in order to understand what I mean. If you are a Tim Roth fan, he doesn't disappoint. His acting is believable, just like the story he helps to tell, which is as old as time.

"Tough times don't last, tough people do."

Personally I don't think this movie could be improved upon. It is so eerily REALISTIC. The acting is superlative by all -- Tim Roth ,James Russo,Deborah Unger fit to a T. Even the girl who plays Tim Roth's former g/friend is perfect. This is a movie to get lost in. Very intense portrayal of a young man going home after serving 8 years in prison .. for a crime he did not commit. Just talking about it makes me want to watch it again. My hat is off to the actors. What an accomplishment!

Need a break from the dreaded 'Summer Blockbuster'? This story of a challenged horse may be just the film for you. Actually, the summer release date itself is a bit of a surprise, usually this type of film hits theatres late in the year when Oscar craving films fill the multiplex. Hey, I'm not complaining. With a movie of this caliber, I'll take it when I can get it.

SEABISCUIT is the uplifting tale surrounding an underdog and his... umm... 'underhorse'. With the odds firmly against, they set out to overcome adversity, giving a self-esteem boost to audiences everywhere. The heart-of-gold owner and the horse-whispering trainer complete the powerful team.

The cinematography in SEABISCUIT is stunning, Often placing the viewer in impossible places. Capturing a conversation between two jockeys during a crowded race is incredible. The rousing musical score by Randy Newman helps to add to the excitement as well as complete the depression era textures throughout the film. But the real force behind this film is the oscar-caliber acting trilogy of Jeff Bridges, Chris Cooper and Tobey Maguire. They turn the mundane into believable and intriguing. And a small role by William H Macy deserves a lot of the press it is receiving.

This is a rewarding film but is by no means perfect. The largest problem comes from the screenplay credited to director Gary Ross. His work seems set on slavish dedication to the source novel rather than the best film story. So, there are long gaps of gorgeous detail that make the film less powerful as it can be. In fact, the title horse doesn't make an appearance for a good 45 minutes... An additional footnote about the screenplay problems, the 'down-on-his-lucky-horseshoe' animal seems unstoppable at all times, in fact, his losses are of his own doing. This minimizes the tension during the big important races.

With all that in mind, SEABISCUIT is a welcome change in the summer films...

The summer of 2003 feel good movie, Seabiscuit was an entertaining but unfortunately overly corny adaptation of Laura Hillebrand's inspiring novel. The cliche ridden flick was awesomely cinematographed and had a Ken Burns documentary feel when late 1920's and 1930's historical background was presented.

The acting performances were for the most part, first rate. Tobey Macguire, playing jockey Red Pollard, is a gifted young actor. The immensely talented Chris Cooper's character Tom Smith did not provide an expansive enough role to unveil his ability. Jeff Bridges was only decent as Seabiscuit's millionaire owner, Charles Howard often not selling the emotions he strove to display. To me, William H. Macy stole the show as Tick Tock McGlaughlin, the booze swilling, handicapping, horse racing radio personality.

The story itself was a perfect vehicle for the silver screen, succeeding in promoting the "if you don't succeed at first try, try again" cliche. The flick was a wonderful portrayal of the sentiment of the country which was on the brink of war and used Seabiscuit's exploits as a well needed distraction. The movie certainly might be worthy of some Oscars.

The greatest problem for the movie SEABISCUIT is the book SEABISCUIT, and given the latter's enormous success as a bestseller, I am rather surprised that they filmmakers didn't try to hew more closely to the book. Granted, given the need to compress the much larger content of the book into the less information-friendly film, things had to be cut out and compressed. What I found especially disturbing were a couple of major plot details that did nothing to add to the movie otherwise, but in fact were profoundly untrue. The first of these that bothered me was Red Pollard's confessing to Smith and Howard that he was blind in his right eye, a secret he in fact kept throughout his career as a jockey. Also, Pollard suffered twice from serious injuries, but because of runtime for a film of this sort, they had to compress the injuries into one, the second one that primarily involved his shattered leg. Again, many liberties were taken here: he did not shatter his leg only two weeks before the match race at Pimplico, but sometimes earlier. And by cutting out Pollard's injury, we are left with the false impression that it was the match race where Woolf rode Seabiscuit as well.

See, this is the plight of the person who reads the book shortly before seeing the movie (I read the book on Wednesday and head to the Chicago suburbs to see the movie on Friday): you end up knowing too much. I'm not disturbed by what they leave out, but I am bothered by what they put in and alter. ... The movie made some unfortunate though perhaps unavoidable changes with Seabiscuit himself. He was much shorter than the horses he raised, though stockier and short legs. The horses used to portray Seabiscuit weren't especially notable for their lack of size. More importantly, none of the horses playing Seabiscuit were able to lock their legs, which Seabiscuit was famously unable to do. This meant that Seabiscuit, unique among horses, could never sleep standing up, but only lying down. The inability to lock his legs led to a life-long rumor that he was either crippled or lame. But no mention to his truly awful legs was made throughout the film, I suspect because they weren't able to find a horse whose legs didn't lock.

Overall, I think the film was very well cast. Jeff Bridges, who has one of he most dramatically underappreciated careers in Hollywood, is superb as Charles S. Howard, automobile magnate turned horse entrepreneur. Chris Cooper excels as Tom Smith, taking on an ashen and aged appearance that is perfect for the film (he looks so different from his Oscar winning role in ADAPTATION that it is hard to accept he is the same actor). I'm not sure Toby Maguire was the right choice to play Pollard. He wasn't the right size physically, but far more badly he is devoid of the famous demeanor of Red Pollard, who had a perpetually mournful expression on his face, causing many to compare him to Buster Keaton.

All in all, the movie ends up being more than the summation of its parts. The movie does possess a great period feel, and if an enormous amount of the detail about the setting up of the match race between Seabiscuit and War Admiral was left out, they do a great job of reenacting that race (which according to multiple sources I consulted after reading the book truly is regarded as the greatest horse race of all time).

But any reader of the book, to be able to enjoy this movie at all, it going to have to make a pack with oneself to not get hung up on the movies errors. I was partially able to do this, and was more or less about to enjoy the film. I do recommend the movie, but I definitely recommend the book considerably more. The movie is OK, but the book is great.

Need a break from the dreaded 'Summer Blockbuster'? This story of a challenged horse may be just the film for you. Actually, the summer release date itself is a bit of a surprise, usually this type of film hits theatres late in the year when Oscar craving films fill the multiplex. Hey, I'm not complaining. With a movie of this caliber, I'll take it when I can get it.

SEABISCUIT is the uplifting tale surrounding an underdog and his... umm... 'underhorse'. With the odds firmly against, they set out to overcome adversity, giving a self-esteem boost to audiences everywhere. The heart-of-gold owner and the horse-whispering trainer complete the powerful team.

The cinematography in SEABISCUIT is stunning, Often placing the viewer in impossible places. Capturing a conversation between two jockeys during a crowded race is incredible. The rousing musical score by Randy Newman helps to add to the excitement as well as complete the depression era textures throughout the film. But the real force behind this film is the oscar-caliber acting trilogy of Jeff Bridges, Chris Cooper and Tobey Maguire. They turn the mundane into believable and intriguing. And a small role by William H Macy deserves a lot of the press it is receiving.

This is a rewarding film but is by no means perfect. The largest problem comes from the screenplay credited to director Gary Ross. His work seems set on slavish dedication to the source novel rather than the best film story. So, there are long gaps of gorgeous detail that make the film less powerful as it can be. In fact, the title horse doesn't make an appearance for a good 45 minutes... An additional footnote about the screenplay problems, the 'down-on-his-lucky-horseshoe' animal seems unstoppable at all times, in fact, his losses are of his own doing. This minimizes the tension during the big important races.

With all that in mind, SEABISCUIT is a welcome change in the summer films...

The summer of 2003 feel good movie, Seabiscuit was an entertaining but unfortunately overly corny adaptation of Laura Hillebrand's inspiring novel. The cliche ridden flick was awesomely cinematographed and had a Ken Burns documentary feel when late 1920's and 1930's historical background was presented.

The acting performances were for the most part, first rate. Tobey Macguire, playing jockey Red Pollard, is a gifted young actor. The immensely talented Chris Cooper's character Tom Smith did not provide an expansive enough role to unveil his ability. Jeff Bridges was only decent as Seabiscuit's millionaire owner, Charles Howard often not selling the emotions he strove to display. To me, William H. Macy stole the show as Tick Tock McGlaughlin, the booze swilling, handicapping, horse racing radio personality.

The story itself was a perfect vehicle for the silver screen, succeeding in promoting the "if you don't succeed at first try, try again" cliche. The flick was a wonderful portrayal of the sentiment of the country which was on the brink of war and used Seabiscuit's exploits as a well needed distraction. The movie certainly might be worthy of some Oscars.

The greatest problem for the movie SEABISCUIT is the book SEABISCUIT, and given the latter's enormous success as a bestseller, I am rather surprised that they filmmakers didn't try to hew more closely to the book. Granted, given the need to compress the much larger content of the book into the less information-friendly film, things had to be cut out and compressed. What I found especially disturbing were a couple of major plot details that did nothing to add to the movie otherwise, but in fact were profoundly untrue. The first of these that bothered me was Red Pollard's confessing to Smith and Howard that he was blind in his right eye, a secret he in fact kept throughout his career as a jockey. Also, Pollard suffered twice from serious injuries, but because of runtime for a film of this sort, they had to compress the injuries into one, the second one that primarily involved his shattered leg. Again, many liberties were taken here: he did not shatter his leg only two weeks before the match race at Pimplico, but sometimes earlier. And by cutting out Pollard's injury, we are left with the false impression that it was the match race where Woolf rode Seabiscuit as well.

See, this is the plight of the person who reads the book shortly before seeing the movie (I read the book on Wednesday and head to the Chicago suburbs to see the movie on Friday): you end up knowing too much. I'm not disturbed by what they leave out, but I am bothered by what they put in and alter. ... The movie made some unfortunate though perhaps unavoidable changes with Seabiscuit himself. He was much shorter than the horses he raised, though stockier and short legs. The horses used to portray Seabiscuit weren't especially notable for their lack of size. More importantly, none of the horses playing Seabiscuit were able to lock their legs, which Seabiscuit was famously unable to do. This meant that Seabiscuit, unique among horses, could never sleep standing up, but only lying down. The inability to lock his legs led to a life-long rumor that he was either crippled or lame. But no mention to his truly awful legs was made throughout the film, I suspect because they weren't able to find a horse whose legs didn't lock.

Overall, I think the film was very well cast. Jeff Bridges, who has one of he most dramatically underappreciated careers in Hollywood, is superb as Charles S. Howard, automobile magnate turned horse entrepreneur. Chris Cooper excels as Tom Smith, taking on an ashen and aged appearance that is perfect for the film (he looks so different from his Oscar winning role in ADAPTATION that it is hard to accept he is the same actor). I'm not sure Toby Maguire was the right choice to play Pollard. He wasn't the right size physically, but far more badly he is devoid of the famous demeanor of Red Pollard, who had a perpetually mournful expression on his face, causing many to compare him to Buster Keaton.

All in all, the movie ends up being more than the summation of its parts. The movie does possess a great period feel, and if an enormous amount of the detail about the setting up of the match race between Seabiscuit and War Admiral was left out, they do a great job of reenacting that race (which according to multiple sources I consulted after reading the book truly is regarded as the greatest horse race of all time).

But any reader of the book, to be able to enjoy this movie at all, it going to have to make a pack with oneself to not get hung up on the movies errors. I was partially able to do this, and was more or less about to enjoy the film. I do recommend the movie, but I definitely recommend the book considerably more. The movie is OK, but the book is great.