Michael-Douglas Movie Reviews

After seeing the first rendition of the film, this sequel is most unfortunate. The first was canned in 1967 and this 1985 version is very disconcerting. The time from the first to the second mission was just a couple of months in 1944 but the players have all aged beyond their military retirement age. You don't make a sequel AFTER 18 years using the same principal actors portraying the same peronalities, and expect to be still within the bounds of credulity. This is a bad rehash of the first and was probabaly filmed to cash in on the "cult" popularity of the first that generated over time. Still, it was fun to see the aging Marvin, Borgnine and Jaeckel reprise their parts. It's a good thing Bronson had the good sense not to indulge in this one.

Yes, the video is not like the first but it is still a great story. It had a great plot and a great ending. I reccomend this video, it is good. Besides what continueing movie is better than the first.

I thought that this movie had a very interesting script. Some parts could have used a little more work but overall I recommend it.

This is basically a Hollywood lovefest with a mediocre soldier and a looser president. If it had not been for Lee Harvey Oswald, Keenedy would have been seen as a hippie president...Not Recommended...

I find that this movie is an excellent source for details on PT Boats. The action in it quite good and in the beginning fast pace. The major flaw is the music score. It is very loud, very repitious and at some points, very annoying. The other problem with the movie is the use of air craft that hadn't been built yet.

John F. Kennedy always said the only reason he was a hero in World War II was "they sank my boat." This 1963 film tells the "true" story, although before you get to the real life heroics you have to put up with sub-standard Hollywood fare about how spunky young Lt. Jack Kennedy (future Oscar winner Cliff Robertson, although Warren Beatty was JFK's choice for the role) is given a hunk of junk patrol torpedo boat and turns it into a fine fighting ship. Just get through this early stuff to get to the riveting story of survival that makes up the last act of the film. Even in the age of computerized special effects, the scene where the Japanese destroyer cuts PT 109 in half is still quite impressive, as is the immediate aftermath with the water on fire as Kennedy rounds up his crew. What Kennedy does at this point to make sure he and his men survive is a pretty riveting story, and the fact he later becomes President is really immaterial. Robert Culp plays one of JFK's friends, while Robert Blake and Normal Fell are the recognizable faces amongst the boat's crew. The last part of "PT 109" certainly redeems the earlier sections and salvages this film from being some sort of fluff piece.

This is basically a Hollywood lovefest with a mediocre soldier and a looser president. If it had not been for Lee Harvey Oswald, Keenedy would have been seen as a hippie president...Not Recommended...

I find that this movie is an excellent source for details on PT Boats. The action in it quite good and in the beginning fast pace. The major flaw is the music score. It is very loud, very repitious and at some points, very annoying. The other problem with the movie is the use of air craft that hadn't been built yet.

John F. Kennedy always said the only reason he was a hero in World War II was "they sank my boat." This 1963 film tells the "true" story, although before you get to the real life heroics you have to put up with sub-standard Hollywood fare about how spunky young Lt. Jack Kennedy (future Oscar winner Cliff Robertson, although Warren Beatty was JFK's choice for the role) is given a hunk of junk patrol torpedo boat and turns it into a fine fighting ship. Just get through this early stuff to get to the riveting story of survival that makes up the last act of the film. Even in the age of computerized special effects, the scene where the Japanese destroyer cuts PT 109 in half is still quite impressive, as is the immediate aftermath with the water on fire as Kennedy rounds up his crew. What Kennedy does at this point to make sure he and his men survive is a pretty riveting story, and the fact he later becomes President is really immaterial. Robert Culp plays one of JFK's friends, while Robert Blake and Normal Fell are the recognizable faces amongst the boat's crew. The last part of "PT 109" certainly redeems the earlier sections and salvages this film from being some sort of fluff piece.

This is basically a Hollywood lovefest with a mediocre soldier and a looser president. If it had not been for Lee Harvey Oswald, Keenedy would have been seen as a hippie president...Not Recommended...

I find that this movie is an excellent source for details on PT Boats. The action in it quite good and in the beginning fast pace. The major flaw is the music score. It is very loud, very repitious and at some points, very annoying. The other problem with the movie is the use of air craft that hadn't been built yet.

John F. Kennedy always said the only reason he was a hero in World War II was "they sank my boat." This 1963 film tells the "true" story, although before you get to the real life heroics you have to put up with sub-standard Hollywood fare about how spunky young Lt. Jack Kennedy (future Oscar winner Cliff Robertson, although Warren Beatty was JFK's choice for the role) is given a hunk of junk patrol torpedo boat and turns it into a fine fighting ship. Just get through this early stuff to get to the riveting story of survival that makes up the last act of the film. Even in the age of computerized special effects, the scene where the Japanese destroyer cuts PT 109 in half is still quite impressive, as is the immediate aftermath with the water on fire as Kennedy rounds up his crew. What Kennedy does at this point to make sure he and his men survive is a pretty riveting story, and the fact he later becomes President is really immaterial. Robert Culp plays one of JFK's friends, while Robert Blake and Normal Fell are the recognizable faces amongst the boat's crew. The last part of "PT 109" certainly redeems the earlier sections and salvages this film from being some sort of fluff piece.

Loosely connected sequel to Sometimes They Come Back and Sometimes They Come Back Again plays the Thing from Another World game as a military rescue team (of only two people!?!) is dispatched to an Antartic drilling station. Seems the miners broke through to hell...and something wants out. For low budget schlock this plays fairly well, no real surprises, but director Daniel Zelik Berk manages to craft an eerie moment or two amongst all the to be expected satanic hokum.

This is a pretty good horror flick, I rented it a while back and it was pretty enjoyable.

I could see where the director/producer was trying to elevate the film up from its "Creature Feature" underpinnings with an interesting plot, and he/she succeeded in some respects. Unfortunately, the obviously small budget of the film coupled with it's setting kept the film from being really interesting.

This movie reminds me of the low budget suspense movies from guys that are now famous studio directors. It kept me on the edge of my seat. The ending could be better - my guess is that the production ran out of money.

1990 was the year of the Ghost Films. Ghost, Always, and Flatliners. Very Morbid subjects for films with no plot and very bad acting. It's a shame Paul Hogan tried this with this film, playing a man who thinks He's an angel after a near death encounter. Charlton Heston's small part does not do anything for this film, except make you not want to see it again ever.

A Professional Thief (Paul Hogan) dies in a Accident, he`s has been resurrected as a Probational Angel in Heaven, who has to help people are in Down Spirits and Disbelieve in God, in the search of Redemption.

This Charming Downbeat Comedy has fine performances by Hogan, Elias Koteas and Linda Kozlowski. Directed by John Cornell (Crocodile Dundee 2) has made himself a fine film here. Charlton Heston has a Cameo here as God. This film is a Geniune Well Made Movie. Super 35. Grade:B+.

Good movie to see if you are a Paul Hogan or Linda Kozlowski
fan. It is also one of those movies a viewer should see
twice, because the first time you don't know what is really
going on. Don't miss the ending, all is explained. I give it
four stars - not one of the best movies around, but one of my
own personal favorites.

I got this docu as a "pack-in" when I purchased the Collector's Edition of "From Dusk Till Dawn", it was listed as part of the "bonus material" with the DVD. Let me say this: what a pointless endevour! Who needs to see Tarantino's and Clooney's assistants sitting around talking about their employers like star-struck high school girls? They looked and acted like a bunch of grade 8 girls waiting to see who would ask them to the prom. George Clooney, Salma Hayek and Harvey Keitel never even bother to give direct interviews, so how can a docu be a docu when it excludes some of the most important characters? It generally follows the little people who tell us such important details as how Quentin likes his coffee and the mug he likes it in. Then they get into the IATSE strike because FDTD was using non-union help. Big deal! If I wanted to see a bunch of labor garbage, I would go down to my local Teamster's hall and listen to them spout off. The makers make a long drawn out point of trying to show how they got in contact with Lyle Tractenberg about his side of the dispute that consumed what felt like 10 minutes, only for him to speak off camera only. Overall this is a forced, directionless effort that adds nothing to the film, whether you are a fan or not. If you want a decent docu of something, go shoot one yourself, you'll do a better and more interesting job! And for God's sakes, don't even think about wasting money on this, rent or steal are your only logical options if you insist on seeing it.

no

If you had a chance to take a behind-the-scenes look at any movie made during the last ten years, "From Dusk Till Dawn" probably wouldn't be your first choice. Yes, the 1996 horror show was directed by Robert Rodriguez ("El Mariachi") and written by Quentin Tarantino. And, yes, such notables as George Clooney, Juliette Lewis, Harvey Keitel and Tarantino himself appeared in a major roles. But with all due respect to everyone involved with that fang-in-cheek action-adventure about hungry vampires at a remote Mexican cantina, "From Dusk Till Dawn" wasn't exactly the sort of cinematic triumph that evokes a burning urge to witness the creative process at work.

Even so, Sarah Kelly's "Full Tilt Boogie" is not without interest. Kelly, who previously worked as a production assistant on Tarantino's "Pulp Fiction," did not have entirely free access, or even full co-operation, as she made this movie about the making of a movie. (Keitel granted only a five-minute interview during his final day on location.) And a few scenes -- most notably, the mock-macho entrance of Clooney and Tarantino -- obviously were staged for Kelly's cameras.

At its occasional best, however, "Full Tilt Boogie" vividly and accurately conveys the day-to-day, "hurry up and wait" drudgery of moviemaking. Cast and crew heartily party when the day's work is done. And even during the actual shooting, there's a sense of play along with the practice of craft. By and large, however, you're left with the impression that working on a film can be as exhausting -- and, yes, sometimes as boring -- as working on an assembly line.

Here and there, Kelly catches flashes of revealing detail. Clooney seems amiable but oddly disengaged, as though he doesn't want anyone -- least of all a documentarian -- to get too close. (In a brief, unguardedly teary moment, his personal assistant indicates that he may not be such a nice guy after all.) In sharp contrast, Tarantino comes across as a kind of court jester, especially during his rant about the lack of beer at a location party. Throughout it all, Rodriguez looks extremely worried. He also looks like he wouldn't want to be anyplace else.

I got this docu as a "pack-in" when I purchased the Collector's Edition of "From Dusk Till Dawn", it was listed as part of the "bonus material" with the DVD. Let me say this: what a pointless endevour! Who needs to see Tarantino's and Clooney's assistants sitting around talking about their employers like star-struck high school girls? They looked and acted like a bunch of grade 8 girls waiting to see who would ask them to the prom. George Clooney, Salma Hayek and Harvey Keitel never even bother to give direct interviews, so how can a docu be a docu when it excludes some of the most important characters? It generally follows the little people who tell us such important details as how Quentin likes his coffee and the mug he likes it in. Then they get into the IATSE strike because FDTD was using non-union help. Big deal! If I wanted to see a bunch of labor garbage, I would go down to my local Teamster's hall and listen to them spout off. The makers make a long drawn out point of trying to show how they got in contact with Lyle Tractenberg about his side of the dispute that consumed what felt like 10 minutes, only for him to speak off camera only. Overall this is a forced, directionless effort that adds nothing to the film, whether you are a fan or not. If you want a decent docu of something, go shoot one yourself, you'll do a better and more interesting job! And for God's sakes, don't even think about wasting money on this, rent or steal are your only logical options if you insist on seeing it.

no

If you had a chance to take a behind-the-scenes look at any movie made during the last ten years, "From Dusk Till Dawn" probably wouldn't be your first choice. Yes, the 1996 horror show was directed by Robert Rodriguez ("El Mariachi") and written by Quentin Tarantino. And, yes, such notables as George Clooney, Juliette Lewis, Harvey Keitel and Tarantino himself appeared in a major roles. But with all due respect to everyone involved with that fang-in-cheek action-adventure about hungry vampires at a remote Mexican cantina, "From Dusk Till Dawn" wasn't exactly the sort of cinematic triumph that evokes a burning urge to witness the creative process at work.

Even so, Sarah Kelly's "Full Tilt Boogie" is not without interest. Kelly, who previously worked as a production assistant on Tarantino's "Pulp Fiction," did not have entirely free access, or even full co-operation, as she made this movie about the making of a movie. (Keitel granted only a five-minute interview during his final day on location.) And a few scenes -- most notably, the mock-macho entrance of Clooney and Tarantino -- obviously were staged for Kelly's cameras.

At its occasional best, however, "Full Tilt Boogie" vividly and accurately conveys the day-to-day, "hurry up and wait" drudgery of moviemaking. Cast and crew heartily party when the day's work is done. And even during the actual shooting, there's a sense of play along with the practice of craft. By and large, however, you're left with the impression that working on a film can be as exhausting -- and, yes, sometimes as boring -- as working on an assembly line.

Here and there, Kelly catches flashes of revealing detail. Clooney seems amiable but oddly disengaged, as though he doesn't want anyone -- least of all a documentarian -- to get too close. (In a brief, unguardedly teary moment, his personal assistant indicates that he may not be such a nice guy after all.) In sharp contrast, Tarantino comes across as a kind of court jester, especially during his rant about the lack of beer at a location party. Throughout it all, Rodriguez looks extremely worried. He also looks like he wouldn't want to be anyplace else.

Whew! This one's a stinker. Even if you're a Chuck fan, this one just doesn't measure up. The film is poorly made and put together; sequences in the night in Vietnam are so dark you can hardly see what's going on (but that might have been good...). There's actually not much action; this was supposed to be more of a "drama." If you want a good Chuck movie, stick with Lone Wolf McQuade or An Eye for an Eye.

This low-budget 'gem' from 1977 (I even remember there being a novelization, got to look for it) was a modest hit and pretty much made Chuck Norris a star. Playing John T. Booker (the way the credit is listed mades me wonder if there would be more John T. Booker movies, alas not to be), Norris is a former CIA commando whose dark past comes back to haunt him when the politician that set him up in a raid turned death trap needs to erase that unpleasent part of history. This is an old school action movie, back when they bothered to have plot and mystery prior to the fist fights and car chases, and it will probably bore many expecting wall to wall kung-fu action. Nothing happens until nearly an hour into the movie, then the pay off begins. Good Guys Wear Black was sold on the strength of one big stunt, Norris (or a double) leaping onto a car and kicking through the windshield to get at the assassin driving. It was impressive then, today it is routine. As I said, it is a low budget movie, one with Southern California locations filling in for Vietnam (sandy trails and eucalyptus trees in Vietnam???) as well as East Coast locations. Pretty giggle inducing. But the movie still works when watched in the context of its era (70s exploitation) and director Ted Post (Hang 'Em High, Magnum Force, Beneath the Planet of the Apes, etc.) keeps the movie professional looking, at least. One shocking bit of trivia, one of the movie's screenwriters is Children of A Lesser God author Mark Medoff. Wow. Recommended only to Norris fans on a nostalgia kick.

If you like Chuck Norris films, especially of the 70's and 80's you'll probably like this one. The DVD was unrated but I'd say it's about a PG-13. The DVD allows chapter access, English, French and Spanish subtitles and some bio info on the cast. No theatrical trailer was present. The film is generally well-preserved (no widescreen) but the colors fade in and out a little bit (probably the cinematography was a bit inconsistent).

The film is definitely *very* 1970's. That means lotsa keyboard instrumental jazz music scored with the action, 3-piece suits, undercranked camera shots to make cars look like they're speeding (giving unnatural jerky motion), and half-witted dialogue. And Anne Archer, while lovely in the film, wears some awful-looking sunglasses (egads!).

While there are several martial arts fight scenes (what else?) they are not nearly as sophisticated as those in 1973's Bruce Lee classic "Enter the Dragon" (this is a 1978 film).

Major John Booker (Chuck!) leads a top secret team into Vietnam in 1973 to rescue some American POW's (boy, you never see THAT in a Chuck Norris movie, eh?) ... ahem ... Well, they were set up and several men died. Booker takes the loss philosophically and takes up test-driving Porsches and teaching Political Science at the local college (whatta guy!). Ah, but then a lovely young lady lawyer shows up and starts reciting all the top secret details of the 1973 mission to Booker. Booker must figure out what she's all about. At the same time all of Booker's buddies who survived the disastrous operation start dropping like flies.

James Franciscus is the up-and-coming Secretary of State and boy does he cuss a lot (probably after seeing the script!), hence my PG-13 rating. And he's a very baaaaad man. Jim Backus (Gilligan's Island!) shows up as a protective doorman. And the ubiquitious Soon-Tek Oh is here. Not a bad film, on a par with other Chuck flicks such as "Hero and the Terror", "Invasion U.S.A." and "Code of Silence".

Will Major Booker discover the truth and stop the bad guys? ... hmmm ... well, I'll let you buy the movie and find out ... (as if you couldn't guess) ... While you're waiting to find out, you can count all the green automobiles in the film ...

There must have been a lot of automobiles painted green in 1978 because there's a green car in nearly every street scene (all shades!). Even the toy car at one of the politician's home is green. Generally OK, and we can overlook some of Norris' acting since it's one of his first films. It is hard to forgive the paisley robes, Harvest Gold appliances, and the wide collars on the shirts, but hey, that was the 1970's.

There's very good message in this film but the script is too simpel. The end isn't surprising. The actors are not so good. I wanted to stop this film many times because it was so boring.

I first saw this film in a theater on a double bill with Alan Parker's "Mississippi Burning." John Frankenheimer's "Dead Bang" is simply another forgettable action movie.

Cop Don Johnson goes after a group of neo-Nazis.

"Dead Bang" is one of Frankenheimer's more inferior movies. As a Frankenheimer film, "Dead Bang" isn't as poor as "99 and 44/100% Dead" and "The Holcroft Covenant" but that isn't saying a whole lot; Frankenheimer hasn't made one great movie since "Black Sunday." This film came out during the last season of Don Johnson's TV show "Miami Vice" and Johnson basically just plays Sonny Crockett on the big screen. "Dead Bang" has a few good action sequences but this one element can't save the film. The film isn't particularly exciting or interesting. In one particularly crude and unnecessary sequence, a cop is shown vomiting on a suspect.

Like William Friedkin and Brian DePalma, Frankenheimer is a once great director who lost his edge. I am sad that the director of such brilliant movies as "The Manchurian Candidate" and "The Birdman of Alcatraz" has fallen to making crass movies like "Dead Bang."

"Dead Bang" is nothing more than a foul-mouthed and forgettable action movie. The film is only for big Don Johnson fans and those who merely want to see violent action.

YOU REALLY HAVE TO SEE A MOVIE LIKE THIS TO GET A GLIMPSE OF WHAT SOME 'REAL COPS' GO THROUGH. ALTHOUGH DRAMATIZED, THE BASIS FOR THIS FLICK IS THE REAL LIFE EXPLIOTS OF L.A. COUNTY SHERIFFS HOMICE INVESTIGATOR JEROME BECK.

IT IS A RIVETING CHARACTER STUDY OF WHAT THIS JOB CAN DO TO A MAN, HIS MARRIAGE, HIS KIDS AND HIS PSYCHE.

DON JOHNSON DOES AN EXCELLENT JOB OF PLAYING THE MORBID, BURNT OUT COP ON THE EDGE. HE'S DRINKING EXCESSIVELY, GOING THROUGH A BITTER CUSTODY BATTLE WITH HIS EX, LIVING IN A DUMP AND BREAKING EVERY RULE IN THE BOOK TO GET A NEO-NAZI MANIAC WHO KILLED A DISTANT POLICE CAMPADRE.

THE ONE OBVIOUS FLAW IN THE FILM IS THE TOTALLY PROCEDURALLY INCORRECT WAY THE VICTIM OFFICER APPROACHES AN ARMED ROBBERY/MURDER SUSPECT. ANY REAL COP WATCHING THE SHOW WILL BE TEMPTED TO HIT THE 'STOP' BUTTON ON THE V.C.R. THERE. BUT IF YOU CAN WADE PAST THIS NONSESICAL SCENE ITS A PRETTY DECENT FLICK.

JOHNSON SHINES IN A MEMORABLE SCENE WHERE HE IS ORDERED TO UNDERGO PSYCHOLOGICAL COUSELING DUE TO HIS ERRATIC BEHAVIOUR.
AS THE PENCIL NECKED ANALYST'S EGO IS STEPPED ON HE PREPARES TO END THE SESSION 'RUSHING TO JUDGEMENT' ON THE VETERAN OFFICER'S
MENTAL STATE. JOHNSON'S 'BECK' USES SOME PURSUASIVE PSYCO BABBLE OF HIS OWN TO DETER THE COUSELOR FROM ENDING HIS 'BECKS' CAREER.
IT IS A GREAT SCENE AND THE HIGHLIGHT OF THE FILM.

THE THING THAT MAKES THIS CHARACTER DIFFERENT FROM 'SONNY CROCKETT' OR 'NASH BRIDGES' IS THE REALNESS OF THE GUY. HE DOESNT SPOUT POLITICALLY CORRECT ONE LINERS. HE DOESNT WEAR FASHIONS THAT NO REAL COP COULD EVER AFFORD, AND HIS LIFE IS THE EXACT OPPOSITE OF GLAMOROUS.

CRITICS AND AUDIENCES ALIKE WERE QUICK TO LAMBAST THIS MOVIE WHEN IT PREMEIRED IN EARLY 1989 BECAUSE IT DOESNT HAVE A SUPER HERO MAIN CHARACTER WHO JUMPS OFF OF BUILDINGS OR DRIVES A FLASHY CAR. AND THAT IS JUST THE REASON IT SHOULD HAVE BEEN PRAISED. IT HAD THE GUTS TO BE DIFFERENT!

THE ACTION SCENES ARE WELL ORCHESTRATED WITH JOHNSON ACTUALLY LOOKING 'PUMPED' AS HE ATTEMPTS TO SURVIVE THE SHOOTOUTS.

NO, 'DEAD BANG' IS NOT A TIMELESS CLASSIC, BUT IT WORKS WELL AS A DRAMATIC ACTION PLAY WITH A FLAWED BUT VERY INTERESTING PROTAGONIST.