Michael-Madsen Movie Reviews

Brett Johnson's review of this movie is about right. I rate it much higher though. Even though this show follows many other formulas, for the type of show it is I think it's at about the top of its class. At least it's a movie I want to keep and watch from time to time. I can't say that about alot of the shows I've bought. The ending isn't that good but most movies don't come up with good endings. Michael Madsen is his usual cruel self (as in "Reservoir Dogs") and is even raunchier. Val Kilmer plays many different parts well. Maybe he isn't so believable as a private "I" but still, for the kind of show it is I give it a thumbs up.

40's style noir played against Nevada desert and gambling dens. Val Kilmer is too boyish to bring off the classic role of private eye, but at least he doesn't try to act tough while being slapped around or thrown like a rag doll over a series of chairs and tables. In fact his Jack Andrews gets pushed around by almost everyone in what amounts to one of the most feckless of all movie private eyes. His every move seems to either flop or backfire. He's seldom in charge of any encounter, and in that important regard, the movie stands as a genuine oddity to the genre. Joanne Whalley-Kilmer, looking like a trampy Natalie Wood, is reasonably convincing as the femme fatale, squealing delightedly whenever she's roughed up, while villainous Michael Madsen, looking like Elvis's spooky older brother, steals the show with a series of scary outbursts that are totally convincing. Despite the negative review, there're enough twists and turns to keep viewers guessing. And while Kill Me Again is no classic of noir filmmaking, it does stand as a reasonably successful low-budget entry.

It is a shame, in my opinion, that this movie never got enough attention when it was released. I consider it a fine example of film noir and possibly the best film noir movie to appear in the nineties. If you like well paced detective movies you will love this film. Joane Whalley-Kilmer plays one of the best evil women I have seen in some time. You gotta love to hate her in this movie.

Brett Johnson's review of this movie is about right. I rate it much higher though. Even though this show follows many other formulas, for the type of show it is I think it's at about the top of its class. At least it's a movie I want to keep and watch from time to time. I can't say that about alot of the shows I've bought. The ending isn't that good but most movies don't come up with good endings. Michael Madsen is his usual cruel self (as in "Reservoir Dogs") and is even raunchier. Val Kilmer plays many different parts well. Maybe he isn't so believable as a private "I" but still, for the kind of show it is I give it a thumbs up.

40's style noir played against Nevada desert and gambling dens. Val Kilmer is too boyish to bring off the classic role of private eye, but at least he doesn't try to act tough while being slapped around or thrown like a rag doll over a series of chairs and tables. In fact his Jack Andrews gets pushed around by almost everyone in what amounts to one of the most feckless of all movie private eyes. His every move seems to either flop or backfire. He's seldom in charge of any encounter, and in that important regard, the movie stands as a genuine oddity to the genre. Joanne Whalley-Kilmer, looking like a trampy Natalie Wood, is reasonably convincing as the femme fatale, squealing delightedly whenever she's roughed up, while villainous Michael Madsen, looking like Elvis's spooky older brother, steals the show with a series of scary outbursts that are totally convincing. Despite the negative review, there're enough twists and turns to keep viewers guessing. And while Kill Me Again is no classic of noir filmmaking, it does stand as a reasonably successful low-budget entry.

It is a shame, in my opinion, that this movie never got enough attention when it was released. I consider it a fine example of film noir and possibly the best film noir movie to appear in the nineties. If you like well paced detective movies you will love this film. Joane Whalley-Kilmer plays one of the best evil women I have seen in some time. You gotta love to hate her in this movie.

oh! we invented the cinema (I say 'We' but I mean the folks behind Dabney Coleman's world famous role in women's lib.)
so the western genre doesn't apply here no: you've got two things: a talking horse and a twenty-five-thousand year-old dame
by the name of Virginia Southingworth Madson. Comedy was
certainly inevitable as this
pair teams up to provide many depressed humans reason to
off themselves (I mean that in the hermeneutical sense).

Come on, how can you resist Bob "Cat" Goldthwait and the voice of John Candy as a talking horse in the same movie? This is one of the unsung heros of the slapstick 80's heyday. It takes me back to memories of Police Academy and Porky's. But somehow it's even better. And Virginia Madson? Don't even get me started!

This movie had "sequel" written ALL over it. I actually grew attached to these stupid characters. The funniest part HAS to be when Don is talking FOR Fred... "what makes you think you're the man to ride me... I mean to ride Don, haw haw haw"... OH MY GOD, THAT IS FUNNY! I demand this movie make it's way to DVD, cuz I'm stressin' out waitin'.

"I said, it's like that even after I go swimming... toots!"

oh! we invented the cinema (I say 'We' but I mean the folks behind Dabney Coleman's world famous role in women's lib.)
so the western genre doesn't apply here no: you've got two things: a talking horse and a twenty-five-thousand year-old dame
by the name of Virginia Southingworth Madson. Comedy was
certainly inevitable as this
pair teams up to provide many depressed humans reason to
off themselves (I mean that in the hermeneutical sense).

Come on, how can you resist Bob "Cat" Goldthwait and the voice of John Candy as a talking horse in the same movie? This is one of the unsung heros of the slapstick 80's heyday. It takes me back to memories of Police Academy and Porky's. But somehow it's even better. And Virginia Madson? Don't even get me started!

This movie had "sequel" written ALL over it. I actually grew attached to these stupid characters. The funniest part HAS to be when Don is talking FOR Fred... "what makes you think you're the man to ride me... I mean to ride Don, haw haw haw"... OH MY GOD, THAT IS FUNNY! I demand this movie make it's way to DVD, cuz I'm stressin' out waitin'.

"I said, it's like that even after I go swimming... toots!"

This is really a shame. Supreme Sanction is a fast-moving, enjoyable action thriller, but so much of it has been copied from other movies. The 'assassin refuses to shoot and becomes a target himself' theme is straight out of Replacement Killers. The 'Government agency fakes terrorist attack to get more funding' comes out of Long Kiss Goodnight' and the helicopter stunts that open the movie are the same footage I saw in Firebirds. This said, Supreme Sanction is a well acted movie with a good script. Madsen an Swanson do an interesting 'good killer/bad killer routine' and the score and effects were quite decent. A pity they could not get a more original story.

I save the movie on DVD and really enjoyed it. However, I like it even more watching it a second time with the candid commentary by Michael Madsen and the director. They are hilarious. They don't just talk about the movie, there are other personal tid bits that you get from Michael. He should commentate on all of his future movies that come out on DVD.

I saw Supreme Sanction on HBO a little while ago and it was great! It had humor, it had action and it had drama! If you haven't seen it yet, you need to!

This is really a shame. Supreme Sanction is a fast-moving, enjoyable action thriller, but so much of it has been copied from other movies. The 'assassin refuses to shoot and becomes a target himself' theme is straight out of Replacement Killers. The 'Government agency fakes terrorist attack to get more funding' comes out of Long Kiss Goodnight' and the helicopter stunts that open the movie are the same footage I saw in Firebirds. This said, Supreme Sanction is a well acted movie with a good script. Madsen an Swanson do an interesting 'good killer/bad killer routine' and the score and effects were quite decent. A pity they could not get a more original story.

I save the movie on DVD and really enjoyed it. However, I like it even more watching it a second time with the candid commentary by Michael Madsen and the director. They are hilarious. They don't just talk about the movie, there are other personal tid bits that you get from Michael. He should commentate on all of his future movies that come out on DVD.

I saw Supreme Sanction on HBO a little while ago and it was great! It had humor, it had action and it had drama! If you haven't seen it yet, you need to!

Courtney Vance plays the role of the only black cop on a southern, all white, good ole boy police department. Virginia Madsen plays the only female cop on that same force. They are simpatico with each other, as both are treated in the way one might expect someone of their race and gender to be treated by bigoted sexists and racists, covert though it may be. Although, it is actually not all that covert.

Then, the head of the local Klu Klux Klan gets murdered one night, leaving his son as a living eye witness to his father's murder. All hell breaks loose, as another witness says that the murder was commited by two black men, identified to be the leaders of a militant black group. When the police find the boy, they discover that the apple did not fall far from the tree, as he is a dyed in the wool racist, spouting racial investives at Vance, who remains remarkable calm in the face of being grossly insulted by a twelve year old pipsqueak who idolizes Hitler.

When the black militants turn up dead, something seems to be wrong with the entire picture. In the meantime, the boy is taken by Courtney Vance and three other cops to a supposed safe house, and on the way their car is ambushed by a group of gunmen wearing political masks. With Vance and the boy on the run with these masked freaks in pursuit, the boy grudgingly begins to bond, slowly but surely, with the man who is hellbent on saving his life.

In the meantime, Robert Patrick, of Terminator 2 and X-Files fame, assumes the mantle of leadership for the Klan. It turns out that he had been estranged from the boy's dead father due to a difference in their ideological fanaticism. While the dead man had confined his ideology of hate to local haunts, the new leader is a militant white supremacist with a more global vision of racial hatred. He, too, is looking for the boy. The reasons why are at the crux of the mystery.

While the film is painfully obvious, at times, in that you can see where the film is going vis-a-vis the boy's ideological beliefs, it is still a pretty absorbing film. So what that the viewer knows that the boy is supposed to undergo an ideological shift due to his interaction with Vance. It doesn't diminish the action and suspense in the film. Also, it is obvious that Madsen and Vance will join forces in an attempt to get to the bottom of what is going on. It is still interesting to see the mechanisms employed to get them going in the right direction.

Director Ernest Dickerson deftly directed this HBO TV movie which tackles the race card without being preachy, as well as conspiracy theories and frame ups. It is a tautly written, well acted film, with plenty of action to go around. It definitely an interesting and gripping film.

Given what it is, this HBO TVM has a screenplay a notch above the usual neanderthal level of most in the action genre, and strong direction by Ernest Dickerson. The subject matter of white supremacy is a generally unpalatable one, since the people presented as pro are inevitably cartoons, even within the limitations of the genre. This treatment is defined by the re-politicalising of the son of the KKK's Grand Dragon, who is the only witness to his father's killing, which is falsely blamed on black cop Courtney Vance. The plot then becomes a multiple pursuit of the boy who has fled with Vance after the titular ambush has aligned them, by both the law and the KKK. The condition is therefore set for the boy to realise the error of his abstracted prejudice, by having Vance demonstrating kindness (by trying to save his life) of an individual. However Vance's performance works against this idea, since he doesn't have a likeable persona. This charge may make me vulnerable to the accusation of racism, but when a screenplay introduces him watching home movies of his deceased child, who by an unimaginative coincidence would be the exact age of the Dragon boy if he were still alive, and gives him a romance with the only female cop in their small police force, we begin to sense something is off-balance. It's easier to identify with the quirkiness given to the KKK stooges, particularly when one refuses to follow Vance and the boy down a drainpipe because he's wearing a suite. Vance isn't given any similar accessability, and when the boy throws slurs at him, we're more likely to emphathise with the racist. In spite of some scenes which I found superfluous, and a stinker with the boy's memory of the killing of his elder brother intercut with the father's telling, Dickerson keeps up the tension. The ambush features gunmen wearing a Bill Clinton and Nixon mask, and gunfire is machine gun multiple as opposed to single fire duets. This may be attributed to the level of testosterone of the supremacists, but I'd prefer to think of it as Dickerson's touch. He also provdes some interesting editing jump cuts in the approach to the Bill Clinton gunman, and a chase featuring Virginia Madsen as the female cop. The crisp white shirt of an officer who turns out to be the framing secret supremacist, and his oreo joke are perhaps a little obvious, but I liked the line a waitress has - "I'm not a mind reader. I'm just a waitress" and the way the actress delivers it. The music is another problem - it seems continuous and more suited to a horror movie. The climax of the film is odd, since it alters the expectation, where now Madsen and Vance pursue the bad guys, and not vice versa. This aggressiveness throws our sympathies again to the supposed bad guys, as anyone on the defensive automatically does, and not even a tirade by the leader managed to shift the empathy back for me. Madsen's presence is a major plus. Although assigned to a relatively minor role and her character carrying additional and unflattering weight, she still makes more of an impression than Vance, and even Jeremy Lelliott as the boy has some truthful moments, which only makes Vance look worse in comparison.

Courtney Vance plays the role of the only black cop on a southern, all white, good ole boy police department. Virginia Madsen plays the only female cop on that same force. They are simpatico with each other, as both are treated in the way one might expect someone of their race and gender to be treated by bigoted sexists and racists, covert though it may be. Although, it is actually not all that covert.

Then, the head of the local Klu Klux Klan gets murdered one night, leaving his son as a living eye witness to his father's murder. All hell breaks loose, as another witness says that the murder was commited by two black men, identified to be the leaders of a militant black group. When the police find the boy, they discover that the apple did not fall far from the tree, as he is a dyed in the wool racist, spouting racial investives at Vance, who remains remarkable calm in the face of being grossly insulted by a twelve year old pipsqueak who idolizes Hitler.

When the black militants turn up dead, something seems to be wrong with the entire picture. In the meantime, the boy is taken by Courtney Vance and three other cops to a supposed safe house, and on the way their car is ambushed by a group of gunmen wearing political masks. With Vance and the boy on the run with these masked freaks in pursuit, the boy grudgingly begins to bond, slowly but surely, with the man who is hellbent on saving his life.

In the meantime, Robert Patrick, of Terminator 2 and X-Files fame, assumes the mantle of leadership for the Klan. It turns out that he had been estranged from the boy's dead father due to a difference in their ideological fanaticism. While the dead man had confined his ideology of hate to local haunts, the new leader is a militant white supremacist with a more global vision of racial hatred. He, too, is looking for the boy. The reasons why are at the crux of the mystery.

While the film is painfully obvious, at times, in that you can see where the film is going vis-a-vis the boy's ideological beliefs, it is still a pretty absorbing film. So what that the viewer knows that the boy is supposed to undergo an ideological shift due to his interaction with Vance. It doesn't diminish the action and suspense in the film. Also, it is obvious that Madsen and Vance will join forces in an attempt to get to the bottom of what is going on. It is still interesting to see the mechanisms employed to get them going in the right direction.

Director Ernest Dickerson deftly directed this HBO TV movie which tackles the race card without being preachy, as well as conspiracy theories and frame ups. It is a tautly written, well acted film, with plenty of action to go around. It definitely an interesting and gripping film.

Given what it is, this HBO TVM has a screenplay a notch above the usual neanderthal level of most in the action genre, and strong direction by Ernest Dickerson. The subject matter of white supremacy is a generally unpalatable one, since the people presented as pro are inevitably cartoons, even within the limitations of the genre. This treatment is defined by the re-politicalising of the son of the KKK's Grand Dragon, who is the only witness to his father's killing, which is falsely blamed on black cop Courtney Vance. The plot then becomes a multiple pursuit of the boy who has fled with Vance after the titular ambush has aligned them, by both the law and the KKK. The condition is therefore set for the boy to realise the error of his abstracted prejudice, by having Vance demonstrating kindness (by trying to save his life) of an individual. However Vance's performance works against this idea, since he doesn't have a likeable persona. This charge may make me vulnerable to the accusation of racism, but when a screenplay introduces him watching home movies of his deceased child, who by an unimaginative coincidence would be the exact age of the Dragon boy if he were still alive, and gives him a romance with the only female cop in their small police force, we begin to sense something is off-balance. It's easier to identify with the quirkiness given to the KKK stooges, particularly when one refuses to follow Vance and the boy down a drainpipe because he's wearing a suite. Vance isn't given any similar accessability, and when the boy throws slurs at him, we're more likely to emphathise with the racist. In spite of some scenes which I found superfluous, and a stinker with the boy's memory of the killing of his elder brother intercut with the father's telling, Dickerson keeps up the tension. The ambush features gunmen wearing a Bill Clinton and Nixon mask, and gunfire is machine gun multiple as opposed to single fire duets. This may be attributed to the level of testosterone of the supremacists, but I'd prefer to think of it as Dickerson's touch. He also provdes some interesting editing jump cuts in the approach to the Bill Clinton gunman, and a chase featuring Virginia Madsen as the female cop. The crisp white shirt of an officer who turns out to be the framing secret supremacist, and his oreo joke are perhaps a little obvious, but I liked the line a waitress has - "I'm not a mind reader. I'm just a waitress" and the way the actress delivers it. The music is another problem - it seems continuous and more suited to a horror movie. The climax of the film is odd, since it alters the expectation, where now Madsen and Vance pursue the bad guys, and not vice versa. This aggressiveness throws our sympathies again to the supposed bad guys, as anyone on the defensive automatically does, and not even a tirade by the leader managed to shift the empathy back for me. Madsen's presence is a major plus. Although assigned to a relatively minor role and her character carrying additional and unflattering weight, she still makes more of an impression than Vance, and even Jeremy Lelliott as the boy has some truthful moments, which only makes Vance look worse in comparison.

its a follow-up. its definatly worth watching. i think the third movie was a bit much but it was nice to see what was happening to jesse. the first one was alot better. it was about the connection between an orphaned boy and whale and how they freed eachother. it was an amazing movie if you exclude the michael jackson video at the beginning but i usually just fast forward through that, no harm done. the second one is a good investment though if you loved the first one.

Well, the sequel to the mega-hit, FW. It's not all you'll anticipate.

The plot's better. The boy must help the freed fish find his way home. But oil spills complicate things.

The acting... ughsh... the plot... double ughsh... the directing... WHAT DIRECTING?!... All in all, the video doesn't have any sense. Don't waste your pretty penny.

In my personal opinion, this is the best of the Free Willy series. There are no real or noticable problems, and it is good for the family. Of course it's not good for everybody, but if you haven't seen it, pick it up anyway.

I disagree with Leonard Maltin's opinion that this is a "dreadful film". It's a good film with a good cast; Julia Roberts makes her first film appearance and, to my knowledge, her only appearance with her brother, Eric, a fine actor who is seldom given the credit he deserves. My emotions were stirred by the unjust inflictions suffered by the wine growers. The film was impressive enough to inspire me to check railroad history and learn what I can to determine whether there really were any unscrupulous railroad barons like Dennis Hopper's character; incidentally, he handled the Irish accent very well.

This is a story of a man who has imigrated from a foreign country only to find his land is being sought after by a dirty businessman who wants to put a railroad through it for his own benefit. Eric Roberts plays the son who fights for his right to deny access to his family's land. It's a predictable movie that leaves you wanting someone to re-write the ending.

My mom was an extra in this movie and I think it was pretty cool.