Skeet-Ulrich Movie Reviews

I am a major movie lover and if I had to rank this film I would put this in the top five of all time. the movie made me laugh and the ending made me cry. A big thank you to the writer, director,producers, and actors.

The basic storyline:

Buford (Oldman) and Billy (Skeet Ulrich) are two petty criminals, who get sentenced to serve 10 years in jail. They manage to escape though, and get seperated. Billy rescues a baby from a car wreck, and Oldman spots a perfect opportunity for extortion when he's contacted by Billy.

The story goes on with Billy growing really attached to the baby. On their way to find out who the baby's parents are, they encounter a trailer park community (featuring Peter Green ('Zed' from Pulp Fiction) and the gorgeous Radha Mitchell), and a typical car dealer (Ed O'Neill (Yes, Al Bundy)).

Overall, the movie is both funny and heartwarming.

I'm going to start in a pessimistic sort of way, by saying that almost every character in the film is a caricature of some sort. There's Christopher Walken as a money-vampire who looks at a miracle and starts making plans to exploit it. There's Tom Arnold, the religious fanatical - enough said. There are Gina Gershon and Janeane Garofalo in supporting roles as an incisive talk show host and a cynical newspaper reporter, respectively. And then somehow, caught in the middle of all this is a shy, confused, tender young man with the power to heal.

Juvenal (Skeet Ulrich) is not one of the booming, preaching images that many people have come to associate with saints. We don't learn how he got his powers - which makes sense, because he doesn't know either. He is not flawless; he is attracted to women and does not necessarily agree with the philosophies of the church. And rather than being a pure white winged angel with a golden touch, he bleeds profusely from the marks of the stigmata as he performs his miracles.

We meet him as a woman named Lynn (Bridget Fonda) is roped in by money-grubbing Bill Hill (Walken) to try to find out if Juvenal is for real. He sees through her straight away, remarking casually that she was going to tell him that she had a tumour in her breast. Their relationship blossoms, which angers church leader August (Tom Arnold) who would prefer Juvenal to remain pure and holy.

We could perhaps have done without some of the supporting characters. Wonderful as Gina Gershon is, especially as you watch her accent become suddenly cultured when the cameras switch on, both her and Janeane Garofalo's characters would probably not have been missed. I'm not sure whether to recommend this film or not. If you're looking for a raucous comedy or a big-action thriller, this isn't the one for you. I loved it - but rent it first, and make up your own mind.

I'm going to start in a pessimistic sort of way, by saying that almost every character in the film is a caricature of some sort. There's Christopher Walken as a money-vampire who looks at a miracle and starts making plans to exploit it. There's Tom Arnold, the religious fanatical - enough said. There are Gina Gershon and Janeane Garofalo in supporting roles as an incisive talk show host and a cynical newspaper reporter, respectively. And then somehow, caught in the middle of all this is a shy, confused, tender young man with the power to heal.

Juvenal (Skeet Ulrich) is not one of the booming, preaching images that many people have come to associate with saints. We don't learn how he got his powers - which makes sense, because he doesn't know either. He is not flawless; he is attracted to women and does not necessarily agree with the philosophies of the church. And rather than being a pure white winged angel with a golden touch, he bleeds profusely from the marks of the stigmata as he performs his miracles.

We meet him as a woman named Lynn (Bridget Fonda) is roped in by money-grubbing Bill Hill (Walken) to try to find out if Juvenal is for real. He sees through her straight away, remarking casually that she was going to tell him that she had a tumour in her breast. Their relationship blossoms, which angers church leader August (Tom Arnold) who would prefer Juvenal to remain pure and holy.

We could perhaps have done without some of the supporting characters. Wonderful as Gina Gershon is, especially as you watch her accent become suddenly cultured when the cameras switch on, both her and Janeane Garofalo's characters would probably not have been missed. I'm not sure whether to recommend this film or not. If you're looking for a raucous comedy or a big-action thriller, this isn't the one for you. I loved it - but rent it first, and make up your own mind.

Set on the Missouri/Kansas border during the American Civil War, the movie faithfully recreates the story told by Daniel Woodrell in his wonderful novel, Woe To Live On. The book is worth reading for the dialogue alone and the movie is worth watching simply for James Schamus' magnificent screenplay: But there is much move to love about this movie.

The tapestry upon which the story of Ride With The Devil is painted is a violent one but, apart from some very graphic scenes, is more about human nature than anything else. Indeed, the depth of the violence only adds to the poignancy of the surprisingly frequent gentle scenes that occur in the movie. Tobey Macguire is perfect in the lead role, Jewel gives a surprisingly intuitive performance, and Jefrey Wright almost steals the show with his low-key, but passionate performance as a freed slave riding with a gang of white bushwhackers. Jonathan Rhys-Meyers, Macguire's nemesis, has a small part but is death himself. (His final confrontation with Macguire is brief and chilling --- and encapsulates the entire sense and sensibility of the movie.)

Sadly, this movie will probably go unnoticed by the general public since it seems to have had a limited release in the US and gone almost immediately from the theater to the rental market. Hopefully word-of-mouth will build interest in this truly remarkable American classic. Watch it --- but read the book too.

Set on the Missouri/Kansas border during the American Civil War, the movie faithfully recreates the story told by Daniel Woodrell in his wonderful novel, Woe To Live On. The book is worth reading for the dialogue alone and the movie is worth watching simply for James Schamus' magnificent screenplay: But there is much move to love about this movie.

The tapestry upon which the story of Ride With The Devil is painted is a violent one but, apart from some very graphic scenes, is more about human nature than anything else. Indeed, the depth of the violence only adds to the poignancy of the surprisingly frequent gentle scenes that occur in the movie. Tobey Macguire is perfect in the lead role, Jewel gives a surprisingly intuitive performance, and Jefrey Wright almost steals the show with his low-key, but passionate performance as a freed slave riding with a gang of white bushwhackers. Jonathan Rhys-Meyers, Macguire's nemesis, has a small part but is death himself. (His final confrontation with Macguire is brief and chilling --- and encapsulates the entire sense and sensibility of the movie.)

Sadly, this movie will probably go unnoticed by the general public since it seems to have had a limited release in the US and gone almost immediately from the theater to the rental market. Hopefully word-of-mouth will build interest in this truly remarkable American classic. Watch it --- but read the book too.

Melvin is a hateful and insensitive recluse with a debilitating mental disorder; Carol (Helen Hunt), a Manhattan waitress struggling with her son's chronic illness and finding her identity swallowed up in the process; Simon, a gay artist who loses everything when he is attacked and robbed in his own home. One by one they must learn to see the humanity in each other and, as importantly, in themselves ("Where'd I go?" asks Simon as he looks at the reflection of his battered face in the mirror). We, too, must learn to see the human being underneath the spiteful and vicious (if somewhat the "loveable rogue") in Melvin.

The theme is developed sensitively and beautifully throughout the course of the film (perhaps only slightly overlong at more than two hours), with help coming from a fourth character, Verdelle, a dog, whose pivotal role in the narrative is easily overlooked (standing in the same cinematic tradition as Toto of "The Wizard of Oz"). By the end of the film, we are aware that the big issues in the character's lives are still to be totally overcome, but the process of resolution has begun as it should, with the characters each recognizing the dignity and worth of the others (and themselves).

James L. Brook's delicate direction carefully avoids excessive sentimentalism and saccharine sweetness (though admittedly, it teeters perilously close to the edge at times), and results in one of the most charming and profound comedies of recent years.

Also, I've never been smitten with the lovely Helen Hunt.

Lastly, Greg Kinnear has always been REALLY too smarmy for me.

However, somehow AS GOOD AS IT GETS has a special place in my heart.

Nicholson is absolutely fabulous as the neurotic writer who, due to circumstances wildly beyond his control, has to not so much step outside of his comfort zone as he has to destroy the barriers that have isolated him from society when the people that make up the routine of his life -- eating at the corner restaurant, pestering the gay neighbors -- start to come apart at the seams. The crusty exterior, we learn, is just a facade, and the man underneath -- while not perfect -- accepts that life is worth living ... as good as it gets.

Helen Hunt is absolutely radiant in the role as the corner shop waitress who's forced to deal with Nicholson's habits ... and, much to her surprise and the audience, she begins to experience true emotion for the man.

Greg Kinnear plays the struggling artist role to perfection. He has bouts of great self-esteem countered by comic moments of heightened anxiety, and the subtlety he brings to his portrayal is may be all-too-Hollywood but is surprisingly human.

A perfect mix, this film is about AS GOOD AS IT GETS.

There are so tremendously comic moments in the film. There are some brutally honest moments in the film. It is everything at once and yet so simplistic. Just a terrific film.

Melvin is a hateful and insensitive recluse with a debilitating mental disorder; Carol (Helen Hunt), a Manhattan waitress struggling with her son's chronic illness and finding her identity swallowed up in the process; Simon, a gay artist who loses everything when he is attacked and robbed in his own home. One by one they must learn to see the humanity in each other and, as importantly, in themselves ("Where'd I go?" asks Simon as he looks at the reflection of his battered face in the mirror). We, too, must learn to see the human being underneath the spiteful and vicious (if somewhat the "loveable rogue") in Melvin.

The theme is developed sensitively and beautifully throughout the course of the film (perhaps only slightly overlong at more than two hours), with help coming from a fourth character, Verdelle, a dog, whose pivotal role in the narrative is easily overlooked (standing in the same cinematic tradition as Toto of "The Wizard of Oz"). By the end of the film, we are aware that the big issues in the character's lives are still to be totally overcome, but the process of resolution has begun as it should, with the characters each recognizing the dignity and worth of the others (and themselves).

James L. Brook's delicate direction carefully avoids excessive sentimentalism and saccharine sweetness (though admittedly, it teeters perilously close to the edge at times), and results in one of the most charming and profound comedies of recent years.

Also, I've never been smitten with the lovely Helen Hunt.

Lastly, Greg Kinnear has always been REALLY too smarmy for me.

However, somehow AS GOOD AS IT GETS has a special place in my heart.

Nicholson is absolutely fabulous as the neurotic writer who, due to circumstances wildly beyond his control, has to not so much step outside of his comfort zone as he has to destroy the barriers that have isolated him from society when the people that make up the routine of his life -- eating at the corner restaurant, pestering the gay neighbors -- start to come apart at the seams. The crusty exterior, we learn, is just a facade, and the man underneath -- while not perfect -- accepts that life is worth living ... as good as it gets.

Helen Hunt is absolutely radiant in the role as the corner shop waitress who's forced to deal with Nicholson's habits ... and, much to her surprise and the audience, she begins to experience true emotion for the man.

Greg Kinnear plays the struggling artist role to perfection. He has bouts of great self-esteem countered by comic moments of heightened anxiety, and the subtlety he brings to his portrayal is may be all-too-Hollywood but is surprisingly human.

A perfect mix, this film is about AS GOOD AS IT GETS.

There are so tremendously comic moments in the film. There are some brutally honest moments in the film. It is everything at once and yet so simplistic. Just a terrific film.

Melvin is a hateful and insensitive recluse with a debilitating mental disorder; Carol (Helen Hunt), a Manhattan waitress struggling with her son's chronic illness and finding her identity swallowed up in the process; Simon, a gay artist who loses everything when he is attacked and robbed in his own home. One by one they must learn to see the humanity in each other and, as importantly, in themselves ("Where'd I go?" asks Simon as he looks at the reflection of his battered face in the mirror). We, too, must learn to see the human being underneath the spiteful and vicious (if somewhat the "loveable rogue") in Melvin.

The theme is developed sensitively and beautifully throughout the course of the film (perhaps only slightly overlong at more than two hours), with help coming from a fourth character, Verdelle, a dog, whose pivotal role in the narrative is easily overlooked (standing in the same cinematic tradition as Toto of "The Wizard of Oz"). By the end of the film, we are aware that the big issues in the character's lives are still to be totally overcome, but the process of resolution has begun as it should, with the characters each recognizing the dignity and worth of the others (and themselves).

James L. Brook's delicate direction carefully avoids excessive sentimentalism and saccharine sweetness (though admittedly, it teeters perilously close to the edge at times), and results in one of the most charming and profound comedies of recent years.

Also, I've never been smitten with the lovely Helen Hunt.

Lastly, Greg Kinnear has always been REALLY too smarmy for me.

However, somehow AS GOOD AS IT GETS has a special place in my heart.

Nicholson is absolutely fabulous as the neurotic writer who, due to circumstances wildly beyond his control, has to not so much step outside of his comfort zone as he has to destroy the barriers that have isolated him from society when the people that make up the routine of his life -- eating at the corner restaurant, pestering the gay neighbors -- start to come apart at the seams. The crusty exterior, we learn, is just a facade, and the man underneath -- while not perfect -- accepts that life is worth living ... as good as it gets.

Helen Hunt is absolutely radiant in the role as the corner shop waitress who's forced to deal with Nicholson's habits ... and, much to her surprise and the audience, she begins to experience true emotion for the man.

Greg Kinnear plays the struggling artist role to perfection. He has bouts of great self-esteem countered by comic moments of heightened anxiety, and the subtlety he brings to his portrayal is may be all-too-Hollywood but is surprisingly human.

A perfect mix, this film is about AS GOOD AS IT GETS.

There are so tremendously comic moments in the film. There are some brutally honest moments in the film. It is everything at once and yet so simplistic. Just a terrific film.

This 1996 effort written by Kevin Williamson and directed by modern fright master, Wes Craven, truly is "clever, hip and scary" in its ability to successfully combine elements of horror, mystery and comedy into one nice, neat, little blood-soaked package. Along with an exceptional leading cast, "Scream" also features strong supporting performances from both David Arquette and Courteney Cox, as well as an unforgettable cameo appearance by Drew Barrymore. Buffs of the genre will also have fun picking up on the various references to older films which helped pave the way for this modern horror "classic". Two sequels soon followed, "Scream 2" in 1997 (the better of the two) and "Scream 3" in 2000, neither of which are necessarily bad films, but they're certainly not able to compare to the original as far as wit, character strength and story development go.

However, as is the case with any ground-breaking motion picture, numerous rip-offs and imitations are bound to follow. A slew of "whodunnit"-type slasher flicks have been released over the course of the past few years in an attempt to cash in on the popularity of the "Scream" franchise, including films like "I Know What You Did Last Summer", "Urban Legend", "Valentine" and the direct-to-video quickie "Bloody Murder", all of which range from being merely mediocre to downright awful. So forget the rest and go with the best!

"IT'S A 'SCREAM', BABY"!!!

2 PEOPLE WERE MURDERED (CASEY AND STEVE) IN A GRUESOME WAY!!!
SO THE NEXT DAY AT SCHOOL THERE ARE REPORTERS, COPS, ETC....
THERE IS A SERIAL KILLER ON THE LOOSE AND NO ONE KNOWS WHOS NEXT!!!

DIRECTED BY WES CRAVEN (NIGHTMARE ON ELM STREET, SHOCKER, THE PEOPLE UNDER THE STAIRS)

GREAT CAST!!!