Stephen-Tobolowsky Movie Reviews

Burt Reynolds rules of his portrayal of an aging safecracker in this overlooked movie.It's a must see film!!

Daniel Travanti stars as an ex-green beret trying to make sense of his forgotten flashbacks,making others fell uncomfortable as he becomes a target.It's a good spy flick!!

I cant even rate this movie its so horrible. The worst spoof in history. I watched this movie at my friends house cause this other kid brought it over. I was about to hurl halfway through because it was so pathetic. NOTHING IN THE WHOLE MOVIE WAS FUNNY. We made fun of the kid that brought it over and told him he was gay. NEVER EVER SEE THIS MOVIE.

A film that never gets old, I've been watching "Spaceballs" since I was a kid, and I just recently bought the DVD.

"Spaceballs" is a comedy by Mel Brooks which, while creating mini-parodies on several franchises throughout the movie, from "Star Trek" to "Planet of the Apes," it is essentially a spoof on "Star Wars," and it is a hilarious one at that.

The movie revolves around the exploits of Lone Starr and his companion Barf (half man, half dog) in their encounter with Princess Vespa of the Planet Druidia and her robot (droid) Dot Matrix. Druidia has become the target of the Spaceballs, an "empire" of sorts that wants the planet's air supply for themselves, ruled by the evil President Skroob. The adventure leads through many familiar settings of other movies, mainly from "Star Wars."

The comedy never fails and the movie creates several moments that will stick solidly in the viewer's memory, from the jump to ludicrous speed to the climactic Shwartz battle between Lone Starr and the ruthless Dark Helmet. It's a movie that markets watching over and over.

As for the DVD, while not as completely fleshed as some other discs, has plenty more extras than most. The opening menu is great, with eerie music playing, as if it were a serious film... and broken by a cow flying by or an astronaut yelling "Help me!" There is a theatrical trailer, a Making-Of documentary, and an audio commentary by Mel Brooks. Everything is informative and often hilarious. Despite the hardships of the film, you can tell everyone had fun making it.

This DVD is definitely worth your money. While it may run out of laugh-out louds after a while (or maybe it's just me though; I tend to see comedies run out of steam after multiple viewings) it will never cease to amuse you; and the extras will keep you entertained, making this DVD stand the test of time.

I have no idea how the kid at the bottom can call this movie dumb and boring etc. and make fun of the kid who brought it over..this movie was HILARIOUS! at first i was tired and didnt feel like watching anything the first time i saw it then from the beginning writings it sounded good and for the rest of the movie i couldnt fall asleep i wasnt even tired anymore cuz i was laughing so hard! its an awesome movie i recommend it to everone!

I can still remember the first time I watched Spaceballs. I was about 9 years old, at a friend's house for a sleepover. I'd already eaten an enormous bag of potato chips, and drank so much Coke that my joints were aching from the sugar and caffeine. After laughing so hard it hurt for an hour and a half, I threw up and had to go home. To this day, I cannot eat plain potato chips without getting nauseous, and I have Mel Brooks and Spaceballs to thank for it.

Spaceballs, like Brooks' other movies (Blazing Saddles, Young Frankenstein, and Robin Hood: Men in Tights) is a spoof of all things SciFi - and the ridiculous (ludicrous?) marketing blitz surrounding movies like Star Wars. Plot is unimportant: Lone Star, a kind of space cowboy who drives around in a Winnebago with wings, has to rescue Princess Vespa, a snob who ran away on her wedding day, and save her planet from the Spaceballs, an evil race that wears gigantic Magic 8 Balls on their heads (and rear ends, too). The movie is a collection of scenes and jokes from different science fiction and action movies popular in the 1970s and 1980s, some of which border on the inanely stupid and some of which (Pizza the Hut comes to mind) are still funny today.

It's a good and funny movie, if your idea of good is what a 9-year-old boy at a sleepover would find good and funny. It's also a great retro-piece for us children of the 1980s, and is a relatively inexpensive DVD for the fond memories it elicits. The DVD itself is great: a tight-as-nails video transfer and a solid 2.0 sound track to match. Brooks' commentary can be funnier than the movie, although his Jewish jokes get a little old after a while (especially if you're seen them done over and over in his films.)

At this price, it's a hard disc to beat. There is a rumor that MGM plans to revisit this movie along with several of Brooks' other films sometime in mid-2002; if you can't wait that long, 12 bucks is a pittance for a transfer this good and a commentary track this entertaining, even if the movie has lost a little of its shine as we've grown up.

Let the Schwartz be your guide, if you can't decide.

The Planet Spaceball has a problem; They're slowly running out of air. However, they have a plan; Capture Vespa(Daphne Zuniga), the Princess of their peace-loving neighbor planet Druidia, which would force their father, King Roland(Dick Van Patten), to give them the combination to the air shield, which underneath contains 10,000 years of fresh air. Instead, the Princess and her droid Dot Matrix(Voice of Joan Rivers), running away from her wedding to Prince Valium(JM J.Bullock), they find her. After being offered $1 million spacebucks, which they need to pay off gangster Pizza the Hutt(Dom DeLuise), space pirate Lonestarr(Bill Pullman)and his half dog/half man sidekick Barf(John Candy)go to stop the evil Lord Dark Helmet(Rick Moranis)and Spaceball President Skroob(Mel Brooks)and along the way, Lonestarr learns the ways of the Schwartz from the everlasting know-it-all Yogurt(Mel Brooks)

This movie, along with "DRACULA DEAD AND LOVING IT" is Mel Brooks at his best. It's fricking hilarious!! Bill Pullman is great as Lonestarr, a spoof combination of Han Solo and Luke Skywalker, Daphne Zuniga gives her all as Princess Vespa, John Candy is hilarious as Barf, Joan Rivers is decent as Dot Matrix, Rick Moranis is downright classic as Dark Helmet, a wimpy puny spoof of Darth Vader(He's the funniest guy on this movie!!!)and the rest of the cast is average.

Highly recommended as one of Mel Brook's best and with lines like "I am your father's brother's nephew's cousin's former roommate", "You are to refer to me as idiot, not you captain!", you won't stop laughing. So see this film.

AND MAY THE SCHWARTZ BE WITH YOU!!

I have no idea how the kid at the bottom can call this movie dumb and boring etc. and make fun of the kid who brought it over..this movie was HILARIOUS! at first i was tired and didnt feel like watching anything the first time i saw it then from the beginning writings it sounded good and for the rest of the movie i couldnt fall asleep i wasnt even tired anymore cuz i was laughing so hard! its an awesome movie i recommend it to everone!

This is one unique motion picture; a film noir the likes of which you've never seen before nor are likely to see again any time soon. Like "Jeopardy," the TV game show, "Memento," written and directed by Christopher Nolan, begins by giving you an answer (not to be confused with "the" answer), then lets you try to fill in the question. The story, told backwards (beginning with the end, the scenes are presented in reverse chronological order) is about a man named Leonard Shelby (Guy Pearce), who after suffering a traumatic blow to the head during an incident involving his wife (Jorja Fox), can no longer create new memories. Though he can remember everything up to the time of the incident, his short term memory lasts no longer than fifteen minutes, which renders him somewhat incapable (as you can imagine) of functioning normally. Which makes his current preoccupation especially difficult-- tracking down the man who did this to him.

Ensconced in a cheap motel while he attempts to sort out his new life, Leonard must rely on Polaroid photographs and quickly scribbled notes to keep himself in the game. The particularly pertinent information he uncovers he tattoos on himself (a man's initials, a license plate number, whole sentences that remind him what he's after), thereby insuring that no vital piece of the puzzle that is now his life will be lost. But it's a tricky business, especially when it comes to remembering who he can trust. All he has to go on are his instincts and his notes; and constantly having to deal with people he's just met-- even if it is the same ones, over and over again-- puts him in a perpetually vulnerable position. He knows there are those who would exploit him because of his condition, so along with everything else, he has to keep his guard up every minute. How can he know who to trust when everyone he deals with is a stranger? It's a sticky wicket, to be sure; but he's determined to play out the hand he's been dealt, one way or another.

Pearce gives a solid performance as Leonard, a guy to whom the phrase "living in the moment" takes on a whole new meaning. He makes Leonard convincing by never overplaying him, and by maintaining a kind of subtly reserved resignation laced with tentative anxiety; traits you would expect of someone in his condition. And that Pearce can make that critical connection with the audience, making Leonard someone to whom they can relate, is especially important, as this is a real "What would I do in that situation?" kind of film.

Also very effective is Carrie-Anne Moss as Natalie, the woman whom Leonard may or may not be able to trust. Natalie becomes something of a mystery within the mystery, as she comes across as rather enigmatic initially; one of those characters you can't quite figure out, which allows you to identify with Leonard even more, because you know he's trying to decipher her motives, as well. The same can be said for Teddy, played by Joe Pantoliano, who becomes another constant enigma in Leonard's life. It's another case of "Who is this guy, really?" and, again, along with Leonard, it keeps you guessing until the end-- which is really the beginning. But it's that kind of movie; a first rate mystery, from end to beginning (and when you see it, you'll understand). At any rate, by the time it's over you have a pretty good idea of what fits where. Natalie, at least, tips her hand at one point; Teddy, though, is a bit tougher to figure out. And if you don't believe me, just ask Leonard.

The supporting cast includes Mark Boone Junior (Burt), Stephen Tobolowsky (Sammy Jankis), Harriet Sansom Harris (Mrs. Jankis), Callum Keith Rennie (Dodd) and Larry Holden (Jimmy). This is one of those movies that leaves you asking yourself, "Who could think up something like that?" while at the same time you're saying "Yeah! give me more!" To say the least, "Memento" is emotionally involving and thoroughly engrossing, and Nolan wisely throws in some humor to give some respite to the constant, underlying tension (at one point Leonard says to Teddy, "Did I ever tell you about Jankis?" To which Teddy replies, "Only every time I see you."). Reminiscent of "Jacob's Ladder," but taken to the "Nth" degree, this is one film that will keep you talking about it-- and debating-- for a long time. And in another unusual twist, the real irony begins once the film is over, because at that point you're able to identify with Leonard even more-- there's just so much you have to remember to arrive at your final conclusion. Your best bet? Watch it again. That's the magic of the movies.

solidly crafted, comparatively thoughtful exploration of the problems of loss and memory disguised as a crime thriller--kind of like a lighter, less surrealistic version of "last year at marienbad."
the narrative backmasking, cinéma vérité techniques and soft peddling of its melodramatic aspects didn't grab too much box office (or academy award nominations), but the film has managed to gain a wider audience based on it's artistic merits: some subtler reflections on the nature of the detective as icon and genre, the contradictions of the filmatic urban avenger and some engaging acting performances--the enigmatic, chameleon-like guy pearce, a suitably sullen carrie-anne moss and a cheerfully perverse joe pantoliano.
actually watching it provides the kind of jolting calm effect akin to last year's other under-rated, alienation-effect piece, "the man who wasn't there."
the movie doesn't go for cheap shocks or pat answers and hence, requires a modicum of intellectual engagement--quite a change from being beaten over the head with grand mal digital explosions and third-grade fart jokes. "memento" is the kind of patient, emotionally mature film you don't see too much of anymore (at least at your local gigaplex).

Possibly the most amazing film I've ever watched! And the end... OMG WTF!!!! If you like thinking movies, you dont even need to bother renting it GO BUY IT!!! If you dont like thinking movies, you may want to keep away from this AMAZING THOUGHT PROVOKING movie.

I recently bought this Limited Edition DVD set because I love the film and wanted to watch all the extras that comes with the DVD.

When I got the DVD, it was beautifully design. But when it comes time to play it. Horror! Though the DVD was designed to be viewed like a mediacal file, it was a terrible way to navigate through to get to the extra. Disc 1 was pretty easy. One just needs to hit WATCH and the movie will play.

Disc 2 was a different story. After hitting an icon that looks like a book, it led me through a series of question. I managed to find the Director's Shooting Script that correspond to the film in multi-angle. It was pretty cool. But that was it.

I am still looking to see how I can get to the Original short story, the Trailers and all the extra freebie. But at every turn, all I get was a series of questions that leads to more question. Undoubtably it was fun for the first minute. But very quickly, the frustration sets in. I think the designer forgot that they are designing a DVD that is meant to be watched. What's the point of hidding all the features that no one can find. A bummer...and very disappointing as a DVD.

I would give 4.5 stars to the movie but 1 star for the design of the DVD. Save your money and go get the regular edition instead.

The movie was enjoyable, good performance by pierce. You all forget the biggest hole. HOW DOES HE REMEMBER HIS CONDITION!? Good premise is ruined by bad script!

True movie making ability is achieved in a film called Memento. It is almost impossible to review this movie without giving away some key points. The film does not go from start to finish, but rather showing scenes from the beginning and end of the story one after another and the movie ends with the middle of the story. Confused yet? Let me explain.

The movie begins in color with a developed Polaroid picture. The main character shakes the Polaroid, but each time it shakes the picture is fading out. We soon see that the scene is literally going backwards. The next scene is in black and white and a man is in a hotel room. If you are closely paying attention, you will realize that the black and white scenes are moving forward while the color scenes are moving backwards in the story. The movie's conclusion has the black and white and color scenes meeting up in the middle and therefore the movie ends with the middle of the story.

The crazy scene movements bring along an interesting, edge of your seat story. We meet a man, Leonard Shelby, who cannot make new memories after he and his wife were attacked. His wife died, and Shelby has set out to find his wife's killer. Along the way, he has to take Polaroid pictures of almost everything to remind himself of the people he met and the hotel he stays at. There are also tattoos allover his body with various messages. The most important message refers to finding his wife's killer.

This movie is groundbreaking in terms of screenplay and is more than likely the first of it's kind. Infact, the movie was nominated for an Oscar for best screenplay. The actors do a magnificent job of telling the story and making it very realistic.

If you are a moviegoer who needs the story to be spelled out perfectly from start to finish, then you probably shouldn't see Memento. While the storyline is excellent and the acting is great, the style of sequence will leave you frustrated and confused. If you have a great ability to pay attention to details and want a challenge, don't waste time. Buy this movie now!

This is one unique motion picture; a film noir the likes of which you've never seen before nor are likely to see again any time soon. Like "Jeopardy," the TV game show, "Memento," written and directed by Christopher Nolan, begins by giving you an answer (not to be confused with "the" answer), then lets you try to fill in the question. The story, told backwards (beginning with the end, the scenes are presented in reverse chronological order) is about a man named Leonard Shelby (Guy Pearce), who after suffering a traumatic blow to the head during an incident involving his wife (Jorja Fox), can no longer create new memories. Though he can remember everything up to the time of the incident, his short term memory lasts no longer than fifteen minutes, which renders him somewhat incapable (as you can imagine) of functioning normally. Which makes his current preoccupation especially difficult-- tracking down the man who did this to him.

Ensconced in a cheap motel while he attempts to sort out his new life, Leonard must rely on Polaroid photographs and quickly scribbled notes to keep himself in the game. The particularly pertinent information he uncovers he tattoos on himself (a man's initials, a license plate number, whole sentences that remind him what he's after), thereby insuring that no vital piece of the puzzle that is now his life will be lost. But it's a tricky business, especially when it comes to remembering who he can trust. All he has to go on are his instincts and his notes; and constantly having to deal with people he's just met-- even if it is the same ones, over and over again-- puts him in a perpetually vulnerable position. He knows there are those who would exploit him because of his condition, so along with everything else, he has to keep his guard up every minute. How can he know who to trust when everyone he deals with is a stranger? It's a sticky wicket, to be sure; but he's determined to play out the hand he's been dealt, one way or another.

Pearce gives a solid performance as Leonard, a guy to whom the phrase "living in the moment" takes on a whole new meaning. He makes Leonard convincing by never overplaying him, and by maintaining a kind of subtly reserved resignation laced with tentative anxiety; traits you would expect of someone in his condition. And that Pearce can make that critical connection with the audience, making Leonard someone to whom they can relate, is especially important, as this is a real "What would I do in that situation?" kind of film.

Also very effective is Carrie-Anne Moss as Natalie, the woman whom Leonard may or may not be able to trust. Natalie becomes something of a mystery within the mystery, as she comes across as rather enigmatic initially; one of those characters you can't quite figure out, which allows you to identify with Leonard even more, because you know he's trying to decipher her motives, as well. The same can be said for Teddy, played by Joe Pantoliano, who becomes another constant enigma in Leonard's life. It's another case of "Who is this guy, really?" and, again, along with Leonard, it keeps you guessing until the end-- which is really the beginning. But it's that kind of movie; a first rate mystery, from end to beginning (and when you see it, you'll understand). At any rate, by the time it's over you have a pretty good idea of what fits where. Natalie, at least, tips her hand at one point; Teddy, though, is a bit tougher to figure out. And if you don't believe me, just ask Leonard.

The supporting cast includes Mark Boone Junior (Burt), Stephen Tobolowsky (Sammy Jankis), Harriet Sansom Harris (Mrs. Jankis), Callum Keith Rennie (Dodd) and Larry Holden (Jimmy). This is one of those movies that leaves you asking yourself, "Who could think up something like that?" while at the same time you're saying "Yeah! give me more!" To say the least, "Memento" is emotionally involving and thoroughly engrossing, and Nolan wisely throws in some humor to give some respite to the constant, underlying tension (at one point Leonard says to Teddy, "Did I ever tell you about Jankis?" To which Teddy replies, "Only every time I see you."). Reminiscent of "Jacob's Ladder," but taken to the "Nth" degree, this is one film that will keep you talking about it-- and debating-- for a long time. And in another unusual twist, the real irony begins once the film is over, because at that point you're able to identify with Leonard even more-- there's just so much you have to remember to arrive at your final conclusion. Your best bet? Watch it again. That's the magic of the movies.

solidly crafted, comparatively thoughtful exploration of the problems of loss and memory disguised as a crime thriller--kind of like a lighter, less surrealistic version of "last year at marienbad."
the narrative backmasking, cinéma vérité techniques and soft peddling of its melodramatic aspects didn't grab too much box office (or academy award nominations), but the film has managed to gain a wider audience based on it's artistic merits: some subtler reflections on the nature of the detective as icon and genre, the contradictions of the filmatic urban avenger and some engaging acting performances--the enigmatic, chameleon-like guy pearce, a suitably sullen carrie-anne moss and a cheerfully perverse joe pantoliano.
actually watching it provides the kind of jolting calm effect akin to last year's other under-rated, alienation-effect piece, "the man who wasn't there."
the movie doesn't go for cheap shocks or pat answers and hence, requires a modicum of intellectual engagement--quite a change from being beaten over the head with grand mal digital explosions and third-grade fart jokes. "memento" is the kind of patient, emotionally mature film you don't see too much of anymore (at least at your local gigaplex).

Possibly the most amazing film I've ever watched! And the end... OMG WTF!!!! If you like thinking movies, you dont even need to bother renting it GO BUY IT!!! If you dont like thinking movies, you may want to keep away from this AMAZING THOUGHT PROVOKING movie.

Based on a true story that unfolded behind-the-scenes on the CBS tv series "60 Minutes", Russell Crowe (L.A. Confidential) plays a scientist, Dr. Wigand, now a teacher, who use to work for a tobacco company. The producer, Lowell Bergman (Al Pacino) wants him to do an interview for 60 Minutes, however Dr. Wigand life ends up in danger. Someone is stalking him around the new house and sends a threat to kill by email. Christopher Plummer plays "Mike Wallace". Lidsay Crouse (All The President's Men [1976], Places In The Heart [1984]) also has a role. Russell Crowe gained 30 pounds for the role and was nominated for an Academy Award. Christopher Plummer was also nominated. The next year Crowe got back in perfect shape for the film "Gladiator" (2000) and won the Academy Award for Best performance by An Actor. Then the next year, he was nominated again for an Academy award for "A Beautiful Mind" (2001). Many people thought he should have won for outstanding performance by an actor for A Beautiful Mind. I'm sure Russell Crowe will be nominated again for an Academy Award in the future, perhaps sooner. He is considered the most modern, versitile and talented actor of our time. DVD includes a seven-minute production featurette, go inside a scene, read notes to actors, read the script, view the scene, and rated "R" theatrical trailer. Thanks for filming in Louisville, Kentucky and the Seelbach Hotel.

Not 10 minutes into Michael Mann's "The Insider," CBS "60 Minutes'" reporter Mike Wallace (Christopher Plummer) launches into a tirade at the notion that someone might control one of his interviews. His target begins as an Arab gunman protecting his leader, then transforms to everyone in the room. Wallace storms off by himself. The gunman rescinds his demands. And quietly, carefully, the "60 Minutes" producer Lowell Bergman (Al Pacino) approaches Wallace to see if he's "warmed up."

"I've got my heart going now," Wallace says.

The scene sets the perfect tone for the "The Insider," an unflinching look at modern journalism. After that, can we look at Wallace straight? When, in another tirade, he accuses a corporate drone of strong-arming him, is he, in fact, strong-arming her? When he cries, are his tears real? And if Mike Wallace is an icon in this business, what does that say about the ethics of everybody else?

Mann takes those questions and applies them to the trials of Jeffrey Wiegand (Russell Crowe), a tobacco whistle-blower whose interview with "60 Minutes" was delayed for more than three months because of CBS's fear of lawsuit. Wiegand, under legal pressure from Big Tobacco, loses everything in the process: his wife (Diane Venora), money, reputation, freedom. And CBS hangs him out to dry.

The specific details of exactly what Wiegand knew - laid out nicely in the Vanity Fair piece "The Man Who Knew Too Much" - are inconsequential in the movie, for they merely confirm what we've supsected for half a century. More provocative is Mann's two-fold approach that shows Wiegand's downward spiral, and Bergman's fight to keep the interview intact.

The film's second half proves it, as "The Insider" shifts to a behind-the-lies look at the CBS decision and Bergman's counteroffensive to get executive producer Don Hewitt (Philip Balker hall) and Wallace back on board. Bergman's crusade is a little simplified - Pacino's performance plays up the "one-man-and-his-mic" fantasy - and yet because Wiegand's livelihood is at stake, we root hard.

Mann, a master technician, jams the camera up in everybody's face to create intimacy rare in a movie this big Cinematographer Dante Spinotti has always been superb, and the visuals are crisp and have a full-bodied atmosphere to them.

And then there is Russell Crowe, in the role that put him on the A-list. Wiegand, a brash, sometimes compulsive personality, is played body and soul by Crowe as a determined, principled man who refuses to be pushed around.

"All the President's Men" got most of its thrill in how it utilized the anonymous insider "Deep Throat." This time, we know exactly who Deep Throat is, and how, unlike the 1970s, he doesn't call the shots anymore. That's how much journalism has changed.

Based on a true story, The Insider chronicles the personal and professional trials of Jeffrey Wigand, a top scientist and tobacco industry insider possessing knowledge that, if made public, would devastate "big tobacco." He's a family man with a wife and two young girls. He's also unemployed thanks to a sudden and unceremonious dismissal by cigarette maker Brown & Williamson. That's when he meets Lowell Bergman. Chasing information for an unrelated story, the 60 Minutes producer contacts Wigand for his technical expertise. The more Bergman chats with Wigand, the more he senses the doctor carefully sidestepping an even bigger story. Will Wigand speak up and violate the confidentiality agreement he signed with Brown & Williamson? How far will that corporate empire go to protect its interests?

Wigand, already suffocating beneath the weight of his awesome secret, is pushed to the limit when his former employer questions his integrity and threatens his family. Bitterness, anger and a concern for the public welfare lead Wigand to tell his story in court and as a taped television interview, both exposing the tobacco industry's deliberate manipulation of nicotine. Wigand risks his family, his reputation, lawsuits and possible jail time to release this information. But before the segment can air on 60 Minutes, CBS gets cold feet. The insider is hung out to dry. Fortunately, Bergman refuses to accept defeat. He works the system in a desperate attempt to get the truth out, fighting as much for journalistic freedom as for public safety and his new friend.
The Insider is a methodical drama about moral imperatives. No car chases. No sleazy sex scenes. It follows flawed, yet principled people as they strive to do what they believe is right, regardless of the consequences. Outstanding performances by Crowe and Pacino--ranging from explosive passion to brooding introspection--support the rest of this riveting "man against the system" story. In fact, the duo battle two greedy behemoths. The first is a multibillion-dollar tobacco industry. The second is CBS, a multibillion-dollar media conglomerate more concerned about a pending merger than in airing the most important public-health story in recent history. Unfortunately, those worthwhile character studies and history lessons are shrouded in obscenities that linger like a cloud of second-hand smoke. It's toxic and it stinks. Stay out of the theater. Resist the temptation to rent this movie on home video. Rather, wait for The Insider to air on prime-time television and pray the networks filter out the inappropriate language.

The Insider was an amazing film with a great performance by Russell Crowe while Al Pacino gives his usual over the top performance (which for the most part works in this movie). Although the story could've ended up being another sappy Hollywood "pus-job" as someone else put it. Michael Mann uses his great directing skills to turn it into much more. He studies the role ethics play in business and doing the right thing vs. protecting yourself or your family. The only gripe I have with Mann is his choice of music in the film. It's okay most of the time, but in the end when Al Pacino makes his exit to a bass laden rap/techno fusion soundtrack I'd had enough. But the rest of the film is so good I added this movie to my collection a couple days after renting it.

The DVD transer is good and the sound is good too, but the extras are dissapointing. What they call a making of featurette is actually just a really short (under 10 minutes) segment with a couple interviews. A great film that didn't get the treatment it deserves on DVD. Oh well, if you're a big fan of the film it'll probably be worth it.

Not 10 minutes into Michael Mann's "The Insider," CBS "60 Minutes'" reporter Mike Wallace (Christopher Plummer) launches into a tirade at the notion that someone might control one of his interviews. His target begins as an Arab gunman protecting his leader, then transforms to everyone in the room. Wallace storms off by himself. The gunman rescinds his demands. And quietly, carefully, the "60 Minutes" producer Lowell Bergman (Al Pacino) approaches Wallace to see if he's "warmed up."

"I've got my heart going now," Wallace says.

The scene sets the perfect tone for the "The Insider," an unflinching look at modern journalism. After that, can we look at Wallace straight? When, in another tirade, he accuses a corporate drone of strong-arming him, is he, in fact, strong-arming her? When he cries, are his tears real? And if Mike Wallace is an icon in this business, what does that say about the ethics of everybody else?

Mann takes those questions and applies them to the trials of Jeffrey Wiegand (Russell Crowe), a tobacco whistle-blower whose interview with "60 Minutes" was delayed for more than three months because of CBS's fear of lawsuit. Wiegand, under legal pressure from Big Tobacco, loses everything in the process: his wife (Diane Venora), money, reputation, freedom. And CBS hangs him out to dry.

The specific details of exactly what Wiegand knew - laid out nicely in the Vanity Fair piece "The Man Who Knew Too Much" - are inconsequential in the movie, for they merely confirm what we've supsected for half a century. More provocative is Mann's two-fold approach that shows Wiegand's downward spiral, and Bergman's fight to keep the interview intact.

The film's second half proves it, as "The Insider" shifts to a behind-the-lies look at the CBS decision and Bergman's counteroffensive to get executive producer Don Hewitt (Philip Balker hall) and Wallace back on board. Bergman's crusade is a little simplified - Pacino's performance plays up the "one-man-and-his-mic" fantasy - and yet because Wiegand's livelihood is at stake, we root hard.

Mann, a master technician, jams the camera up in everybody's face to create intimacy rare in a movie this big Cinematographer Dante Spinotti has always been superb, and the visuals are crisp and have a full-bodied atmosphere to them.

And then there is Russell Crowe, in the role that put him on the A-list. Wiegand, a brash, sometimes compulsive personality, is played body and soul by Crowe as a determined, principled man who refuses to be pushed around.

"All the President's Men" got most of its thrill in how it utilized the anonymous insider "Deep Throat." This time, we know exactly who Deep Throat is, and how, unlike the 1970s, he doesn't call the shots anymore. That's how much journalism has changed.

Let me preface this review by saying that "The Insider" is the only DVD in my collection that I purchased WITHOUT having seen the film beforehand. The reasons? Michael Mann, Al Pacino and Russell Crowe. With names like these credited to a motion picture, it's almost a can't-miss situation.

I wasn't disappointed. Many people seem put off by the film's overlength. I say if the movie has you in it's grasp dramatically then it's more for your money... Russell Crowe is absolutely rivetting as the flawed protagonist. He expresses more with his facial expressions and subtle eye movements than most actors can by screaming dialogue and flailing their arms about. There is a priceless scene towards the end where a scruffy, pathetic Wigand comes undone in a hotel room - ethereal, haunting and compelling.

The always-dependable Al Pacino complements Crowe's implosive performance with his own passionate portrayal of 60-minutes producer Lowell Bergman. Pacino's Bergman struggles hard against forces aligned against journalistic integrity: corporate tobacco's smear campaign against Wigand, the pressures posed by CBS not to air the news segment, not to mention the lack of support by his comrades. Both Bergman and Wigand deal with the pressures differently within their own element and when they clash it is drama of the highest caliber. Outstanding supporting performances by Christopher Plummer as Mike Wallace and Philip Baker Hall as Don Hewitt add icing to the cake.

Michael Mann builds an air of suspense and paranoia in ways that few directors can. Scenes such as those of Wigand at a golf-driving range and Wigand being woken by his daughter in the middle of the night provoke tension. As a viewer, I could relate to Wigand's claustrophobia and his fear for his family. Mann accomplishes this with flair and style to spare with arty close-ups and slow motion, hand-held camera shots and an absolutely breathtaking score by Lisa Gerrard and Pieter Bourke (- Any wonder that their music appears on Crowe's next film, "Gladiator"?)

I loved this movie. Please see it with an open mind, and not just the "Gee, smoking is bad for you... DUH." attitude. You won't be sorry.