Toni-Collette Movie Reviews

If you're not a Jane Austen fan, but enjoy a contemporary romance-comedy flick, this movie is a must.

Granted, the first few minutes are tedious: there is much information to cover to get you up to speed, and if you look at the directing, it looks as if only one camera was used to film the opening (there are no close ups or different angles). But hang tight. The fun is just beginning!

Paltrow plays a delightful Emma, endearing and at the same time madening. Northam plays a wonderfully reserved but passionate Mr. Nightly. Play close attention to the scenes when they're together, catch his phrasing, subtle eye movements, his body language around her. He is in pain and you can feel it! Oh, Wonderful! Just what a romance should be.

As others have mentioned, Miss Bates is wonderful, as are Mr. and Mrs. E.- I, also, found the Harriet Smith character dull, and Jane Fairfax seemed to have stepped into the wrong movie. But all in all, for those of you who are non-Jane-Austen-Purists, you will find yourself delightfully surprised.

By the way, my brother recommended this movie to me back when it was still in the theater. He really liked it (went with the wife). And his favorite movie last year was The Matrix.

Being a die-hard Austen fan, I couldn't resist watching this movie. Emma Woodhouse's story has always been my favorite of
Austen's efforts, and I am always glad to see her work brought to the screen. I was VERY pleased with this film.

Casting was well done. Northam provides a sturdy, but not overly-stern, Knightley, and Paltrow does an amazing job of convincing us that she is, indeed, British in her portrayal of Emma. Her accent is nearly flawless, and I felt that she truly captured the personality of Austen's most spoiled heroine. The sets and lighting are bright, airy, and perfectly suited to the comedic approach taken by this particular director. The scenes are edited just brilliantly. Each scene flows seamlessly from one to another, and the pace of the plot runs along just perfectly. It moves fast enough to keep everyone interested and slowly enough to make sure that everyone has enough time to absorb what's going on.

The criticism I've heard most often is that the film really only touches on the Jane Fairfax/Frank Churchill subplot for the briefest of moments. I did not find that to be injurious to the film. It's plain, while watching this version, that the director wanted to keep the story light and funny. Adding Jane and Frank's saga would have done two things: First, it would have seriously darkened and dramatized the bouncy and bright atmosphere of the entire film. Second, it would have taken the spotlight off of Emma Woodhouse as the focus of the story. I felt that, given the abbreviated length of time that a movie has in which to communicate a story...the omission of Frank & Jane's affair was a wise choice.

The second criticism I've heard of the film is that it's just too clean and "pretty" to be accurately representative of Regency England. Again...this didn't bother me. The focus of this film is NOT to be true to history. It is not a Regency documentary. It is a fun and aesthetically pleasing depiction of Emma Woodhouse and her friends. It's romantic, funny, charming, and very very pretty to look at.

I loved it.

Janeites need to realize that making an adaptation of a novel isn't always or often successful simply by following a novel line by line. A cinematic adaptation is a re-interpretation of a novel, and the director and screenwriter must make choices for their vision to come to the screen. I have no quibbles with the choices made here. The screenplay is respectful of Austen's work, but intent on being a fast, charming, witty romantic comedy. It succeeds admirably as such. Paltrow is perfect in her role, as are the other cast members. No, it doesn't resonate as deeply and richly as the novel, but on its own terms, it is sublime.

Oh, the Glam Rock era...a magical time in the early 70s when a bunch of ambitious heterosexual rockers wore make up, feather boas, and women's clothes and made a [load] of money by milking a gimmick and convincing the world that they were gay. The overly nostalgic producers of this film bought into the fantasy and gave us this entertaining little rock n' roll fairy tale...

The soundtrack for this movie is incredible (featuring songs by Mott the Hoople, Gary Glitter, Lou Reed, and other classic acts that produced many great tunes OTHER THAN the ones you hear on American FM radio...so you get to hear something besides "All the Young Dudes", "Rock n' Roll Part 2", "Walk on the Wild Side", and "Bang a Gong"). Even the original songs written for the movie are good in a pseudo-Bowie kind of way...that Brian Slade (Jonathan Rhys Meyers) can REALLY sing, as can Kurt Wild (Ewan McGregor). But, you know, some REAL Bowie songs would have been nice!

OK, back to the film! The acting is good without exception, with the strongest performances given by McGregor as the Iggy Pop inspired Kurt Wild and comedian Eddie Izzard as Brian "Maxwell Demon" Slade's sleazy manager. However, a sloppy plot involving Slade's faked murder (as a publicity stunt), a love affair between Wild and Slade (based upon unfounded legends surrounding Bowie's flings with Iggy in Germany in the late 70s), and a journalist's (played by Christian Bale) quest to solve the "mystery" of Slade's disappearence ten years after the fact collectively serve to really screw things up! On top of all this, it is revealed that the journalist once had a fling of his own as a glam-crazed male groupy with Wild. The film flashes back and forth from the 70s, 80s, and 60s SO MANY TIMES that you'll be saying to your self "WHAT THE HELL?" Finally, our writer protagonist figures out that straight-laced 80s pop icon Tommy Jones (a fan of the conservative "President Reynolds") is actually Brian Slade in disguise...hey, don't blame me, I didn't write this stuff! I took the whole Tommy Jones thing as a jab at Bowie for "selling out" :)

But the subplots don't end there! There's more! The film actually begins in the 1850s when aliens leave Oscar Wilde on his (adoptive?) parents' doorstep with a mysterious emerald brooch that is discovered 100 years later on a school playground by a closet homo named Jack Fairy that has just had the beat out of him by his school mates. Well, Jack grows up to be an underground, cross dressing, avant garde icon and Brian Slade ends up with the "magical" brooch...which he in turn passes on to American shock rocker Kurt Wild, who in turn passes it on to our journalist hero in the 80s right before he discovers that Tommy is indeed Brian...well, I suppose the message here is that you have to be gay in order to be creative and inspired (hey, Michael Stipe was an executive producer, so you KNOW that a lot of wishful thinking is going on!).

In short: the music and acting are so good that the stupid story and crummy plot are almost forgiveable! Worth a viewing, but don't expect any kind of historical accuracy.

This is a very different movie when compared to the other stuff that's being released lately, and that's a great thing!

If you've read any of the other reviews, you already know that the story focuses on glam rock. The visuals in this video are superb and exciting. The music is among the best I've ever heard.

I was born in 1982, so the whole glam rock craze had come and gone long before I was around. Sometimes I wish I'd lived back then! However, just because I didn't live it, that doesn't mean I can't enjoy it.

Velvet Goldmine has the best kiss I've ever seen in a film, ever. You'll know the one I'm talking about- it involves Curt and Brian. I personally thought it was beautiful.

I was satisfied with this, plain and simple. It's one of those movies that lasts long after it's made- just like glam rock! I think it's for people who are a bit different and don't fit in with the mainstream. That's part of the reason I love it so much.

It sort of reminds me of Rocky Horror Picture Show, which was somewhat glam (I guess in a very weird way, perhaps!)

If you like the movie, you might want to get the soundtrack, too.

Remember to sprinkle glitter liberally on *everything!*

This movie is great for people who like glam rock and music. It has 2 great actors in it(Jonathan and Ewan), but it's not a family film. Kids, don't watch with parents, parents, don't watch with kids. 1 of my favorite film, with a great band in it(It has 2 real musicians in the creatures band). I highly suggest it.

John Goodman and Sam Neil make up a stellar cast in this nostalgic crime film. Set in Australia in the year 1969 it is the story of a crime ring operating slot machines out of night clubs. When Jimmy, a rival mafia man from the states, sends his gangsters Sal and (John Goodman) to Australia to get a piece of the pie trouble ensues. Barry is the local head of the slot ring and controls his town and the police (Sam Neil). Freddy is the local rival crime boss looking to make a deal with the Americans. Brent is Barry's nephew who's just come back from Vietnam looking to make big money. No one knows for sure where the others loyalty lies in this caper. Fairly well done independent film I would recomend viewing. David Caesar wrote and directed this movie and I had not seen a gangster movie from Australia before so it was an enjoyable watch. The sledge hammer scene and the outback pig hunt are my favorite moments in this picture. John Goodman was excellent and every member of the cast gave good performances.

Good movie- But if you are interested in another great Aussie Gangster film starring Heath Ledger and Bryan Brown- Hunt down "Two Hands", you won't regret it- unfortunatly,as yet it is not available on Amazon.

Didn't expect much and I was pleasantly surprised. Nice picture quailty, comical characters, good soundtrack. Had a nice funky attitude that was refreshing in a stale atmosphere of gangster movies.

Excellent funny movie about efficiency consultant, Hopkins, that goes to evaluate an Aussie shoe factory, and eventually ends up saving it. The owner is an idealistic capitalist who attempts to shelter employees from external changes by losing money. Eventually he has to face the music or else all his employees will lose their jobs. Very timely movie given all the talk about downsizing.

To start: this movie is HORRIBLE! Everything about is terribly done. An added side note: THIS MOVIE FREAKED ME OUT! I don't know what it was about it but it's kinda creepy

I first heard of this film in a preview while going to see a disney movie in the theatres. I had looked foward to seeing it, for the preview effects were stunning. I was dissappointed I could not find it (it never came to our theatre), however, a year or so later I found the VHS version and settled in to enjoy the film.

I was hardly disappointed. The visual effects dazzled my eyes--it was refreshingly different from standard Disney animation. It was wonderful to see something "new", though I understand the original creator took many years to compile this film. I also love the songs--"Am I feeling love" is especially heart rendering. "She is more than this" often rings in my head, also, and I don't mind.

There were a few disappointing elements--sappy names--what king, even a sleepy, dimwitted-looking one like the king of bagdhad, would name his daughter "Yum-Yum?" ESPECIALLY when she was drawn dressed for the part--skimpy see-through clothes and a huge, uh, chest area? It's a sexual reference that is a little too blatant, but the princess seemed intelligent enough, so that made up for it.

The plot could have been better woven, too. It was choppy in some parts, boring in others--the slow talk was mind-numbing at points--but this was far overshadowed by the dazzling display of animation during the fighting scenes--the theif being flung here and there during the battle with One Eye was especially captivating. I loved the thought-overs he had, too--the woman's scream as he came flying through her window, and coming out with a rose in his mouth and thinking "Ohh...naughty." I about busted a gut.

Yes, this movie was well worth watching. If you want to be dazzled by a truly different and unique style of animation (and are willing to overlook a few weak plot points), give this film a try. I certainly found it worthwhile.

It is not necessary to be or have kids to watch this film. While current animated features are turning towards CG to strengthen the film, "The Thief and the Cobbler" remains strong to the original method. The epic spectrum and animation of the feature is something akin to Fantasia, without the baggage that Disney films are associated with. Having renown actors for the voices only makes this animated film that much more amazing.

This Film is one of those that only the Critics would love.
Believe it or not, on my First view of HOURS, I did not know that Virginia Woolf was played by Kidman. I just knew that who-ever it was had been truly Dreadful.

As good as the Artistic production is on this Work, Kidman is just Plain Awful.

And Just as I Loved The Start of SCREAM because Drew was Done away with, it was brilliant that Kidman's Character was appropriately Dispatched.

Such a waste of Space for these Hours.

Meryl Streep, Nicole Kidman, Julianne Moore, Stephen Dillane, John C. Reilly, Ed Harris, Miranda Richardson, Allison Janney, Claire Danes, Jeff Daniels, Eileen Atkins, Toni Collette, and Claire Danes. Even with this cast, though, I couldn't get myself to give this film a 10. For some reason, I felt unattached to the Nicole Kidman - Stephen Dillane segment.

Not surprisingly, I was most affected by the Meryl Streep - Ed Harris segment. I thought that their unrequited love, which is brought to both characters attention constantly, was genuinely constructed by all the characters involved. It shows how this unrequited love affects not only Ms. Streep and Mr. Harris, but also Ms. Janney and Mr. Daniels. Everyone in the segment knows that Ms. Streep and Mr. Harris should have been together, and that in most intimate ways, they are.

The segment that I found myself most drawn to was the Julianne Moore - John C. Reilly segment. Watching Ms. Moore hide her true feelings from her son and Mr. Reilly was heartwrenching. And while Mr. Reilly has the face of a true character actor, I am constantly amazed at the emotions that come across on Ms. Moore's face. She has a face as smooth and beautiful as a Michaelangelo statue ... a porcelain skin too beautiful for words. And yet she manages to use this face as an awesome tool in her considerble acting resource "closet". This becomes very clear as her face is hidden beneath latex in later scenes. Underneath the latex, she becomes less interesting and lucky for us director Stephen Daldry notices this as well and keeps that scene as short as possible.

Unfortunately Ms. Kidman does not fare as well. Her performance - and that of Stephen Dillane - is great, no doubts about it. But for some reason I was strangely uninvolved in her segment. I found the other two to be so much less conventional that this segment, even anchored by the great work of Mr. Dillane and Ms. Kidman, seemed somewhat pedestrian. I venture to guess that this segment was the easiest to write and direct.

In the end, I thought it was cool the way Harold Pinter and Stephen Daldry (and, I presume, Michael Cunningham) tied it all together. Thematically it was tied together all the way through, but they really tie it up well.

Perhaps the greatest comment I can give the movie is to say that I am curious to read MRS. DALLOWAY now. That, and that the film would make a great double feature with Ms. Moore's FAR FROM HEAVEN.

I loved this movie! I thought it was superbly done. It reminded me of MAGNOLIA in the way it intertwined the stories together, and how they all came together. It was a very moving, powerful film with EXCELLENT performances. Nicole Kidman was AWESOME as Virginia Woolf and Julianne Moore was mesmerizing. Ed Harris was PERFECT in his role. It is a film that really makes you think, and as you're watching it, you realize that at one point in your life, you have felt like these characters before. I will end up buying this one, and now I want to read the book as well.

Highly recommended!

Changing Lanes, directed by Roger Michell (Notting Hill), is an urban morality tale that centres around a road rage conflict that escalates out of control following a fender bender between an obnoxious yuppie lawyer (Ben Affleck) and a recovering alcoholic (Samuel L Jackson) desperately trying to rebuild his family life. From what should have been an easily resolved accident their row escalates into an obsessive conflict in which the ante is continually upped as they set about bringing misery and revenge to each others lives.

Despite the mixed reviews I found this to be a very intelligent and well-acted movie. Unlike most mainstream Hollywood movies it has both a point and some meaning. It offers a very insightful snapshot of the dog eat dog world that we currently co-exist in, where people are in constant competition with each other and (selfishly) no longer show any thought, courtesy, compassion or consideration for each other. In many ways Changing Lanes is an Indie movie in Hollywood clothing. However, it boasts two strong male leads in Ben Affleck and Samuel L. Jackson, who both portray their opposing characters with depth, range and subtlety. In particular, it is refreshing to see Ben Affleck in something more substantial. The poor guy has taken such a fearful battering from critics since the ill-conceived Pearl Harbour but despite this he has made something of a comeback this year with both Changing Lanes and The Sum of All Fears. Like it or not, Ben Affleck IS a big star with a bright future. Samuel L Jackson, once again shows what a very versatile actor he is. He can be cool, he can be powerful, he can dominate the screen or as he does in this movie he can show a range of depth and subtlety beyond the vast majority of other actors. However, it is Toni Collette (Muriels Wedding, The Sixth Sense, About A Boy etc.) and legendary film producer/Director Sydney Pollack (in a rare acting appearance) that, to my mind, are the stars of this particular show in their respective supporting roles as Affleck's ex-mistress/confidante and boss/father in law. Pollack in particular gives a powerful performance as a charming father figure who switches at the drop of the hat to be a ruthless and vindictive morally corrupt businessman.

If there is a downside to this movie, it's the ending. If this was truly an Independent movie and not a Paramount produced project, then it surely would have had an ending more befitting reality and more befitting the tone of the film, with no redemption for anybody. Instead however, what we get is ultimately a cop-out (Hollywood) and they all lived happily ever after ending. Despite that though, given the worthiness of this tale and the top-notch acting performances from a fine cast, I still think its worth a go and worthy of 3.5 stars. : )

I had reservations about this movie when I read the less than flattering reviews about it, but decided nonetheless to see it for myself. I wasn't disappointed.

Samuel L. Jackson and Ben Affleck play their parts superbly: Affleck as the affluent Wall Street lawyer with a conscience, and Jackson as the blue-collar black man with marital difficulties. Their chance meeting happens when their two cars collide and Affleck unwittingly leaves some important documents with Jackson. The rest of the movie deals with how both men try to punish each other for what they perceive are injustices to themselves.

The film is pretty slow to start, but once you get over the half way mark and the stage is set, the story becomes more engaging. The movie explores what it means to have a conscience in today's dog-eat-dog, humanist society where morality seems to have become relative. Affleck has conflicts about the rightness of his actions when he is told by his bosses to forge the document that he has lost to Jackson. He struggles to find meaning in the world and isn't satisfied by his money hungry girlfriend or boss who both try to dismiss his inner conflict.

Both men's lives become connected by that one incident and it seems almost as if "God has put them in a brown paper bag...and let them have a go at each other" Jackson's hot temper and alcoholism has led to a loss of his wife and children and the accident earlier in the day with Affleck leads to him losing custody over his children.

I would recommend this film to anyone who loves a good 'thinking' movie. A movie that makes you question those rules upon which your life is governed.

As a postscript, if after the movie you are left asking 'what standard have I got to judge
by?' may I suggest Christ's standard.

Coming into this movie I didn't expect very much. Frankly speaking I'm rather indifferent to the dramatic charms of Ben Affleck, and Samuel L. Jackson (in my opinion) hasn't had a relevant performance since Pulp Fiction.
Having said that Changing Lanes is one of the best films I've seen in a long time. It centers around a traffic accident. Affleck (playing a hotshot attorney) crashes into Samuel L. Jackson, a father trying to make it to court on time for a joint custody hearing.
Affleck smugly tells Jackson, "better luck next time," while driving away accidentally leaving behind a crucial file that he needs for court. Affleck spends the rest of the movie trying to get the file back from Jackson.
What drives the movie isn't so much the conflict between Jackson and Affleck, but the inner conflict of each of the players. Each character undergoes a crisis of consciousness during the course of the day, as the file, for each starts to represent the only escape route.
So what begins as a scramble by each to save their own [rear], becomes an unwitting search for redemption. Personally speaking I've never seen Ben Affleck this good, as he takes on his most complex character to date with intelligence and suprising charisma.
Samuel L. Jackson settles in and gives the kind of gruff and beligured earthiness that gives him an everyman quality, as he resists his usual urge for dramatic grandstanding. Samuel L. Jackson probably has not been this good since his star making role in Pulp Fiction.
Changing Lanes isn't so much a thriller as it is a character study with thrilling aspects. It's a movie about changing directions, and changing attitudes, as each man searches to renew his life, by destroying another.

Changing Lanes, directed by Roger Michell (Notting Hill), is an urban morality tale that centres around a road rage conflict that escalates out of control following a fender bender between an obnoxious yuppie lawyer (Ben Affleck) and a recovering alcoholic (Samuel L Jackson) desperately trying to rebuild his family life. From what should have been an easily resolved accident their row escalates into an obsessive conflict in which the ante is continually upped as they set about bringing misery and revenge to each others lives.

Despite the mixed reviews I found this to be a very intelligent and well-acted movie. Unlike most mainstream Hollywood movies it has both a point and some meaning. It offers a very insightful snapshot of the dog eat dog world that we currently co-exist in, where people are in constant competition with each other and (selfishly) no longer show any thought, courtesy, compassion or consideration for each other. In many ways Changing Lanes is an Indie movie in Hollywood clothing. However, it boasts two strong male leads in Ben Affleck and Samuel L. Jackson, who both portray their opposing characters with depth, range and subtlety. In particular, it is refreshing to see Ben Affleck in something more substantial. The poor guy has taken such a fearful battering from critics since the ill-conceived Pearl Harbour but despite this he has made something of a comeback this year with both Changing Lanes and The Sum of All Fears. Like it or not, Ben Affleck IS a big star with a bright future. Samuel L Jackson, once again shows what a very versatile actor he is. He can be cool, he can be powerful, he can dominate the screen or as he does in this movie he can show a range of depth and subtlety beyond the vast majority of other actors. However, it is Toni Collette (Muriels Wedding, The Sixth Sense, About A Boy etc.) and legendary film producer/Director Sydney Pollack (in a rare acting appearance) that, to my mind, are the stars of this particular show in their respective supporting roles as Affleck's ex-mistress/confidante and boss/father in law. Pollack in particular gives a powerful performance as a charming father figure who switches at the drop of the hat to be a ruthless and vindictive morally corrupt businessman.

If there is a downside to this movie, it's the ending. If this was truly an Independent movie and not a Paramount produced project, then it surely would have had an ending more befitting reality and more befitting the tone of the film, with no redemption for anybody. Instead however, what we get is ultimately a cop-out (Hollywood) and they all lived happily ever after ending. Despite that though, given the worthiness of this tale and the top-notch acting performances from a fine cast, I still think its worth a go and worthy of 3.5 stars. : )

I had reservations about this movie when I read the less than flattering reviews about it, but decided nonetheless to see it for myself. I wasn't disappointed.

Samuel L. Jackson and Ben Affleck play their parts superbly: Affleck as the affluent Wall Street lawyer with a conscience, and Jackson as the blue-collar black man with marital difficulties. Their chance meeting happens when their two cars collide and Affleck unwittingly leaves some important documents with Jackson. The rest of the movie deals with how both men try to punish each other for what they perceive are injustices to themselves.

The film is pretty slow to start, but once you get over the half way mark and the stage is set, the story becomes more engaging. The movie explores what it means to have a conscience in today's dog-eat-dog, humanist society where morality seems to have become relative. Affleck has conflicts about the rightness of his actions when he is told by his bosses to forge the document that he has lost to Jackson. He struggles to find meaning in the world and isn't satisfied by his money hungry girlfriend or boss who both try to dismiss his inner conflict.

Both men's lives become connected by that one incident and it seems almost as if "God has put them in a brown paper bag...and let them have a go at each other" Jackson's hot temper and alcoholism has led to a loss of his wife and children and the accident earlier in the day with Affleck leads to him losing custody over his children.

I would recommend this film to anyone who loves a good 'thinking' movie. A movie that makes you question those rules upon which your life is governed.

As a postscript, if after the movie you are left asking 'what standard have I got to judge
by?' may I suggest Christ's standard.

Coming into this movie I didn't expect very much. Frankly speaking I'm rather indifferent to the dramatic charms of Ben Affleck, and Samuel L. Jackson (in my opinion) hasn't had a relevant performance since Pulp Fiction.
Having said that Changing Lanes is one of the best films I've seen in a long time. It centers around a traffic accident. Affleck (playing a hotshot attorney) crashes into Samuel L. Jackson, a father trying to make it to court on time for a joint custody hearing.
Affleck smugly tells Jackson, "better luck next time," while driving away accidentally leaving behind a crucial file that he needs for court. Affleck spends the rest of the movie trying to get the file back from Jackson.
What drives the movie isn't so much the conflict between Jackson and Affleck, but the inner conflict of each of the players. Each character undergoes a crisis of consciousness during the course of the day, as the file, for each starts to represent the only escape route.
So what begins as a scramble by each to save their own [rear], becomes an unwitting search for redemption. Personally speaking I've never seen Ben Affleck this good, as he takes on his most complex character to date with intelligence and suprising charisma.
Samuel L. Jackson settles in and gives the kind of gruff and beligured earthiness that gives him an everyman quality, as he resists his usual urge for dramatic grandstanding. Samuel L. Jackson probably has not been this good since his star making role in Pulp Fiction.
Changing Lanes isn't so much a thriller as it is a character study with thrilling aspects. It's a movie about changing directions, and changing attitudes, as each man searches to renew his life, by destroying another.

Thirty years is a long time to wait to make a sequel, especially when no one is clamoring for one. Director/Writer/Producer John Singleton decided it was about time. The result is a solid, but undistinguished crime drama. The elements of this story have been told so many times that they are becoming hackneyed. A tough, no-nonsense cop fights evil and corruption to bring justice to the streets while often disregarding the law. A spoiled rich kid is trying to get away with murder by hiring a drug dealer to snuff an eyewitness with the help of a couple of dirty cops. This is not vanguard material.

Singleton's direction is good in the action sequences (of which there are plenty) and adequate in the dramatic scenes. In this film, he doesn't bring much innovation to the screen, with very straightforward shots and mundane locations. In an overly reverent gesture to the original film, he brings back Richard Roundtree (the original Shaft) as the current Shaft's (Samuel L. Jackson) uncle and mentor. There is also a cameo appearance by Gordon Parks, the director of the original, and of course, Isaac Hayes theme song is back.

The film is elevated from mediocrity by the acting. Samuel L. Jackson is an outstanding actor and slips on the character of this tough, streetwise cop like a tailored glove. When he's bad, he's very very bad and when he is good, he's almost saintly. Christian Bale also gives a fine performance as the despicable rich kid who thinks his wealth puts him above the law. Jeffrey Wright is explosive as the egomaniac drug lord. The supporting actors are also excellent.

This is an entertaining film despite its lack of originality. I rated it a 7/10. Action junkies add a point or two. This film is extremely violent with a high body count.

Samuel L Jackson is fabulous in this as John Shaft a tough, cynical NYPD detective who resigns in anger and takes justice into his own hands.
Some have criticised the plot for being obvious but I find that there are some unexpected twists that keep the story interesting. The dialogue is solid and the screenplay is very well written. The hard-ass banter between cops and bad guys is deliverd almost universally in a very natural style and really captures the feel of NYC.
Jeffrey Wright is just amazing as Peoples Hernandez and next to Jackson delivers some of the best lines in the movie. His performance alone makes this film worth checking out. Christian Bales is the other bad-guy. He plays the son of a Donald Tump-like real estate developer who commits a racist murder and then uses his money and influence to avoid being brought to justice.
Bales is very good in this role and his scenes with Jeffrey Wright are some of the best in the film.
Buster Rhymes plays Shaft's friend and driver and is also very good.
The action sequences are well done but what makes this film is the dialogue and the trading of insults, etc. between a variety of characters that are New York stereotypes. And while they may be stereotypes they still deliver some really memorable lines.
I've watched this numerous times and know much of it by heart but that doesn't prevent me from continuing to enjoy it.

a great remake with Jackson being the man Shaft. good action with some unexpected turnabouts. Christian Bale is menacing as the racist who kills Mehki Phifer then has to answer to Shaft and Jeffrey Wright is a spectacular badguy as well. a good ride

Thirty years is a long time to wait to make a sequel, especially when no one is clamoring for one. Director/Writer/Producer John Singleton decided it was about time. The result is a solid, but undistinguished crime drama. The elements of this story have been told so many times that they are becoming hackneyed. A tough, no-nonsense cop fights evil and corruption to bring justice to the streets while often disregarding the law. A spoiled rich kid is trying to get away with murder by hiring a drug dealer to snuff an eyewitness with the help of a couple of dirty cops. This is not vanguard material.

Singleton's direction is good in the action sequences (of which there are plenty) and adequate in the dramatic scenes. In this film, he doesn't bring much innovation to the screen, with very straightforward shots and mundane locations. In an overly reverent gesture to the original film, he brings back Richard Roundtree (the original Shaft) as the current Shaft's (Samuel L. Jackson) uncle and mentor. There is also a cameo appearance by Gordon Parks, the director of the original, and of course, Isaac Hayes theme song is back.

The film is elevated from mediocrity by the acting. Samuel L. Jackson is an outstanding actor and slips on the character of this tough, streetwise cop like a tailored glove. When he's bad, he's very very bad and when he is good, he's almost saintly. Christian Bale also gives a fine performance as the despicable rich kid who thinks his wealth puts him above the law. Jeffrey Wright is explosive as the egomaniac drug lord. The supporting actors are also excellent.

This is an entertaining film despite its lack of originality. I rated it a 7/10. Action junkies add a point or two. This film is extremely violent with a high body count.

Samuel L Jackson is fabulous in this as John Shaft a tough, cynical NYPD detective who resigns in anger and takes justice into his own hands.
Some have criticised the plot for being obvious but I find that there are some unexpected twists that keep the story interesting. The dialogue is solid and the screenplay is very well written. The hard-ass banter between cops and bad guys is deliverd almost universally in a very natural style and really captures the feel of NYC.
Jeffrey Wright is just amazing as Peoples Hernandez and next to Jackson delivers some of the best lines in the movie. His performance alone makes this film worth checking out. Christian Bales is the other bad-guy. He plays the son of a Donald Tump-like real estate developer who commits a racist murder and then uses his money and influence to avoid being brought to justice.
Bales is very good in this role and his scenes with Jeffrey Wright are some of the best in the film.
Buster Rhymes plays Shaft's friend and driver and is also very good.
The action sequences are well done but what makes this film is the dialogue and the trading of insults, etc. between a variety of characters that are New York stereotypes. And while they may be stereotypes they still deliver some really memorable lines.
I've watched this numerous times and know much of it by heart but that doesn't prevent me from continuing to enjoy it.

a great remake with Jackson being the man Shaft. good action with some unexpected turnabouts. Christian Bale is menacing as the racist who kills Mehki Phifer then has to answer to Shaft and Jeffrey Wright is a spectacular badguy as well. a good ride