Description

Peter Weller and Judy Davis play a hip couple who open a trendy L.A. Boutique to finance a "civilized" divorce in a biting tale of our times. "The sexiest, smartest comedy this decade has produced" (Harper's Bazaar) Year: 1994 Director: Michael Tolkin Starring:Peter Weller, Judy Davis, Patrick Bauchau ... Read more

Reviews (4)

The best film ever made about LA
Ten years after its release, Steve Martin's LA Story has a cult following for its adept interpretation of vapid and decadent Los Angelinos. Though LA Story came out in 1990 and seems to lampoon the 80s, Michael Tolkin goes way beyond his collaborative work with Robert Altman(The Player) with this pitch black comedy.

The film is way ahead of its time. Hollywood has yet to examine the decadent 90s in any way. Here we have characters who are more Clinton era than American Beauty. Pretty astute, considering that the film was released in 1994!

Look for top performances from Peter Weller, Judy Davis, and great supporting work from Adam West, Sandra Seacat, and a pre-Pulp Fiction Samuel Jackson. Hopefully, some of the great camera work an slick visuals will find its way on to DVD in the near future.

maria ellingsen wasted- i got lost watching it
This film is a mess. It features a load of stars and made no sense at all. The great Icelandic actress Maria Ellingsen appears once or twice and is her exceptonal is wasted in this film. I wouldn't recommend this to anyone.

A brisk stroll through Yuppie hell
Michael Tolkin's "The New Age" was the most scathing movie indictment of the American dream gone Sonoma catalog since Albert Brooks' brilliant satire "Lost In America". "The New Age" re-teams the "Tracy & Hepburn" of indie film, Peter Weller and Judy Davis, who were also the wacked-out couple in "Naked Lunch". Instead of heading off in an RV to go "find themselves", Judy and Peter decide to "simplify" thier over-extended Yuppie lifestyle by chucking it all and opening up a Beverly Hills boutique. Hilarity ensues....right? Actually, the movie takes a more low-key,sometimes cruel, black comedy approach to its subjects as they proceed to go into a tandem midlife crisis. Along the way, most trendy southern California fads are lampooned, recalling the film "Serial", which savaged the Bay Area Yuppie/New Age scene in the same fashion. Good supporting performances abound; the biggest surprise is Adam "Batman" West, who is priceless as Weller's father. West plays the wryly acerbic, aging Lothario with much aplomb.(Where has he been?!) Highly recommended.

I like Michael Tolkin, okay?
This movie meant a lot more to me after I lived in Phoenix, Arizona for a year, which is as far west as I want to go for the rest of my life. It's much more interesting to observe empty, soul-less people from a safe distance. It's funny. See "The Rapture," too. Thanks. ... Read more

Reviews (159)

A grossly under-rated movie that is a lot of fun!
I loved "Intolerable Cruelty." Maybe my expectations were lower since so many reviewers didn't like it. Or, maybe everybody else just missed it. George Clooney is perfect as a lawyer who is, shall we say, a few writs short of a full briefcase. He meets Catherine Zeta-Jones in a divorce case, and instantly and completely falls head over heels for her (and what lawyer wouldn't). Even though he knows she is going to try to get his money, he thinks he has outsmarted her and pursues her anyway. The plot twists and turns from there. But it isn't the plot that makes this movie funny, it's the little things. You've got to pay attention! For example, when George Clooney gets married, the priest lists his law firm after his name. This cracked me up. Plus, the expressions on George Clooney's face are really funny, like his role in "Brother, Where Art Thou?" The characters are all somewhat exaggerated, and this separates "Intolerable Cruelty" from your average comedy. This movie relies on a pretty brutal form of humor, in the same vein but not as rough as "The Fortune Cookie." If you're able to let go of people being nice to each other, you'll be in the right mood for "Intolerable Cruelty." I also think people who have some knowledge of legal processes, either as a lawyer or as a litigant, will find this movie funnier than people who have never experienced this particular joy. "Intolerable Cruelty" is definitely worth a look.

A tolerable 4.75 stars!!
The Coen brothers won me over with the hilarious "O Brother Where Art Thou," so when I saw this film about to be released, I was, shall we say, excited. Add to the mix the always wonderful George Clooney and the marvelous Catherine Zeta-Jones, and you get what promises to be a great ride.
"Intolerable Cruelty" does not disappoint. I came in with high expectations for this film, and I was more than happy with the result. The acting is great. The script is great. The directing is great. It's just a fun, heartwarming movie.
"IC" is filmed with the same muted hues as "O Brother," and the humor is in the same vein, but a little bit more accessible. If you liked "Brother," you'll love this. If you didn't, there's still a chance you'll like it.
Clooney does a great job in his role as Miles; I think he continues to grow as an actor. After the moody "Solaris," it was nice to see him as a romantic, humorous lead. Zeta-Jones, recently of "Chicago" fame, is, if I may quote Clooney's character, "fascinating."
Great job all around to this cast and crew, marvelous film!!

clooney + coens = ???
as long as you realize this is a screwball comedy, it's not SO bad. there are some very funny moments, courtesy of clooney. but there are also many dead spots. and some pretty bad dialogue - ie, could've been written and directed better. an interesting effort from the coens, easily their least idosyncratic film.

Is Diner Food Really That Bad?
Miles Massey (George Clooney) is a ruthless divorce lawyer and Marilyn Rexroth (Catherine Zeta Jones) is an equally ruthless gold-digging wife in this Coen Brothers take on the screwball comedy genre. The film takes place in a slick, shiny and heartless Los Angeles-it's a place with no sympathy for losers. In the old thirties' comedies, there was always an element of humorous class confrontation (and sympathy for losers) that gave the films an edge-there's not enough of it here. If we knew a little bit why Miles and Marilyn were so driven (Miles seems to have a father problem, but we never really learn anything about Marilyn) it could put their behavior into perspective.

The inclusion of an African-American detective is interesting-but he's of so little value to Miles that Miles meets him for lunch in a dingy diner instead of one of the glossier restaurants we see in the film. In the screwball genre, this should be the scene where we see the better, decent side of Miles; we should see that he's a man of the people. But in this film the diner, usually a place of populist wisdom, (and a handy cinematic counterpoint to the empty values of the wealthy characters), is dismissed and ridiculed. It's too bad, because the dowdy patrons of the diner are also surrogates for the ordinary people in the audience. If Miles had met the detective in an upscale restaurant (and taken Marilyn to the diner), that would have told us something about his inborn decency despite his privileged background-then we would have really been on his side. And if we'd been given an inkling of why Marilyn is so money-hungry, we might have more sympathy for her. This film lacks the underlying empathy for ordinary people that the great comedies had beneath their slick facades. This empathy is in the other Coen Brothers films, so it's disappointing not to see it here.

Suprisingly Awful
I was very much looking forward to this film and I was deeply disappointed. With two stars and a plot like this, I thought that the movie would be great. However, the movie couldn't get over soon enough. Very dull throughout. ... Read more

Reviews (11)

A ironic fairytale
Mara Wilson is back from playing her chartacters in Mrs. Doubtfire and has turned into a fairy godmother believer! When, ironicly she gets a boy fairy godmother (played by Martin Short). She needs a wish, her dad has been wanting to be in a show all his life and he has had an audition! All his daughter needs to do now is wish, wish, wish on it and maybe maybe it will come true. Are you a believer? I actually bought this video and I was kind of disappointed in some bits. I still watch it regulary though, it is a funny and fun flick to watch.

Make a wish!
'A Simple Wish' is a cute, fun family film. It's about a young girl named Annabel (Mara Wilson) who wishes for a fairy godmother. Her brother thinks there are no such things as fairygodmothers. Well, Annabel's wish comes half true. Instead of getting a fairygodmother, she gets a fairygodfather, instead! Anyway, soon they meet an evil fairygodmother who they try to destroy. It's very fun and really cute. I saw it on TV and it was very good. All the actors in this film give great performances, and the script is pretty good, too. I definitely recommend this film for families everywhere!

A Simply Magical Movie
This movie was out about a year before my parents finally bought it for me. I simply wanted it because I thought the cover was cool. But when I watched it, I loved it, and I made all my friends watch it when they came over.
The story is about Annabel, played by Mara Wilson, the girl from "Mrs. Doubtfire" and "Matilda." While she is reading a version of "Cinderella" one night, she wishes that she could have a fairy godmother. And she gets one. Except her fairy godmother isn't what she had in mind, because she is actually a man named Murray, played by the hilarious Martin Short.
Murray promises to grant Annabel one wish, and she selflessly decides that she wants her father, a widower, to land the main role in a musical play. But it isn't that 'simple.'
For one thing, Murray has never been a fairy godmother before, and he has a mentionable amount of difficulty with his magic wand. For instance, he accidently takes Annabel to Nebraska and changes a rough-looking man into a gigantic rabbi.
The second thing standing in the way of a granted wish is Claudia, the fairy-godmother-turned-evil-witch played by Kathleen Turner. The witch and her hilarious sidekick are bent on destoying the existence of any other magic than Claudia's to ensure that nothing stands in her way when she decides to carry out some rather evil plans.
The movie is extremely funny, and has lots of great special effects. It is almost impossible to smile as you watch Murray screw up on everything he attempts to do and Annabel bicker with her older brother and her reactions to Murray's awfully-cast spells. So great is the presence of comedy, wittiness, and evil in Kathleen Turner's character that you look forward to the scenes she's in. And so you end up laughing through the movie, marveling at the spell-casting scenes, and silently cheering as the movie proves yet again that good conquers evil. AND throw in an interesting cameo from Terri Garr, one of the supporting actresses in "Tootsie," and you have every bit of a five-star fantasy that's perfect for the whole family.

2 thumbs up!!!!!
This is a really great family movie. I recommend it for anyone to watch. It is really cute and the music is really great throughout the film. I just wish that they would make a soundtrack of the whole songs. I would certainly buy that. It is a must see.

Good
This movie was just good, but why would Martin Short be playing a fairy godmother; he should play a Fairy Godfather. So, I give it 4 1/2 stars, because wouldn't a person not breathe in metal. ... Read more

Amazon.com

Give credit to director Betty Thomas for making the notorious Howard Stern, self-proclaimed "king of all media," into a nerdish but appealing media rebel who loves his wife and family. Even if you hate Stern's rude radio show, you may discover that the underdog charm of this warm, whimsical film (based on Stern's autobiography) turns you into a fan--for the length of the film at least. Stern delivers a winning performance as the clumsy college kid and aspiring disc-jockey-turned-demon-shock-jock, who becomes an unlikely hero as he battles station managers, network executives, and conservative "arbiters of decency" in the name of unfettered bad taste. Mary McCormack is fine as his understanding wife, Alison, and longtime Stern sidekicks Robin Quivers and Fred Norris acquit themselves nicely appearing as themselves. By the end of this smart, funny little film, don't be surprised if you find yourself cheering for the slob. --Sean Axmaker ... Read more

Reviews (76)

Comedic reaction to Howard's action; Fred steals the show
In Private Parts, you get to see Howard Stern's meteoric rise from his humble beginnings to his reign as the King of All Media. You also get to see him meet and recruit his allies in broadcasting- Robin Quivers, Jackie Martling, and...

...Fred Norris, the King of Mars. The "King of Mars" moniker was given to him by Howard for his rather strange & unusual behavior and demeanor. Fred reprises his earlier self & behavior beautifully in Private Parts, which at times would come very close to upstaging Howard's own on-air antics. Fred's performance in some ways reminded me of Christopher LLoyd's portrayal of "Reverend Jim" from the Taxi TV sitcom, a character I found both scary and funny at the same time. Fred has been known to be both as well... even to this day.

Other great moments in the movie were peoples' reactions to what Howard would say on the air. Be it someone listening to the show in his car, the radio management suits at the station, or even Howard's wife Alison, whenever Howard says or plays something that's sure to cause a reaction, it does... with riotous results. It makes those funny moments even funnier.

Enjoy!

The often hilarious autobiography of the King of All Media!
I have been a Howard Stern fan for years now, watching his show as often as I can. I have also wanted to know the story behind him and his colleagues' rise to power. This movie showed plenty of it, but not all of it. It basically summarizes his childhood and early years and shows us some of his influences to become a radio personality. Most of the movie is a flashback panning his lifetime as he moves from small town disc-jockey to well-known local personality to huge radio star. He meets many of his sidekicks and good friends throughout the movie, such as Robin Quivers, Fred Norris, and Jackie Martling. Unfortunately, the flashback cuts off in the mid-80's and doesn't touch at the next ten years of his career. Either way, the movie was able to make us feel sorry and compassionate for who much of society calls the Antichrist. It has its funny moments and some sad moments, but in the end it's a decent comedy. Private Parts has some gross-out humor and a fair-share of nudity. I would definitely not like this movie as much if I weren't a Stern fan, but I am, so I love it.

Score: 7.5/10

Propaganda movie
This is Howard's propaganda movie. Much like Michael Moore, he'd have the world believe he is just an ordinary, average guy who has been wrongfully shamed by the majority of Americans. The most accurate part of this film is the beginning when it shows what a lame pencil-neck geek Howard really is. Here we are, 7 years later and , just like Mike Moore, the truth has come out and Howard is a farce. He is no longer married. He has a model for a girlfriend, and is no longer the "everyman" that this film proclaims him to be. Also, nowadays he accuses the President to be trying to get him off the radio. Funny coming from him. Here's a guy who, as soon as Opie and Anthony started making fun of him when his wife left him, went to his company and put a stop to it by taking them off the air. He says himself on the radio that he runs the company. O and A worked for Infinity- his company. Maybe Howard is right, maybe people are out to get him. After all, it would take one to know one.

Where's the Special Edition???
I think that this film is a comedy classic, with a solid cast (Mary MacCormick, Paul Giamatti, Alison Janney, and a "blink and you'll miss her" Edie Falco), a funny storyline, and is a comedy classic, although it borders on "chick flick" at times, believe it or not. But I think that a lot of people can identify with the social misfit who does well for himself, and overcomes a lot of odds to do what he wants to do and manages to succeed on many levels. The film really showcases Giamatti as Howard's program director (dictator) and it's worth watching him and Howard go back and forth.

But I do hope that they do a special edition on this film, there's a lot of behind the scenes stories that should be told (like doing the radio show and THEN doing the film later that day), as well as hearing MacCormick, Linney and Giamatti talk about their time working on the film, and Howard's own comments about the making of the film. As well as including some of the clips filmed for TV. It's long overdue, Paramount!!!

Something tells me I should have avoided this movie
I actually saw this movie at the theatres when it came out with my best friend Dennis and another friend Dan. All I can say was that this movie did absolutely nothing for me but put me to sleep. This man is pathetic and his radio shows are becoming more and more old and boring. Fast forward to 2004, he is not relevant anymore, in other words, is a has been and is complaining that his brand of raunch radio is being blacklisted by our President which is not true, the real truth is Howard gets old real fast! If you want good laughs that are timeless, I suggest you watch the classic 1979 Chuck Jones animated film The Bugs Bunny/Road Runner Movie instead for laughs. ... Read more

Reviews (3)

A Must See - Two Thumbs Up
I saw the original Broadway play years ago but frankly the movie is much better. Now that we're 20+ years into the AIDS pandemic, it's a little shocking to go back and see how things were in the beginning. However, all is handled nicely and what makes this movie a must see are the actors. Jonathan Hadary is spectacular but the best gem in this movie is Colleen Dewhurst. You will fall in love with her as she explains life. Rent it. Buy it. See it.

beautifully written
Although Larry Kramer's The Normal Heart is listed as the first Broadway production about AIDS, William M Hoffman's As Is was produced on Broadway the same year and won the 1995 Desk Drama Award for best new play and an Obie for Distinguished Playwriting. But whilst The Normal Heart is, to date, yet to be filmed (a version to be directed by Barbra Streisand was aborted after a public falling out between Streisand and Kramer), As Is was made for TV. In his introduction to OutFront, a collection of contemporary gay and lesbian plays, Don Shewer claims that As Is is the best play written about AIDS yet, since it looks at the disease from a social and personal point of view (as opposed to Kramer's political part self-serving autobiography, part jeremiad), and unlike Kramer's unrelenting despondence, Hoffman insists that where there is life, there is hope. The theatrical origins of the play are still in evidence in this cable production, from Colleen Dewhurst's opening and closing one-take monologues to camera as a hospice worker, and the shorthand dialogue style that Hoffman often employs. Director Michael Lindsay-Hogg seems so terrified of the Masterpiece Theatre brand of filmed play that he misguidedly utilises staccato editing and pseudo-documentary confessions, which only make the dialogue seem more theatrical. And the level at which he pitches the score by Peter Matz doesn't help. The studio sets also reveal how underpopulated (and presumably underbudgeted) the project is, and when we get a street scene it's like a breath of air. However with all this said, it is the eloquence of Hoffman's text that rises above the director's misteps. The depth of the play comes from the observed detail of gay lifestyle. The premise is that Rich has returned to his ex-lover Saul after being diagnosed with AIDS, and this returning allows for both a re-examination of the relationship and also the climate that made gay men so susceptible to the virus (though we do see a woman in Rich's therapy group who has been infected by her IV drug-user husband). Adapting his own play, Hoffman has made minor cuts and lost a hotline sequence that I didn't like anyway. In spite of the blackness of the subject matter, he easily interjects humour. The bar scenes are particularly funny in their self-consciousness, and we get the gallows humour of the gay men. Jonathan Hadary originated the role of Saul on stage and here he is magnificent. It's the kind of performance that an actor can easily be defined by, with subtleties and emotion concealed under the guise of a stereotype. Robert Carradine's Rich is less assured. Perhaps these kind of martyr roles are impossible to play, or perhaps it is that the carers of those facing death have the meatier parts since they get to stay. Plus Saul is the one to explain the title. Carradine's face is too much a reminder of his relatives, he isn't believable as a gay man, and his rage seems constricted. Saul's big reaction to Rich's "selfishness" in hospital seems therefore unprovoked. The staging of a fall in the hospital is also reminiscent of the final scene in Camille, which I would like to think is intentional, though I have my doubts. My favourite scene is the one where Rich's shamed brother visits him. The expectation of gay moral superiority is not met and we are touched by the brother's efforts to empathise with someone he realises he does not want to lose. Joanna Miles as Rich's actress friend is warm but has little to do except introduce him to her cousin Chet, (gorgeous Doug Annear) who will break up the relationship, though Hoffman gives short shift to explaining Chet's fate. Lindsay-Hogg lingers on Miles' farewell to Rich in hospital, in the same way he pauses after more than once we are told how gay men have abandoned their infected partners, making a cinematic judgment. Thankfully Dewhurst's appearances let us hear her throaty chuckle.

Beautifully written
Although Larry Kramer's The Normal Heart is listed as the first Broadway production about AIDS, William M Hoffman's As Is was produced on Broadway the same year and won the 1995 Desk Drama Award for best new play and an Obie for Distinguished Playwriting. But whilst The Normal Heart is, to date, yet to be filmed (a version to be directed by Barbra Streisand was aborted after a public falling out between Streisand and Kramer), As Is was made for TV. In his introduction to OutFront, a collection of contemporary gay and lesbian plays, Don Shewer claims that As Is is the best play written about AIDS yet, since it looks at the disease from a social and personal point of view (as opposed to Kramer's political part self-serving autobiography, part jeremiad), and unlike Kramer's unrelenting despondence, Hoffman insists that where there is life, there is hope. The theatrical origins of the play are still in evidence in this cable production, from Colleen Dewhurst's opening and closing one-take monologues to camera as a hospice worker, and the shorthand dialogue style that Hoffman often employs. Director Michael Lindsay-Hogg seems so terrified of the Masterpiece Theatre brand of filmed play that he misguidedly utilises staccato editing and pseudo-documentary confessions, which only make the dialogue seem more theatrical. And the level at which he pitches the score by Peter Matz doesn't help. The studio sets also reveal how underpopulated (and presumably underbudgeted) the project is, and when we get a street scene it's like a breath of air. However with all this said, it is the eloquence of Hoffman's text that rises above the director's misteps. The depth of the play comes from the observed detail of gay lifestyle. The premise is that Rich has returned to his ex-lover Saul after being diagnosed with AIDS, and this returning allows for both a re-examination of the relationship and also the climate that made gay men so susceptible to the virus (though we do see a woman in Rich's therapy group who has been infected by her IV drug-user husband). Adapting his own play, Hoffman has made minor cuts and lost a hotline sequence that I didn't like anyway. In spite of the blackness of the subject matter, he easily interjects humour. The bar scenes are particularly funny in their self-consciousness, and we get the gallows humour of the gay men. Jonathan Hadary originated the role of Saul on stage and here he is magnificent. It's the kind of performance that an actor can easily be defined by, with subtleties and emotion concealed under the guise of a stereotype. Robert Carradine's Rich is less assured. Perhaps these kind of martyr roles are impossible to play, or perhaps it is that the carers of those facing death have the meatier parts since they get to stay. Plus Saul is the one to explain the title. Carradine's face is too much a reminder of his relatives, he isn't believable as a gay man, and his rage seems constricted. Saul's big reaction to Rich's "selfishness" in hospital seems therefore unprovoked. The staging of a fall in the hospital is also reminiscent of the final scene in Camille, which I would like to think is intentional, though I have my doubts. My favourite scene is the one where Rich's shamed brother visits him. The expectation of gay moral superiority is not met and we are touched by the brother's efforts to empathise with someone he realises he does not want to lose. Joanna Miles as Rich's actress friend is warm but has little to do except introduce him to her cousin Chet, (gorgeous Doug Annear) who will break up the relationship, though Hoffman gives short shift to explaining Chet's fate. Lindsay-Hogg lingers on Miles' farewell to Rich in hospital, in the same way he pauses after more than once we are told how gay men have abandoned their infected partners, making a cinematic judgment. Thankfully Dewhurst's appearances let us hear her throaty chuckle. ... Read more

Reviews (11)

A ironic fairytale
Mara Wilson is back from playing her chartacters in Mrs. Doubtfire and has turned into a fairy godmother believer! When, ironicly she gets a boy fairy godmother (played by Martin Short). She needs a wish, her dad has been wanting to be in a show all his life and he has had an audition! All his daughter needs to do now is wish, wish, wish on it and maybe maybe it will come true. Are you a believer? I actually bought this video and I was kind of disappointed in some bits. I still watch it regulary though, it is a funny and fun flick to watch.

Make a wish!
'A Simple Wish' is a cute, fun family film. It's about a young girl named Annabel (Mara Wilson) who wishes for a fairy godmother. Her brother thinks there are no such things as fairygodmothers. Well, Annabel's wish comes half true. Instead of getting a fairygodmother, she gets a fairygodfather, instead! Anyway, soon they meet an evil fairygodmother who they try to destroy. It's very fun and really cute. I saw it on TV and it was very good. All the actors in this film give great performances, and the script is pretty good, too. I definitely recommend this film for families everywhere!

A Simply Magical Movie
This movie was out about a year before my parents finally bought it for me. I simply wanted it because I thought the cover was cool. But when I watched it, I loved it, and I made all my friends watch it when they came over.
The story is about Annabel, played by Mara Wilson, the girl from "Mrs. Doubtfire" and "Matilda." While she is reading a version of "Cinderella" one night, she wishes that she could have a fairy godmother. And she gets one. Except her fairy godmother isn't what she had in mind, because she is actually a man named Murray, played by the hilarious Martin Short.
Murray promises to grant Annabel one wish, and she selflessly decides that she wants her father, a widower, to land the main role in a musical play. But it isn't that 'simple.'
For one thing, Murray has never been a fairy godmother before, and he has a mentionable amount of difficulty with his magic wand. For instance, he accidently takes Annabel to Nebraska and changes a rough-looking man into a gigantic rabbi.
The second thing standing in the way of a granted wish is Claudia, the fairy-godmother-turned-evil-witch played by Kathleen Turner. The witch and her hilarious sidekick are bent on destoying the existence of any other magic than Claudia's to ensure that nothing stands in her way when she decides to carry out some rather evil plans.
The movie is extremely funny, and has lots of great special effects. It is almost impossible to smile as you watch Murray screw up on everything he attempts to do and Annabel bicker with her older brother and her reactions to Murray's awfully-cast spells. So great is the presence of comedy, wittiness, and evil in Kathleen Turner's character that you look forward to the scenes she's in. And so you end up laughing through the movie, marveling at the spell-casting scenes, and silently cheering as the movie proves yet again that good conquers evil. AND throw in an interesting cameo from Terri Garr, one of the supporting actresses in "Tootsie," and you have every bit of a five-star fantasy that's perfect for the whole family.

2 thumbs up!!!!!
This is a really great family movie. I recommend it for anyone to watch. It is really cute and the music is really great throughout the film. I just wish that they would make a soundtrack of the whole songs. I would certainly buy that. It is a must see.

Good
This movie was just good, but why would Martin Short be playing a fairy godmother; he should play a Fairy Godfather. So, I give it 4 1/2 stars, because wouldn't a person not breathe in metal. ... Read more

Reviews (6)

You gotta love it
It is easy to see why this movie has with DVD reached cult status. It is John Woo perfect on the conflict between loyalty and integrity, with only two-thirds of the blood. "I love bananas because they have no bones and I hate peaches, because they have stones" - you gotta love it.

What about the soundtrack?
I wish if someone could help me telling me the names of the groups (or musicians) who make the soundtrack of this movie, because I found it real great.
Thank you.

It's beautifull.
I liked the laid back feel it has.
What I remember most about the movie is the couple and their relationship. I like them because they are witty and strong, and they love each other in a sweet, loyal way that is the total opposite of the saccharine, phony romances I keep seeing in Hollywood films. They are grown-ups and they look like real people and they're charismatic individuals. That's a very needed break from all the bratty, spoiled silly, no-brain teenage movies the movie industry tries (to no avail) to force down my throat.
If it were a samurai movie or something, placed in such an alien and exotic place that your moral code somehow doesn't apply anymore, I wouldn't wonder "Why am I rooting and feeling for a couple or payed assassins?" But although it is placed in our world and our time it's like it's another dimension where it's OK for criminals to be talking to you about morals. They make me want to believe, which just might be the best compliment one can pay to a movie.
I would definitely buy it. And the boss is the giant in Harry Potter.

¿Nothing Personal¿
'Nothing Personal', as this movie was originally and more aptly titled, is a low-key, darkly funny and engaging depiction of a dysfunctional 'family' of professional assassins in the throes of an internal power struggle. Claire (Kyra Sedgwick) and Nick (Stanley Tucci), a killer team with a romantic past, are sent to retrieve a wayward money-runner who has sold-out their boss (Robbie Coltrane). Thrust into the middle of a plot involving shifting alliances, challenged loyalties and crooked self-actualization theory, the attentive veiwer will be rewarded with many small moments that add up to a movie more substantial than it appears at first blush.

Strong points: The Hoebers' taut script; Director Leitzes' willingness to allow us to deduce much of the movie's background story w/out condescending paint-by-numbers scenes or lame expository dialogue; an effective cast featuring Sedgwick and Tucci's gently expressed adult partnership facing an inexorable fate; Philip Seymour Hoffman's unctuously ambitious provocateur; John Ritter's brief but effectively weighty performance; and perhaps most impressive, Robin Tunney's momentum building depiction of the consistently underestimated 'Kitty'.

Weak points: Coltrane's 'Boss' seems a bit scattered and inexplicably motivated; a few loose ends in the plot; a vaguely un-anchored setting devoid of police, witnesses or collateral damage.

$8.50 moments: Response of two assassins to being ordered to kill Nick; Claire's turn-about at the tree (and the little boy who drops in); Nick's impression of Elmer Fudd.

This movie's outlook and humor is reminiscent of some of the lack of "honor among thieves" and violence-based humor seen recently in 'Out of Sight' and 'Grosse Pointe Blank' (admittedly better movies). So, if you enjoyed those 'adult' comedies, I'd wager you won't regret spending ninety-odd minutes with 'Montana'.

"$8.50 moment": the point in a movie when you feel you definitely got your money's worth (value determined by the current average cost of a movie ticket in NYC).

Not set in Montana
Beware: this is set basically entirely in New York, because that's where MOBSTERS hang.

If you're looking for the Z-Grade "Clay Pigeons" "Montana's" title and genre suggest, try "Route 9" instead. This film's been tagged with the dreaded "failed Tarnatino clone" label, and with good reason. ... Read more

Reviews (17)

slow direct-to-video indie
Without Adrien Brody's timely Oscar win, this slow moving indie would not have seen the light of day. Brody is badly miscast as a NYC lowlife, a professional criminal who stages hotel robberies of dimwitted Asian tourists while wearing police getup.

He meets and falls in love with a brilliant young college student, Claire and start an affair...first she falls for him, he cheats on her to drive her away. Then she begins a frightening dissent into prostitution and suicide, while Jack (Brody) reveals that he really is in love with her.

This probably makes it sound better than it is. The script is confusing -- is Claire a college freshman or a graduate student in Genetics? This is kinda important, because we evaluate her character and her actions differently if she is a 18 yr old virgin (which is hinted at) or a more mature 22 yr old. The actress, Charlotte Ayanna, is very attractive; she resembles Kimberly Williams (Father of the Bride), but she is way, way out of her depth once the role calls for her to descend into mental illness and self destruction. There is no hint given why the breakup of this rather shallow, short term love affair would have her turning tricks (without condoms) on street corners or cutting her wrists (which is why we really need to know if she is a teenager or in her 20s). Why is it inside of her that is so needy and immature? We never find out.

Adrien Brody, who is talented and handsome in an unusual way -- very thin, expressive face and huge puppy dog eyes -- is just completely the wrong physical type for the part of a sleazy down and out loser. I wonder what casting genius thought of this? He's so slight and frail looking when he puts on a police uniform, you think of a kid dressing up for Halloween -- it's imposible to believe even Japanese tourists take him seriously. Some actors are handicapped by having a "look" that limits their parts, and Mr. Brody's "look" screams aristocratic Jewish intellectual.

It's even more confusing when Jack is revealed to be a wannabe writer, who collects first edition books and reads Melville (apparently not any comtemporary writers, though). This is the kind of unbelievable detail that just sinks his characterization. So is his amazing turnaround in prison, where he gives up crime for writing and

*SPOILER ALERT*

gets back together with Claire, the least plausible detail in the film. Why would she take this apalling cad back into her life? And how did she recover from mental illness, a suicide attempt, lengthy stay in psychiatric hospital, and still manage to return to college, graduate and get a job in a medical lab...all in two years? Never mind. The filmmaker just wanted to tack on a happy ending! But it's jarring and inappropriate.

Like most not-very-good low budget films, the main problem isn't the lack of big stars, loud music, computer graphics, car chases etc, but a BAD SCRIPT. The film actually has a nice gritty, unglamorized look to it, and the love scenes -- filmed in an arty, non-linear way -- are appealing. But the story is less convincing than some sci fi thriller with giant aliens.

If you adored Adrien Brody in "The Pianist", you might want to catch this just to see him in contemporary clothing, but otherwise, it's a waste and very boring...a movie that probably would have never been released if he had been passed voter for that Oscar.

Yup, That's the Hard Way All Right
Claire (Charlotte Ayanna) is a studious college student pursuing a degree in biology at a prestigious university. Jack (Adrien Brody) is a thief and con artist with a creative m.o. They come from two very different cultures and have disparate personalities. Yet, when they meet, they are immediately attracted to one another. Claire is drawn to Jack's scumminess and becomes infatuated with him. And although Jack tells himself that his attraction to Claire is purely physical, that may not be the whole story. When Claire's intense feelings begin to make him uncomfortable, Jack dumps her. Claire's devastation sends her on a self-destructive binge, and Jack, who feels responsible, follows suit.

"Love the Hard Way" was inspired by a Chinese novel, the production is European, and it was filmed in New York City with a mostly American cast. Although the film has a strong sense of taking place in a certain location among a particular sub-culture, the story is surprisingly universal. An emotionally distant man discovers, the hard way, that love may be what he seeks after all. And a caring but naive woman discovers that her life may be found in the world outside her sheltered environment. The performances in "Love the Hard Way" are all admirable. Adrien Brody fans will want to see this one. He is especially good here. Pam Grier is a welcome addition to the cast in a small role as a police detective. "Love the Hard Way" was shot in just over a month on a relatively small budget. But the film looks great and the attention to detail is commendable. Writer/director Peter Sehr, producer Wolfram Tichy, cinematographer Guy Dufaux, and Christian Nauheimer, the film's editor, have all done an excellent job of pulling off a very good film that looks very good with limited resources. Recommended if you like character dramas or offbeat, somewhat hard-boiled, love stories.

The DVD: The bonus features include a "making of" documentary, deleted scenes, a theatrical trailer, and a gallery of still photographs. If you have the time, I recommend the documentary. It's badly edited, too long (1 hour) and too repetitive, but it's interesting.

Strikes A Nerve
I too caught parts of this movie on cable recently, and had to rush out to rent it. Jack and Claire's love story gone wrong struck a nerve with me and had me wondering if they would finally find their way back together. Although the dialogue could have been a little fresher, particularly when Jack first started hitting on Claire, I wholly disagree with other reviewers who felt that Claire's motivations should have been fleshed out. This is a thinking-person's movie, plain and simple.

The acting was very charismatic, no need to repeat how brilliant Adrien Brody is. I've seen Jon Seda's work on the TV show Homicide and have admired his talent for some time. I wish his character could have been developed a little further. August Diehl as Jeff was a little creepy, but cool.

All in all, this movie was a hauntingly refreshing retreat from Hollywood cookie-cutter romantic flicks. At last a film where you're not sure if the leads will ride off together into the sunset.

Great Movie
This was an amazing movie, I highly recommend it.

Love the Hard Way
This movie is based on a Japanese novel: do any of you DVD buffs know the author & title? Want to order from Amazon.com

ALSO in same vein...

Lost in Translation pays homage to a Japanese film director: do any of you DVD buffs know this director & film titles? Want to order from Amazon.com

Thanks so much! ... Read more

Reviews (4)

The best film ever made about LA
Ten years after its release, Steve Martin's LA Story has a cult following for its adept interpretation of vapid and decadent Los Angelinos. Though LA Story came out in 1990 and seems to lampoon the 80s, Michael Tolkin goes way beyond his collaborative work with Robert Altman(The Player) with this pitch black comedy.

The film is way ahead of its time. Hollywood has yet to examine the decadent 90s in any way. Here we have characters who are more Clinton era than American Beauty. Pretty astute, considering that the film was released in 1994!

Look for top performances from Peter Weller, Judy Davis, and great supporting work from Adam West, Sandra Seacat, and a pre-Pulp Fiction Samuel Jackson. Hopefully, some of the great camera work an slick visuals will find its way on to DVD in the near future.

maria ellingsen wasted- i got lost watching it
This film is a mess. It features a load of stars and made no sense at all. The great Icelandic actress Maria Ellingsen appears once or twice and is her exceptonal is wasted in this film. I wouldn't recommend this to anyone.

A brisk stroll through Yuppie hell
Michael Tolkin's "The New Age" was the most scathing movie indictment of the American dream gone Sonoma catalog since Albert Brooks' brilliant satire "Lost In America". "The New Age" re-teams the "Tracy & Hepburn" of indie film, Peter Weller and Judy Davis, who were also the wacked-out couple in "Naked Lunch". Instead of heading off in an RV to go "find themselves", Judy and Peter decide to "simplify" thier over-extended Yuppie lifestyle by chucking it all and opening up a Beverly Hills boutique. Hilarity ensues....right? Actually, the movie takes a more low-key,sometimes cruel, black comedy approach to its subjects as they proceed to go into a tandem midlife crisis. Along the way, most trendy southern California fads are lampooned, recalling the film "Serial", which savaged the Bay Area Yuppie/New Age scene in the same fashion. Good supporting performances abound; the biggest surprise is Adam "Batman" West, who is priceless as Weller's father. West plays the wryly acerbic, aging Lothario with much aplomb.(Where has he been?!) Highly recommended.

I like Michael Tolkin, okay?
This movie meant a lot more to me after I lived in Phoenix, Arizona for a year, which is as far west as I want to go for the rest of my life. It's much more interesting to observe empty, soul-less people from a safe distance. It's funny. See "The Rapture," too. Thanks. ... Read more

Reviews (3)

A Must See - Two Thumbs Up
I saw the original Broadway play years ago but frankly the movie is much better. Now that we're 20+ years into the AIDS pandemic, it's a little shocking to go back and see how things were in the beginning. However, all is handled nicely and what makes this movie a must see are the actors. Jonathan Hadary is spectacular but the best gem in this movie is Colleen Dewhurst. You will fall in love with her as she explains life. Rent it. Buy it. See it.

beautifully written
Although Larry Kramer's The Normal Heart is listed as the first Broadway production about AIDS, William M Hoffman's As Is was produced on Broadway the same year and won the 1995 Desk Drama Award for best new play and an Obie for Distinguished Playwriting. But whilst The Normal Heart is, to date, yet to be filmed (a version to be directed by Barbra Streisand was aborted after a public falling out between Streisand and Kramer), As Is was made for TV. In his introduction to OutFront, a collection of contemporary gay and lesbian plays, Don Shewer claims that As Is is the best play written about AIDS yet, since it looks at the disease from a social and personal point of view (as opposed to Kramer's political part self-serving autobiography, part jeremiad), and unlike Kramer's unrelenting despondence, Hoffman insists that where there is life, there is hope. The theatrical origins of the play are still in evidence in this cable production, from Colleen Dewhurst's opening and closing one-take monologues to camera as a hospice worker, and the shorthand dialogue style that Hoffman often employs. Director Michael Lindsay-Hogg seems so terrified of the Masterpiece Theatre brand of filmed play that he misguidedly utilises staccato editing and pseudo-documentary confessions, which only make the dialogue seem more theatrical. And the level at which he pitches the score by Peter Matz doesn't help. The studio sets also reveal how underpopulated (and presumably underbudgeted) the project is, and when we get a street scene it's like a breath of air. However with all this said, it is the eloquence of Hoffman's text that rises above the director's misteps. The depth of the play comes from the observed detail of gay lifestyle. The premise is that Rich has returned to his ex-lover Saul after being diagnosed with AIDS, and this returning allows for both a re-examination of the relationship and also the climate that made gay men so susceptible to the virus (though we do see a woman in Rich's therapy group who has been infected by her IV drug-user husband). Adapting his own play, Hoffman has made minor cuts and lost a hotline sequence that I didn't like anyway. In spite of the blackness of the subject matter, he easily interjects humour. The bar scenes are particularly funny in their self-consciousness, and we get the gallows humour of the gay men. Jonathan Hadary originated the role of Saul on stage and here he is magnificent. It's the kind of performance that an actor can easily be defined by, with subtleties and emotion concealed under the guise of a stereotype. Robert Carradine's Rich is less assured. Perhaps these kind of martyr roles are impossible to play, or perhaps it is that the carers of those facing death have the meatier parts since they get to stay. Plus Saul is the one to explain the title. Carradine's face is too much a reminder of his relatives, he isn't believable as a gay man, and his rage seems constricted. Saul's big reaction to Rich's "selfishness" in hospital seems therefore unprovoked. The staging of a fall in the hospital is also reminiscent of the final scene in Camille, which I would like to think is intentional, though I have my doubts. My favourite scene is the one where Rich's shamed brother visits him. The expectation of gay moral superiority is not met and we are touched by the brother's efforts to empathise with someone he realises he does not want to lose. Joanna Miles as Rich's actress friend is warm but has little to do except introduce him to her cousin Chet, (gorgeous Doug Annear) who will break up the relationship, though Hoffman gives short shift to explaining Chet's fate. Lindsay-Hogg lingers on Miles' farewell to Rich in hospital, in the same way he pauses after more than once we are told how gay men have abandoned their infected partners, making a cinematic judgment. Thankfully Dewhurst's appearances let us hear her throaty chuckle.

Beautifully written
Although Larry Kramer's The Normal Heart is listed as the first Broadway production about AIDS, William M Hoffman's As Is was produced on Broadway the same year and won the 1995 Desk Drama Award for best new play and an Obie for Distinguished Playwriting. But whilst The Normal Heart is, to date, yet to be filmed (a version to be directed by Barbra Streisand was aborted after a public falling out between Streisand and Kramer), As Is was made for TV. In his introduction to OutFront, a collection of contemporary gay and lesbian plays, Don Shewer claims that As Is is the best play written about AIDS yet, since it looks at the disease from a social and personal point of view (as opposed to Kramer's political part self-serving autobiography, part jeremiad), and unlike Kramer's unrelenting despondence, Hoffman insists that where there is life, there is hope. The theatrical origins of the play are still in evidence in this cable production, from Colleen Dewhurst's opening and closing one-take monologues to camera as a hospice worker, and the shorthand dialogue style that Hoffman often employs. Director Michael Lindsay-Hogg seems so terrified of the Masterpiece Theatre brand of filmed play that he misguidedly utilises staccato editing and pseudo-documentary confessions, which only make the dialogue seem more theatrical. And the level at which he pitches the score by Peter Matz doesn't help. The studio sets also reveal how underpopulated (and presumably underbudgeted) the project is, and when we get a street scene it's like a breath of air. However with all this said, it is the eloquence of Hoffman's text that rises above the director's misteps. The depth of the play comes from the observed detail of gay lifestyle. The premise is that Rich has returned to his ex-lover Saul after being diagnosed with AIDS, and this returning allows for both a re-examination of the relationship and also the climate that made gay men so susceptible to the virus (though we do see a woman in Rich's therapy group who has been infected by her IV drug-user husband). Adapting his own play, Hoffman has made minor cuts and lost a hotline sequence that I didn't like anyway. In spite of the blackness of the subject matter, he easily interjects humour. The bar scenes are particularly funny in their self-consciousness, and we get the gallows humour of the gay men. Jonathan Hadary originated the role of Saul on stage and here he is magnificent. It's the kind of performance that an actor can easily be defined by, with subtleties and emotion concealed under the guise of a stereotype. Robert Carradine's Rich is less assured. Perhaps these kind of martyr roles are impossible to play, or perhaps it is that the carers of those facing death have the meatier parts since they get to stay. Plus Saul is the one to explain the title. Carradine's face is too much a reminder of his relatives, he isn't believable as a gay man, and his rage seems constricted. Saul's big reaction to Rich's "selfishness" in hospital seems therefore unprovoked. The staging of a fall in the hospital is also reminiscent of the final scene in Camille, which I would like to think is intentional, though I have my doubts. My favourite scene is the one where Rich's shamed brother visits him. The expectation of gay moral superiority is not met and we are touched by the brother's efforts to empathise with someone he realises he does not want to lose. Joanna Miles as Rich's actress friend is warm but has little to do except introduce him to her cousin Chet, (gorgeous Doug Annear) who will break up the relationship, though Hoffman gives short shift to explaining Chet's fate. Lindsay-Hogg lingers on Miles' farewell to Rich in hospital, in the same way he pauses after more than once we are told how gay men have abandoned their infected partners, making a cinematic judgment. Thankfully Dewhurst's appearances let us hear her throaty chuckle. ... Read more

Reviews (6)

You gotta love it
It is easy to see why this movie has with DVD reached cult status. It is John Woo perfect on the conflict between loyalty and integrity, with only two-thirds of the blood. "I love bananas because they have no bones and I hate peaches, because they have stones" - you gotta love it.

What about the soundtrack?
I wish if someone could help me telling me the names of the groups (or musicians) who make the soundtrack of this movie, because I found it real great.
Thank you.

It's beautifull.
I liked the laid back feel it has.
What I remember most about the movie is the couple and their relationship. I like them because they are witty and strong, and they love each other in a sweet, loyal way that is the total opposite of the saccharine, phony romances I keep seeing in Hollywood films. They are grown-ups and they look like real people and they're charismatic individuals. That's a very needed break from all the bratty, spoiled silly, no-brain teenage movies the movie industry tries (to no avail) to force down my throat.
If it were a samurai movie or something, placed in such an alien and exotic place that your moral code somehow doesn't apply anymore, I wouldn't wonder "Why am I rooting and feeling for a couple or payed assassins?" But although it is placed in our world and our time it's like it's another dimension where it's OK for criminals to be talking to you about morals. They make me want to believe, which just might be the best compliment one can pay to a movie.
I would definitely buy it. And the boss is the giant in Harry Potter.

¿Nothing Personal¿
'Nothing Personal', as this movie was originally and more aptly titled, is a low-key, darkly funny and engaging depiction of a dysfunctional 'family' of professional assassins in the throes of an internal power struggle. Claire (Kyra Sedgwick) and Nick (Stanley Tucci), a killer team with a romantic past, are sent to retrieve a wayward money-runner who has sold-out their boss (Robbie Coltrane). Thrust into the middle of a plot involving shifting alliances, challenged loyalties and crooked self-actualization theory, the attentive veiwer will be rewarded with many small moments that add up to a movie more substantial than it appears at first blush.

Strong points: The Hoebers' taut script; Director Leitzes' willingness to allow us to deduce much of the movie's background story w/out condescending paint-by-numbers scenes or lame expository dialogue; an effective cast featuring Sedgwick and Tucci's gently expressed adult partnership facing an inexorable fate; Philip Seymour Hoffman's unctuously ambitious provocateur; John Ritter's brief but effectively weighty performance; and perhaps most impressive, Robin Tunney's momentum building depiction of the consistently underestimated 'Kitty'.

Weak points: Coltrane's 'Boss' seems a bit scattered and inexplicably motivated; a few loose ends in the plot; a vaguely un-anchored setting devoid of police, witnesses or collateral damage.

$8.50 moments: Response of two assassins to being ordered to kill Nick; Claire's turn-about at the tree (and the little boy who drops in); Nick's impression of Elmer Fudd.

This movie's outlook and humor is reminiscent of some of the lack of "honor among thieves" and violence-based humor seen recently in 'Out of Sight' and 'Grosse Pointe Blank' (admittedly better movies). So, if you enjoyed those 'adult' comedies, I'd wager you won't regret spending ninety-odd minutes with 'Montana'.

"$8.50 moment": the point in a movie when you feel you definitely got your money's worth (value determined by the current average cost of a movie ticket in NYC).

Not set in Montana
Beware: this is set basically entirely in New York, because that's where MOBSTERS hang.

If you're looking for the Z-Grade "Clay Pigeons" "Montana's" title and genre suggest, try "Route 9" instead. This film's been tagged with the dreaded "failed Tarnatino clone" label, and with good reason. ... Read more