Amazon.com

A corrosively funny, semiautobiographical account by writer-director Bruce Robinson (How to Get Ahead in Advertising) about a couple of destitute roommates, young actors living in drunken squalor in 1969, the twilight days of swingin' London. Withnail (the astounding Richard E. Grant in a definitive performance) is a kind of depraved, modern-day Oscar Wilde, but without the money or the manners. The "I" of the title is the younger and more impressionable Marwood (Paul McGann), who stands somewhat in awe of his scandalous, demented, hysterical pal. While on a miserable holiday in the bitterly cold and damp countryside, they stay with wealthy, corpulent "Uncle Monty" (Richard Griffiths), who takes quite a liking to young Marwood, much to his consternation. Though not well known in the United States, Withnail & I has a major cult following in England. It's uproariously funny in a peculiarly British way, and the acting is absolutely scintillating. (Chicago Sun-Times critic Roger Ebert said Griffiths's was the best performance by an actor in a British film since Denholm Elliott in A Room with a View.) This one's a real treat for the caustic at heart. --Jim Emerson ... Read more

Reviews (82)

Cult Masterpiece!
Withnail and I is one of those movies that you'd either love or hate. Fortunately, there's a better chance of you falling in love with the film---and no wonder why, thanks to the characters and the great dialogue.
While it will resemble Fear and Loathing in Las Vegas (including Marwood's living quarters, messy enough to rival Hunter S. Thompson's hotel suites!), the film itself is more about two drug addicts (and not to mention jobless actors) who gets away from the pessismistic atmosphere of London---and drugs---by moving into a cottage in that wonderful English countryside, where it's as cold as Greenland and as sunny as England can get (read: RAINY) in order to "rejuvenate". And as one can guess, what they really do is far from rejuvenation.
The cast themselves are excellent, from our anxiety-ridden narrator, Marwood, who frequently gets paranoid about things, to the main star of the film, Withnail, an alcholic with a tendency to say insulting things... as well as to recite a few lines of Hamlet, along with a bottle of booze, of course. Also of notable mention is Richard Griffiths, who plays the delightful role of Withnail's old-fashioned, homosexual uncle who lends to our to characters; and Ralph Brown, who plays drug dealer Danny---picture your stereotypical American "Dude", and then add in a British accent, holding the infamous "Camberwell Carrot", a collection of cigarettes rolled into one giant one!
A fascinating, exceptionally funny (in a British sense, of course!), and ultimately engaging, if unconventional, film, filled with outstanding perfomances, and great (if at times insulting, which makes it even greater) dialogue. A definite cult masterpiece, and thoroughly British, too.

One of my favourite films of all time
Criterion has done a wonderful job with this DVD release of WITHNAIL & I. The picture looks sharp, the sound is clear, and the extras are a lot of fun. The biggest difference for me was that the only video version of this film I owned was the full-screen version that contains numerous edits. Watching this film uncut for the first time in years really pointed out how much I had been missing with the video version. Getting this DVD is definitely worth the money.

The film itself is a joy to experience. While the plot cannot be accused of being overcomplicated, this simplicity is more than made up for in the wonderful characters and brilliant dialogue (virtually none of which can be quoted in an all-ages forum such as this). Loosely narrated by Paul McGann's "I" character, this film depicts a brief period in the life of two struggling actors as they attempt to find booze, drugs and jobs in the dying days of the 1960s. The movie covers a wide spectrum from some scenes featuring the funniest lines that you'll ever hear to small touching moments that are surprisingly moving. This is highly recommended to anyone who enjoys good moviemaking.

Every character in the picture is superbly acted and written for. It's a testament to Bruce Robinson's directing skills that the characters compliment each other so well instead of clashing and overbearing the others as could so easily have happened. The secondary characters work as well as the leads and each one adds their unique flavour to the mixture. Robinson doesn't make the mistake of giving the smaller parts too much on-screen time and having them overstay their welcome. Each character says and does no more than they need to and leaves everyone wanting more.

Richard E. Grant and Paul McGann are perfectly cast in their roles. Each bile-covered insult roles off of Grant's tongue as if he'd been swearing at McGann all his life. It's amazing that Grant is a teetotaler in real life and was relying on pure skill for most of his inspiration. Excellent acting.

The documentary that is included on the DVD is 30 minutes long and quite excellent. There are interviews with Richard E. Grant (Withnail), Paul McGann (...& I), Bruce Robinson (writer/director), Ralph Brown (Danny) and a host of other people related to the production. It's a funny and enthralling look at the people and ideas behind the film. Just fast-forward through the trainspotters.

Enjoyably eccentric black comedy
Written and Directed by Bruce Robinson (who would later go on to make the Uma Thurman movie JENNIFER 8) WITHNAIL & I is a semi-autobiographical black comedy about two struggling actors in Camdenton London during the last months of the 60s. The future is looking rather bleak for Withnail (Richard E. Grant) and I (Paul McGann). Both are out of work and in the midst of drug and alcohol problems. After hitting rock bottom the pair decide to take a peaceful vacation in the country and plan on how to re-establish some direction in their lives before the new decade begins.
However their stay in the country turns out to be anything but tranquil when the boorish, self absorbed Withnail manages to bring out the hostilities of the locals. Both reduced to the status of village pariahs, the unwelcome duo find themselves confined to the tiny cottage where they are forced to burn their own furniture to stay warm, and literally shooting fish in order to survive.
Though the movie is a bit plodding and self-important at times; WITHNAIL & I is nonetheless an absorbing and well-acted low key cult item that is worth a look for curiosity's sake. (Not something I'll have to point out to those people have seen the movie more than a dozen times! I've only seen it once.) The highlight of the movie for me is the scene in which Withnail concocts a novel way to get let off a drink driving charge.
The movie was Produced by the late George Harrison, and Ringo Starr also appears in the credits as "Richard Starkey M.B.E". Sadly, the DVD I watched didn't have any bonus features.

GETINTHEBACKOFTHEVAN!!!
I dunno, folks - you just gotta love England, eh? LOL...

Great Drinking movie for Monty Python Fans
If you like dry English humor, as I do, you will LOVE this flick. Great movie to drink to you ponce. If you draw a Queen at Uncle Monty's you're doomed. See it, it's great. Also, it's produced by the Dark Horse himself! ... Read more

Amazon.com

A second look reveals some exit-wound-size holes in the plot, but there's nothing second-rate about the performances or the pacing of this serial-killer whodunit written and directed by Bruce Robinson (Withnail and I, The Killing Fields). Andy Garcia plays a cop whose failed marriage and recent spell with the bottle has brought him upstate from L.Ato live near his half-sister (Kathy Baker) and one-time partner (Lance Henriksen). But he has barely unpacked his bags when a routine homicide call takes him to a spectacular local dump. There, amid heaps of detective-movie typewriters and colorful bags of garbage, he kicks up a severed hand. This leads him to reopen an unsolved psycho-killer file--codename "Jennifer"--that in turn reopens some old sores in the department. In the noir tradition, Garcia falls hard for his key witness, who happens to be blind (Uma Thurman, playing against the luster Pulp Fiction would Monroe-ize two years later) and in one stroke puts her life, and his career, in exquisite jeopardy. The plot weaves in and out of logic, but the dialogue track keeps you leaning in for the details. Along with the taut and suggestive work by Garcia and Henriksen (as usual, all skull beneath the skin), Jennifer 8 boasts a giddy-to-behold gargoyle performance from John Malkovich as an internal affairs cop whose head cold only sharpens the resentment he feels listening to rogue cops insult his intelligence. --Lyall Bush ... Read more

Reviews (12)

Andy Garcia delivers a good performance in a mediocre film.
After reading the reviews, I was disappointed in the disconnected and formulaic "serial killer" plot, strained dialog, and overwrought supporting characters in this film. The visual direction is effective and moody, but it's not enough to cover the film's narrative flaws. Garcia's performance is tense and involved, but the supporting cast's hysterical reactions and paranioa around this "big city cop" (whose beloved police chief is also from the big city) are bizarre. We are told very little about the other seven victims -- were any of them ever found? Thurman's character is intelligent but clingy and weak -- a dated stereotype -- in a town where the blind live in institutions. We are given little reason for Garcia's attachment to her other than a resemblance to his ex-wife -- a conflicted rationale that's never mentioned again or explored. The most interesting part of the film, in which Garcia explains the killer's life history and motives, is buried under concurrent competing dialog between supporting characters. The final scene, where Thurman and Garcia walk across a grassy hill and whe tells him that she "remembers the color red" has no emotional impact in any significant or relevant way to the rest of the film. Overall, a disappointing film.

SIMPLY AN ENTERTAINING PSYCHOLOGICAL THRILLER.
This film speaks for itself. Superb acting and well directed. A tense tightly scripted psychological thriller. Ex-LA cop Andy Garcia now living in a small town tries to solve a pair of local murders. His only hope is a blind woman who seems to be the key to the serial killer's activities. What is more she may be 'Jennifer Eight' the murderer's codeword for the next victim. This 2 hour film keeps you on the edge of your seat. Fantastic movie, entertaining not to dull although the ending could have been longer. The film finishes very quickly otherwise well worth watching.

Serial killer stalks blind women.
One determined cop sets out to crack the case and instead falls in love with a vulnerable, defenseless, blind woman. As the evidence mounts suspicion falls on the cop as the murderous fiend ! His life begins to fall apart and only he can stop the real mad-man even if it means taking the law into his own hands !

I had a hard time with this one. Mostly because so many of the characters in the film were maladjusted losers. The cops, the killer, the victims. They all blended together for me. It was an average story that the actors couldn't quite improve upon.

Great 'Detective' Film- Somewhat Visionary
'Jennifer 8' has a great cast and takes place in Humboldt County, California- so has some impressive scenery. The plot comes together like a finely slow cooked turkey (or potato), where at first you just get little whiffs of the magnum opus the dish is to become. The film is somewhat visionary in how it sculpts itself around magic north woods moments- the lone blind girl playing her viola before the window under the natural light; the lovers listening to 'silent night' on a quiet, north coast twilight eve; the initial drive through the redwoods; the final shots in the meadow- all these things help to capture that mystical attraction of the Humboldt region, all the while telling a very dramatic story of murder, courage, and love. A very different film that I would recommended.

Breathless, Sightless, Dead
Writer/Director Bruce Robinson, best known for his cult hit "Withnail & I", has crafted a creditable little thriller in "Jennifer 8". It gets all the technical elements right, features some fine work from its actors, and does its best to screw around with the genre. But it rarely adds up to anything more than the sum of its parts.

One of the strengths of Robinson's script is the stylish and effective dialogue he gives to his police officers. Most of the best bits come from the mouth of Sergeant Ross, like when he tells his wife he can't stay for dinner because it's "Friday night at City Hall... I've got a chance to frighten the fat." He's talking about securing a confession from a suspect, but it hardly matters, doesn't it? "Where are the ladies?" asks Sergeant Berlin, before a party. "Putting on the warpaint," comes Ross' reply. My favourite line, and probably the film's most ostentatious, is this little nugget which falls from the mouth of a visiting FBI investigator: "You're confused... you don't know if Tuesdays come in twos or happen once a week." It's the kind of raw poetry that Quentin Tarantino specializes in (or at least has learned to crib from Elmore Leonard).

Andy Garcia carries the movie on his shoulders. His John Berlin (quite the pregnant name, as the film was released three years to the month after The Wall came down; are John's walls ready to crumble too? Stay tuned...) is a rather complex man, burdened by a shady past that is slowly alluded to, but never fully explained ("I feel like I said sorry on every street in [Los Angeles]," is the closest he comes to an explanation). Berlin is a model of patience and intuition (although I didn't buy the one moment of inspiration that lead him to his key witness; it's a "movie moment" that takes away from the reality Robinson is trying to inject into the film), quiet and reserved for most of the film, but prone to fits of rage when pushed. It's almost like Garcia, fresh off of working with Al Pacino, was modeling his character on that actor's work as Michael Corleone in the first two "Godfather" films. That's high praise, indeed, but Garcia's work here deserves it.

Uma Thurman plays Helena Robertson, "the worst witness [Berlin's] ever had," a blind music teacher who may be the only witness able to identify the man that killed 'Jennifer'. And what fates do "only witnesses" usually have in suspense films? They're the next victim, of course! Which gives Berlin a great excuse to stay close Helena, and fall in love with her. Thurman here really only has two jobs: to look adorable and play blind credibly. The first, of course, she does with ease. I've always thought of Thurman as kind of a female-version of Keanu Reeves: she's at her best when not saying much, and letting her physicality and obvious screen presence carry much of the load. Which she gets to do here. As for that second job, portraying Helena's blindness, Thurman achieves some semblance of credibility there. Affecting a dead-eyed look, you believe her as a blind girl, albeit one with startling mobility.

Lance Henriksen does what Lance Henriksen does best: he makes a rugged, [angry], misanthropic and misogynistic cop, constantly stuck in fourth gear, come across as rather likable. In his hands, with that map of the world face and baritone voice, Sergeant Freddy Ross is almost endearing. He's a big fish in a small pond, the kind of small town man who would name his boat "Duke" and not think twice about vocally ogling the... of the local waitresses. He and Garcia have kind of an oil-and-water relationship, but Henriksen's over-the-top showiness meshes perfectly with Garcia's solemnity.

The one way in which the film doesn't play fair with its audience is in listing John Malkovich's name in the opening credits, and then making us wait eighty-minutes before the man shows up. But when he does, that distinctive whisper of a voice is heard before the face appears, it's vintage Malk.

He plays an FBI investigator named St. Anne, who locks horns with Berlin in several lengthy scenes. Watching Garcia match wits with Malk is a real treat, the latter man's cool and whimsical aura offering a perfect counterpoint to the former's repressed fire. In Malk's hands, St. Anne has seen it all, giving himself leeway to toy with Berlin, trying to catch him in verbal traps and constantly rolling his eyes. But, like Garcia, Malk is able to let his instrument loose, erupting in violent outbursts periodically, which show the character's true power. And in a silly bit of business, Malk, for some reason, chooses to play the latter half of his scenes with a rather comic stuffed nose.

Being an avid fan of the serial killer genre, I was looking forward to finally seeing "Jennifer 8". It lived up to my expectations, mostly, but for some reason I just couldn't fully give my heart to it. I liked it well enough, but it never gave me the visceral thrill I was hoping for. I suspect the reason for this is that this kind of story has been done many times before, often with much more verve and wit and fun. Seen in the shadows of the heavyweights of its genre, "Jennifer 8" is a workmanlike effort, sure to give a modicum of thrills. I recommend it on an intellectual level, but have my doubts about its effectiveness on an emotional one. ... Read more

Reviews (17)

Brilliant and Hilarious Dark Comedy, English Style!
If dark comedy is your forte, do not miss this witty and outrageously funny offering from Hand Made Films! Richard E. Grant portrays Dennis Bagley, a brilliant young advertising executive whose downfall is caused by his latest glamorous account: pimple cream. He desperately needs a clever new ad campaign, but his mind is one big blank. Despite support from his lovely wife (Rachel Ward), Dennis cracks. His unblemished career is about to break out in chaos, just like the annoying pimple that has broken out on the side of his neck. To save his sanity, Dennis quits his job. But his neuroses, like his strange pimple, keep growing. Soon, what ensues is a hilarious chain of events that has the viewer wondering who's really in charge of Dennis' life! This movie is one of many by this-then relatively obscure English film company, that is as well made and it is well cast, as it is outrageously funny! Not to be missed by fans of dark comedy, this film is sure to find it's way into your private library. An excellent comedy, you can enjoy over and over again! Don't miss it!

Brilliant and Darkly Hilarious English Comedy!
If dark comedy is your forte, do not miss this witty and outrageously funny offering from Hand Made Films! Richard E. Grant portrays Dennis Bagley, a brilliant young advertising executive whose downfall is caused by his latest glamorous account: pimple cream. He desperately needs a clever new ad campaign, but his mind is one big blank. Despite support from his lovely wife (Rachel Ward), Dennis cracks. His unblemished career is about to break out in chaos, just like the annoying pimple that has broken out on the side of his neck. To save his sanity, Dennis quits his job. But his neuroses, like his strange pimple, keep growing. Soon, what ensues is a hilarious chain of events that has the viewer wondering who's really in charge of Dennis' life! This movie is one of many by this-then relatively obscure English film company, that is as well made and it is well cast, as it is outrageously funny! Not to be missed by fans of dark comedy, this film is sure to find it's way into your private library. An excellent comedy, you can enjoy over and over again! Don't miss it!

Hilariously bitter comedy
Bruce Robinson, made a hit with with this movie. A pimple will be more than a simple headache of an important executive who falls on disgrace. Slowly this pimple will grow and grow till...
With this film England goes ahead once more with the black comedy, a genre not so cultivated as past decades.
The situations obviously are not under control of this authoritative and methodic manager. The chaos and neuroses will be his fellow friends in this funny tale.
Please, don't miss by any circunstance of watching this film.
To be true, the meaning of life of Monty Phyton, and Brazil of Gilliam were too, another unforgettable films in that decade, but due its own originality, how to get ... deserves a worthy place in the story of the great english black films in any time.

Brilliant and Inspired
Well Bruce Robinson has done it again. After engaging us with classic 'Withnail and I' he has produced a prophetic film that says more about the way we live and those that cynically take advantage of the consumerist treadmill than 'Fight Club'. The passionate dialogues in the screenplay give an insight into Robinson himself and his view of where the global society is headed.

The performance of Grant as Bagnel, the schizophrenic advertising executive, is a masterpiece. Rachel Ward's performance is a little wooden but the rest of the cast are able to carry her along with them convincingly enough.

Let me warn you. Don't watch this if you're not prepared for it to make a lasting and life changing impact on your psyche. You'll never view an advertisement the same after seeing this picture. You may even find yourself with your head in a cardboard box making a video on global warming and carbon sinks -just like Bagnel. Get the local school to do a amateur production or even a rock eisteddfod on 'How to Get Ahead..'.

Considering this was made in 1989 the messages are brilliantly insightful and more relevant given recent global events. A modern classic.

Good vs. Evil?
How To Get Ahead in Advertising is a very interesting film based on human dualism. Denis Dimbleby Bagley (Robert E. Grant), the main character, is a rather successful business man in the world of advertising where he gladly walks over corpses in order to reach goals. The film begins at the crossroads where Mr. Bagley is coming in contact with his righteous qualities and wants to resign from his well-paid job. Meanwhile there is a malevolent trait lurking in his subconscious trying to get out. ... Read more

Reviews (17)

Brilliant and Hilarious Dark Comedy, English Style!
If dark comedy is your forte, do not miss this witty and outrageously funny offering from Hand Made Films! Richard E. Grant portrays Dennis Bagley, a brilliant young advertising executive whose downfall is caused by his latest glamorous account: pimple cream. He desperately needs a clever new ad campaign, but his mind is one big blank. Despite support from his lovely wife (Rachel Ward), Dennis cracks. His unblemished career is about to break out in chaos, just like the annoying pimple that has broken out on the side of his neck. To save his sanity, Dennis quits his job. But his neuroses, like his strange pimple, keep growing. Soon, what ensues is a hilarious chain of events that has the viewer wondering who's really in charge of Dennis' life! This movie is one of many by this-then relatively obscure English film company, that is as well made and it is well cast, as it is outrageously funny! Not to be missed by fans of dark comedy, this film is sure to find it's way into your private library. An excellent comedy, you can enjoy over and over again! Don't miss it!

Brilliant and Darkly Hilarious English Comedy!
If dark comedy is your forte, do not miss this witty and outrageously funny offering from Hand Made Films! Richard E. Grant portrays Dennis Bagley, a brilliant young advertising executive whose downfall is caused by his latest glamorous account: pimple cream. He desperately needs a clever new ad campaign, but his mind is one big blank. Despite support from his lovely wife (Rachel Ward), Dennis cracks. His unblemished career is about to break out in chaos, just like the annoying pimple that has broken out on the side of his neck. To save his sanity, Dennis quits his job. But his neuroses, like his strange pimple, keep growing. Soon, what ensues is a hilarious chain of events that has the viewer wondering who's really in charge of Dennis' life! This movie is one of many by this-then relatively obscure English film company, that is as well made and it is well cast, as it is outrageously funny! Not to be missed by fans of dark comedy, this film is sure to find it's way into your private library. An excellent comedy, you can enjoy over and over again! Don't miss it!

Hilariously bitter comedy
Bruce Robinson, made a hit with with this movie. A pimple will be more than a simple headache of an important executive who falls on disgrace. Slowly this pimple will grow and grow till...
With this film England goes ahead once more with the black comedy, a genre not so cultivated as past decades.
The situations obviously are not under control of this authoritative and methodic manager. The chaos and neuroses will be his fellow friends in this funny tale.
Please, don't miss by any circunstance of watching this film.
To be true, the meaning of life of Monty Phyton, and Brazil of Gilliam were too, another unforgettable films in that decade, but due its own originality, how to get ... deserves a worthy place in the story of the great english black films in any time.

Brilliant and Inspired
Well Bruce Robinson has done it again. After engaging us with classic 'Withnail and I' he has produced a prophetic film that says more about the way we live and those that cynically take advantage of the consumerist treadmill than 'Fight Club'. The passionate dialogues in the screenplay give an insight into Robinson himself and his view of where the global society is headed.

The performance of Grant as Bagnel, the schizophrenic advertising executive, is a masterpiece. Rachel Ward's performance is a little wooden but the rest of the cast are able to carry her along with them convincingly enough.

Let me warn you. Don't watch this if you're not prepared for it to make a lasting and life changing impact on your psyche. You'll never view an advertisement the same after seeing this picture. You may even find yourself with your head in a cardboard box making a video on global warming and carbon sinks -just like Bagnel. Get the local school to do a amateur production or even a rock eisteddfod on 'How to Get Ahead..'.

Considering this was made in 1989 the messages are brilliantly insightful and more relevant given recent global events. A modern classic.

Good vs. Evil?
How To Get Ahead in Advertising is a very interesting film based on human dualism. Denis Dimbleby Bagley (Robert E. Grant), the main character, is a rather successful business man in the world of advertising where he gladly walks over corpses in order to reach goals. The film begins at the crossroads where Mr. Bagley is coming in contact with his righteous qualities and wants to resign from his well-paid job. Meanwhile there is a malevolent trait lurking in his subconscious trying to get out. ... Read more

Reviews (12)

Andy Garcia delivers a good performance in a mediocre film.
After reading the reviews, I was disappointed in the disconnected and formulaic "serial killer" plot, strained dialog, and overwrought supporting characters in this film. The visual direction is effective and moody, but it's not enough to cover the film's narrative flaws. Garcia's performance is tense and involved, but the supporting cast's hysterical reactions and paranioa around this "big city cop" (whose beloved police chief is also from the big city) are bizarre. We are told very little about the other seven victims -- were any of them ever found? Thurman's character is intelligent but clingy and weak -- a dated stereotype -- in a town where the blind live in institutions. We are given little reason for Garcia's attachment to her other than a resemblance to his ex-wife -- a conflicted rationale that's never mentioned again or explored. The most interesting part of the film, in which Garcia explains the killer's life history and motives, is buried under concurrent competing dialog between supporting characters. The final scene, where Thurman and Garcia walk across a grassy hill and whe tells him that she "remembers the color red" has no emotional impact in any significant or relevant way to the rest of the film. Overall, a disappointing film.

SIMPLY AN ENTERTAINING PSYCHOLOGICAL THRILLER.
This film speaks for itself. Superb acting and well directed. A tense tightly scripted psychological thriller. Ex-LA cop Andy Garcia now living in a small town tries to solve a pair of local murders. His only hope is a blind woman who seems to be the key to the serial killer's activities. What is more she may be 'Jennifer Eight' the murderer's codeword for the next victim. This 2 hour film keeps you on the edge of your seat. Fantastic movie, entertaining not to dull although the ending could have been longer. The film finishes very quickly otherwise well worth watching.

Serial killer stalks blind women.
One determined cop sets out to crack the case and instead falls in love with a vulnerable, defenseless, blind woman. As the evidence mounts suspicion falls on the cop as the murderous fiend ! His life begins to fall apart and only he can stop the real mad-man even if it means taking the law into his own hands !

I had a hard time with this one. Mostly because so many of the characters in the film were maladjusted losers. The cops, the killer, the victims. They all blended together for me. It was an average story that the actors couldn't quite improve upon.

Great 'Detective' Film- Somewhat Visionary
'Jennifer 8' has a great cast and takes place in Humboldt County, California- so has some impressive scenery. The plot comes together like a finely slow cooked turkey (or potato), where at first you just get little whiffs of the magnum opus the dish is to become. The film is somewhat visionary in how it sculpts itself around magic north woods moments- the lone blind girl playing her viola before the window under the natural light; the lovers listening to 'silent night' on a quiet, north coast twilight eve; the initial drive through the redwoods; the final shots in the meadow- all these things help to capture that mystical attraction of the Humboldt region, all the while telling a very dramatic story of murder, courage, and love. A very different film that I would recommended.

Breathless, Sightless, Dead
Writer/Director Bruce Robinson, best known for his cult hit "Withnail & I", has crafted a creditable little thriller in "Jennifer 8". It gets all the technical elements right, features some fine work from its actors, and does its best to screw around with the genre. But it rarely adds up to anything more than the sum of its parts.

One of the strengths of Robinson's script is the stylish and effective dialogue he gives to his police officers. Most of the best bits come from the mouth of Sergeant Ross, like when he tells his wife he can't stay for dinner because it's "Friday night at City Hall... I've got a chance to frighten the fat." He's talking about securing a confession from a suspect, but it hardly matters, doesn't it? "Where are the ladies?" asks Sergeant Berlin, before a party. "Putting on the warpaint," comes Ross' reply. My favourite line, and probably the film's most ostentatious, is this little nugget which falls from the mouth of a visiting FBI investigator: "You're confused... you don't know if Tuesdays come in twos or happen once a week." It's the kind of raw poetry that Quentin Tarantino specializes in (or at least has learned to crib from Elmore Leonard).

Andy Garcia carries the movie on his shoulders. His John Berlin (quite the pregnant name, as the film was released three years to the month after The Wall came down; are John's walls ready to crumble too? Stay tuned...) is a rather complex man, burdened by a shady past that is slowly alluded to, but never fully explained ("I feel like I said sorry on every street in [Los Angeles]," is the closest he comes to an explanation). Berlin is a model of patience and intuition (although I didn't buy the one moment of inspiration that lead him to his key witness; it's a "movie moment" that takes away from the reality Robinson is trying to inject into the film), quiet and reserved for most of the film, but prone to fits of rage when pushed. It's almost like Garcia, fresh off of working with Al Pacino, was modeling his character on that actor's work as Michael Corleone in the first two "Godfather" films. That's high praise, indeed, but Garcia's work here deserves it.

Uma Thurman plays Helena Robertson, "the worst witness [Berlin's] ever had," a blind music teacher who may be the only witness able to identify the man that killed 'Jennifer'. And what fates do "only witnesses" usually have in suspense films? They're the next victim, of course! Which gives Berlin a great excuse to stay close Helena, and fall in love with her. Thurman here really only has two jobs: to look adorable and play blind credibly. The first, of course, she does with ease. I've always thought of Thurman as kind of a female-version of Keanu Reeves: she's at her best when not saying much, and letting her physicality and obvious screen presence carry much of the load. Which she gets to do here. As for that second job, portraying Helena's blindness, Thurman achieves some semblance of credibility there. Affecting a dead-eyed look, you believe her as a blind girl, albeit one with startling mobility.

Lance Henriksen does what Lance Henriksen does best: he makes a rugged, [angry], misanthropic and misogynistic cop, constantly stuck in fourth gear, come across as rather likable. In his hands, with that map of the world face and baritone voice, Sergeant Freddy Ross is almost endearing. He's a big fish in a small pond, the kind of small town man who would name his boat "Duke" and not think twice about vocally ogling the... of the local waitresses. He and Garcia have kind of an oil-and-water relationship, but Henriksen's over-the-top showiness meshes perfectly with Garcia's solemnity.

The one way in which the film doesn't play fair with its audience is in listing John Malkovich's name in the opening credits, and then making us wait eighty-minutes before the man shows up. But when he does, that distinctive whisper of a voice is heard before the face appears, it's vintage Malk.

He plays an FBI investigator named St. Anne, who locks horns with Berlin in several lengthy scenes. Watching Garcia match wits with Malk is a real treat, the latter man's cool and whimsical aura offering a perfect counterpoint to the former's repressed fire. In Malk's hands, St. Anne has seen it all, giving himself leeway to toy with Berlin, trying to catch him in verbal traps and constantly rolling his eyes. But, like Garcia, Malk is able to let his instrument loose, erupting in violent outbursts periodically, which show the character's true power. And in a silly bit of business, Malk, for some reason, chooses to play the latter half of his scenes with a rather comic stuffed nose.

Being an avid fan of the serial killer genre, I was looking forward to finally seeing "Jennifer 8". It lived up to my expectations, mostly, but for some reason I just couldn't fully give my heart to it. I liked it well enough, but it never gave me the visceral thrill I was hoping for. I suspect the reason for this is that this kind of story has been done many times before, often with much more verve and wit and fun. Seen in the shadows of the heavyweights of its genre, "Jennifer 8" is a workmanlike effort, sure to give a modicum of thrills. I recommend it on an intellectual level, but have my doubts about its effectiveness on an emotional one. ... Read more