Movieline Online

THE FLICKS: Most movies try their best to disguise they era in which they were created (70’s sci-fi flicks being the exception...apparently they were pretty confident that polyester would stand the test of time). But Brian DePalma’s “Scarface” embraces the decadence and self-destruction of the 80’s as the backdrop for a re-imagining of the gangster classic with Al Pacino as the dangerously ambitious Cuban immigrant Tony Montana. It’s safe to say we wouldn’t even be enjoying this 2nd special edition if it wasn’t for all the exposure “Scarface” receives on MTV’s “Cribs,” in which every gold-toothed rapper proudly displays their copy of the film on their shelf. At the time of its release, Pacino’s over-the-top performance was about the only thing that attracted positive reviews. Oliver Stone’s brutal, profanity laced script hit the screen after fighting its way past an X-rating, only to do moderate business at the box office. But from these humble beginnings a cult film was borne. Bereft ...

THE FLICK: Now that all the hype has died down around the “Matrix Trilogy” – replaced by crushing disappointment – it’s hard to remember which came first, the Wachowski Brothers sci-fi digital revolution or the Japanese culture that inspired it. The simultaneous release of “The Animatrix” on DVD showed that the filmmakers were eager to give credit where it was due. So even though there’s no glowing endorsement on the front cover, “Avalon,” the latest in a number of “Matrix” knock-offs, should garner a little extra love. Why? Because director Mamoru Oshii was also responsible for the seminal anime “Ghost in the Shell,” which was one of many templates reinterpreted for American audiences to “ooh” and “ahhh” over. This existential action film is likely as close as one can get to translating the Japanese animation style into a live-action film: emotionally barren but undeniably visionary. In an alternate reality somewhere between Orwell and the Holocaust, gamers compete in a worldwide on-l...

It’s tough to criticize the final chapter of Peter Jackson’s “Lord of the Rings” trilogy. Even casual fans now seem to defend Tolkien’s text with almost biblical fervor, frothing at the mouth at even the mention of literary meddling. Which is a shame, because other than Jackson’s slavish attachment to the source material, “Return of the King” is a largely successful conclusion for Frodo, Gandalf, Aragorn and the rest of the Middle Earth gang. The film’s visual effects quite literally reach a peak, with a distinctly vertical sense of dizzying heights prevalent in Frodo and Sam’s ascent of Mount Doom and the towering city of Gondor, the focal point of Sauron’s attack against all Mankind. There’s a great deal of emotional set-up before we make it to the big show – a winner take all battle between the newly crowned King Aragorn and an endless army of Mordor’s enemy forces. If you’re mouth doesn’t hang open in awe, you’re jaw must be wired shut. But for all the grandiose images on display, ...

THE FLICK: Some films are fatally flawed. Script problems, bland direction, weak acting Ð take your pick. Like Hill House or the Ford Fury in Stephen KingÕs ÒChristine,Ó theyÕre just born bad. Others suffer from, for lack of a better term, Òbad apples.Ó Creatively and competently executed, there remain enough head-scratching moments of Òwhat were they thinking!Ó to stink up (but not spoil) the whole experience. Yet sometimes those Òbad applesÓ make for an infinite amount of re-watchibility; as if one were hoping the film would miraculously correct itself with each new viewing. And for whatever reason (thereÕs a lot of personal bias in the Òbad appleÓ theory), ÒThe League of Extraordinary GentlemenÓ fits quite nicely into the latter category. A moderately big-budget adaptation of the Alan Moore graphic novel built around the audacious idea of classic Victorian literary figures (Alan Quartermain, Dorian Gray, The Invisible Man, Dr. Jekyll, Mina Harker, Captain Nemo & Tom Sawyer) band...

For those that donÕt ÒgetÓ animation (i.e., close-minded, over-educated snobs with no sense of humor) shows like ÒSouth Park,Ó ÒThe SimpsonsÓ and the late-great ÒFuturamaÓ must seem like annoying Saturday morning escapees that accidentally wound up in prime time. DonÕt bother to convince them otherwise. TheyÕll never grasp the comic timing of a well-placed ÒDÕoh!Ó or appreciate the familiar refrain of ÒScrew you guys, IÕm going home!Ó In fact, that last sentence has them so confused, angry and disoriented theyÕre rushing to the TV for a live-action fix of Courtney Cox-Arquette. ÒSouth Park: The Complete Third Season,Ó in the words of creators Trey Parker and Matt Stone, is where the cardboard cutout show truly came together. The character quirks, interwoven plots, and no-limits sense of humor found a groove that became familiar rather than formulaic Ð playing off the now well-established cast of oddball personalities and scathing celebrity cameos. The seventeen episodes collected in Pa...

THE FLICK: Fans of Johnny Depp will say itÕs about time the rest of the country woke up and appreciated one of the most interesting and eccentric actors of our generation. But ÒPiratesÓ didnÕt exactly shove the smelling salts under John Q. PublicÕs nose; most folks already had a good idea what Depp was capable of from modest hits like ÒEdward ScissorhandsÓ and ÒSleepy Hollow.Ó More accurately, it was Depp himself who finally broke down and channeled his independent spirit into the Hollywood mainstream. Director Gore Verbinski captures the feel of classic swashbucklers past and the squeaky clean fun of the Disney thrill ride the filmÕs based on. But without his leading pirate the movie would be just more big budget eye candy. Depp, famously basing his performance on StoneÕs guitarist Keith Richards, is a fumbling, mumbling wreck of a pirate whoÕs much cleverer than he looks. As Captain Jack Sparrow, he overwhelms even the most elaborate special effect in the film and lifts the material ...