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Editor's rating: 
Friday, 28 November 2008 |  Written by Noah Fleming  | 
Blue Streak “Blue Streak” is a spin on cop movies.  It can definitely holds a candle to “Beverly Hills Cop.”  Martin Lawrence was definitely an in demand actor during the 1990s.  In addition to this film, he has starred in his own television series, “Martin” and co-starred in “Nothing to Lose” with Tim Robbins.  However, this film is one of his shining moments.  Even Roger Ebert praised this film. The success of “Blue Streak” lies in the script and some of the acting.  Martin Lawrence’s performance is good, but a bit overly dramatic.  It wears thin on the viewer about half way through the film.  However, the then up and coming Luke Wilson turned out a great performance. Miles Logan (Martin Lawrence) is a bank robber that hires the wrong accomplice.  His accomplice, Deacon (Peter Greene) betrays him so Logan has no choice but ...
Editor's rating: 
Tuesday, 25 November 2008 |  Written by Bill Warren &  | 
Dark Knight, The “The Dark Knight” is more than just the latest superhero movie, more even than the newest Batman movie—it takes the superhero movie is a different direction. Here, though there are many stunning action sequences, including a showstopper chase scene late in the film, the emphasis is on the characters and their relationships. The movie is still stylized, still taking place in a world other than ours, but it’s more involving, more a real drama than most such films. The movie is unusually detailed, with at least five strong central characters. It covers a lot of ground emotionally and in terms of events. It’s complex in the character relationships and in terms of action—and I haven’t even mentioned Batman’s activities in Hong Kong. The production values are strong—with this budget, they’d damned well be—and it’s a great-looking movie. Six sequences were shot ...
Editor's rating: 
Friday, 14 November 2008 |  Written by Bill Warren &  | 
Tropic Thunder (Director's Cut) “Tropic Thunder” is a great idea for an action comedy that, unfortunately, is given only good, not great, treatment. Ben Stiller directs for the first time since “Zoolander,” and as with that half-baked movie, shows a lot more skill in front of the camera than he does behind it. The movie has a half-assed pace—sometimes brisk, sometimes plodding—and doesn’t really bother with much characterization. It also leaves some questions—like what happens to Nick Nolte? It opens with a few amusing bogus trailers. Tugg Speedman (Stiller) is a major action star who had a big hit with “Scorcher,” which was followed by a string of declining sequels. Hoping to win an Oscar, he tackles a “demanding” role—a mentally-deficient farm worker in a movie called “Simple Jack.” But it was a bomb. Meanwhile, Australian super-duper actor and multiple Oscar winner Kirk Lazarus (Robert ...
Editor's rating: 
Friday, 31 October 2008 |  Written by Bill Warren &  | 
Thunderball This was the most expensive entry to date in the James Bond Series, and conclusive proof that bigger is not necessarily better. There's an oddly fussy quality to 'Thunderball;' The plot isn't intricate-two nuclear bombs are stolen by SPECTRE's Emilio Largo (Adolfo Celi) with the threat of detonation unless a hundred million pounds sterling is paid as ransom-but we see every single step the villains follow in the protracted opening sequence. In Goldfinger, Bond faced his best villain; yet, in 'Thunderball,' he and Largo (not very interesting in the first place) rarely even meet. Celi's a good actor, but the script by Richard Maibaum and John Hopkins can't find anything very colorful for him to do; most of the time he's snapping out boring orders like, "switch on the underwater landing lights" or "open the underwater hatch." There's nothing at all ...
Editor's rating: 
Thursday, 30 October 2008 |  Written by Bill Warren &  | 
From Russia With Love This film was already in production when 'Dr. No' was released, and 'Goldfinger' was shot while 'Russia' was in theaters; Cubby Broccoli and Harry Saltzman had that much faith in their new series, and United Artists had that much faith in Broccoli and Saltzman. As we know now, this faith was hardly misplaced. This is the most serious film in the James Bond series, one reason why some cite it as the best. 007 seems to be in more actual danger than in later films, partly because Connery is less insouciant and flippant, partly because the situation seems more real. However, this is also the entry that introduced the vast criminal organization SPECTRE and its leader, Blofeld, who would dog Bond's heels for the next several films. (And would still be doing so, no doubt, had not legalities intervened.) Rosa Klebb (Lotte ...
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