As the evil Ugandan dictator Idi Amin, Forest Whitaker gives an unforgettable performance in The Last King of Scotland. Powerfully illustrating the terrible truth that absolute power corrupts... read more

As the evil Ugandan dictator Idi Amin, Forest Whitaker gives an unforgettable performance in The Last King of Scotland. Powerfully illustrating the terrible truth that absolute power corrupts absolutely, this fictionalized chronicle of Amin's rise and fall is based on the acclaimed novel by Giles Foden, in which Amin's despotic reign of terror is viewed through the eyes of Nicholas Garrigan (James McAvoy), a Scottish doctor who arrives in Uganda in the early 1970s to serve as Amin's personal physician. His outsider's perspective causes him to be initially impressed by Amin's calculated rise to power, but as the story progresses--and as Whitaker's award-worthy performance grows increasingly monstrous--The Last King of Scotland turns into a pointed examination of how independent Uganda (a British colony until 1962) became a breeding ground for Amin's genocidal tyranny. As Whitaker plays him, Amin is both seductive and horribly destructive--sometimes in the same breath--and McAvoy effectively conveys the tragic cost of his character's naiveté, which grows increasingly prone to exploitation. As directed by Kevin Macdonald (who made the riveting semi-documentary Into the Void), this potent cautionary tale my prompt some viewers to check out Barbet Schroeder's equally revealing documentary General Idi Amin Dada, an essential source for much of this film's authentic detail. --Jeff Shannon

Beyond The Last King of Scotland

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General Idi Amin Dada

The Last King of Scotland (Paperback)

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Platoon put writer-turned-director Oliver Stone on the Hollywood map; it is still his most acclaimed and effective film, probably because it is based on Stone's firsthand experience as... read more

Platoon put writer-turned-director Oliver Stone on the Hollywood map; it is still his most acclaimed and effective film, probably because it is based on Stone's firsthand experience as an American soldier in Vietnam. Chris (Charlie Sheen) is an infantryman whose loyalty is tested by two superior officers: Sergeant Elias (Willem Dafoe), a former hippie humanist who really cares about his men (this was a few years before he played Jesus in Martin Scorsese's The Last Temptation of Christ), and Sergeant Barnes (Tom Berenger), a moody, macho soldier who may have gone over to the dark side. The personalities of the two sergeants correspond to their combat drugs of choice--pot for Elias and booze for Barnes. Stone has become known for his sledgehammer visual style, but in this film it seems perfectly appropriate. His violent and disorienting images have a terrifying immediacy, a you-are-there quality that gives you a sense of how things may have felt to an infantryman in the jungles of Vietnam. Platoon won Oscars for best picture and director. --Jim Emerson (hide)

By some lucky quirk of fate, Phone Booth landed on Hollywood's A-list, but this thriller should've been a straight-to-video potboiler directed by its screenwriter, veteran schlockmeister Larry Cohen,... read more

By some lucky quirk of fate, Phone Booth landed on Hollywood's A-list, but this thriller should've been a straight-to-video potboiler directed by its screenwriter, veteran schlockmeister Larry Cohen, who's riffing on his own 1976 thriller God Told Me To. Instead it's a pointless reunion for fast-rising star Colin Farrell and his Tigerland director, Joel Schumacher, who employs a multiple-image technique similar to TV's 24 to energize Cohen's pulpy plot about an unseen sniper (maliciously voiced by 24's Kiefer Sutherland) who pins his chosen victim (a philandering celebrity publicist played by Farrell) in a Manhattan phone booth, threatening murder if Farrell doesn't confess his sins (including a potential mistress played by Katie Holmes in a thankless role). In a role originally slated for Jim Carrey, Farrell brings vulnerable intensity to his predicament, but Cohen's irresistible premise is too thin for even 81 brisk minutes, which is how long Schumacher takes to reach his morally repugnant conclusion. --Jeff Shannon (hide)

John Travolta's should've-been-nominated-for-an-Oscar performance is the best reason to see this largely moving work, which is a little reminiscent of the novel Flowers for Algernon (basis for the... read more

John Travolta's should've-been-nominated-for-an-Oscar performance is the best reason to see this largely moving work, which is a little reminiscent of the novel Flowers for Algernon (basis for the film Charly). Travolta plays a mechanic who sees a bright light in the sky one night and wakes up the next morning a genius, hungry for knowledge and so smart he figures out national defense secrets in his own living room (and gets in hot water for it). The more interesting drama, however, is not with the government but with the character's longtime neighbors and friends, who come to reject him for being different. Robert Duvall gives a stirring performance as a doctor who has known the hero all his life, and Kyra Sedgwick is very good as an ambivalent love interest. If you missed this one in the theaters, then you haven't seen one of Travolta's best performances since his comeback. The DVD release presents a widescreen image, optional French soundtrack, optional Spanish subtitles, and theatrical trailer. --Tom Keogh (hide)

Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an... read more

Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean Axmaker (hide)

Barry Levinson (Wag the Dog) directed this comedy-drama about an Armed Forces Radio disc jockey (Robin Williams) whose manic, hilarious delivery from a studio in 1965 Saigon gives... read more

Barry Levinson (Wag the Dog) directed this comedy-drama about an Armed Forces Radio disc jockey (Robin Williams) whose manic, hilarious delivery from a studio in 1965 Saigon gives U.S. troops in the field a morale boost (while upsetting military brass). Based on the real-life experiences of deejay Adrian Cronauer, the film is actually more concept than story: put Williams in front of a microphone and let him go nuts. Still, the surrounding stuff about the influence upon Cronauer of the endless deaths among his listeners--as Cronauer tries to stay funny while feeling the mounting losses--is affecting. Williams got a much-deserved Oscar nomination for his work. --Tom Keogh (hide)

Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an... read more

Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean Axmaker (hide)

There's a kind of perverse marketing genius at work in this cheesy sci-fi hit from 1995 in which scientists create a half-human, half-alien woman named Sil (Natasha Henstridge)... read more

There's a kind of perverse marketing genius at work in this cheesy sci-fi hit from 1995 in which scientists create a half-human, half-alien woman named Sil (Natasha Henstridge) who's capable of morphing from a slimy, tentacled creature into a blonde babe with the body of a Playboy centerfold. This makes it easy for Sil to lure gullible guys who are only too willing to indulge her voracious mating urge, realizing too late that sex with Sil is anything but safe. As the body count rises, a handpicked team of specialists tracks the alien's killing spree, but their diverse expertise is barely a match for the ever-morphing Sil. Borrowing elements of the Alien movies (including bizarre alien designs by Swedish artist H.R. Giger) and spicing them up with some tantalizing nudity, Species is a wet dream for creature-feature fans--kind of like watching a sci-fi vampire fantasy while browsing through the Sports Illustrated swimsuit issue. --Jeff Shannon (hide)

Clint Eastwood's moody, evocative direction and Forest Whitaker's strong, sensitive performance are the chief proponents to recommend an otherwise muted biopic of '40s jazz legend Charlie Parker, who... read more

Clint Eastwood's moody, evocative direction and Forest Whitaker's strong, sensitive performance are the chief proponents to recommend an otherwise muted biopic of '40s jazz legend Charlie Parker, who fell victim to his chemical excesses and convinced the doctor who pronounced him dead that he was a good four decades older than he actually was. The film doesn't try to assign clear blame for Parker's demons, though the era's racism is addressed unflinchingly. Clearly a labor of love, Eastwood's movie structurally attempts to ape the angular music of bebop itself (there are flashbacks within flashbacks, which gets a little confusing), but doesn't quite capture the smolder of the period. Diane Venora registers strongly as Bird's wife, Chan, the woman who can't rescue Bird from the abyss into which he peers. --David Kronke (hide)