With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender.... read more

With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted--hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) --Jim Emerson (hide)

Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became... read more

Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. In this 2002 DVD release, Grease lovers can also now see it in the correct 2:35 to 1 Panavision aspect ratio, and see retrospective interviews with cast members and director Randal Kleiser. All these stylistic touches are essential to the film's success. Without the vibrant colors, unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want"), and fabulously choreographed, widescreen musical numbers, the film would have to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative.

The young, animated cast also deserves a lot of credit, bringing chemistry and energy to otherwise bland material. John Travolta, straight from his success in Saturday Night Fever, knows his sexual star power and struts, swaggers, sings, and dances appropriately, while Olivia Newton-John's portrayal of virgin innocence is the only decent acting she's ever done. And then there's Stockard Channing, spouting sexual double-entendres as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars. Ignore the sequel at all costs. --Dave McCoy (hide)

At his best, director John Woo turns action movies into ballets of blood and bullets grounded in character drama. Face/Off marks Woo's first American film to reach the... read more

At his best, director John Woo turns action movies into ballets of blood and bullets grounded in character drama. Face/Off marks Woo's first American film to reach the pitched level of his best Hong Kong work (Hard-Boiled). He takes a patently absurd premise--hero and villain exchange identities by literally swapping faces in science-fiction plastic surgery--and creates a double-barreled revenge film driven by the split psyches of its newly redefined characters. FBI agent Sean Archer (John Travolta) must play the villain to move through the underworld while psychotic terrorist Castor Troy (Nicolas Cage) becomes a perversely paternal family man while using every tool at his disposal to destroy his nemesis. Travolta vamps Cage's tics and flamboyant excess with the grace of a dancer after his transformation from cop to criminal, while Cage plays the sullen, bottled-up agent excruciatingly trapped behind the face of the man who killed his son. His attempts to live up to the terrorist's reputation become cathartic explosions of violence that both thrill and terrify him. This is merely icing on the cake for action fans, the dramatic backbone for some of the most visceral action thrills ever. Woo fills the screen with one show-stopping set piece after another, bringing a poetic grace to the action freakout with sweeping camerawork and sophisticated editing. This marriage of melodrama and mayhem ups the ante from cops-and-robbers clichés to a conflict of near-mythic levels. --Sean Axmaker (hide)

Saturday Night Fever is one of those movies that comes along and seems to change the cultural temperature in a flash. After the movie's release in 1977, disco... read more

Saturday Night Fever is one of those movies that comes along and seems to change the cultural temperature in a flash. After the movie's release in 1977, disco ruled the dance floors, and a blow-dried member of a TV-sitcom ensemble became the hottest star in the U.S. For all that, the story is conventional: a 19-year-old Italian American from Brooklyn, Tony Manero (John Travolta), works in a humble paint store and lives with his family. After dark, he becomes the polyester-clad stallion of the local nightclub; Tony's brother, a priest, observes that when Tony hits the dance floor, the crowd parts like the Red Sea before Moses. Director John Badham captures the electric connection between music and dance, and also the desperation that lies beneath Tony's ambitions to break out of his limited world. The soundtrack, which spawned a massively successful album, is dominated by the disco classics of the Bee Gees, including "Staying Alive" (Travolta's theme during the strutting opening) and "Night Fever." The Oscar^®-nominated Travolta, plucked from the cast of Welcome Back, Kotter, for his first starring role, is incandescent and unbelievably confident, and his dancing is terrific. Oh, and the white suit rules. --Robert Horton (hide)

Swordfish is a superficial movie, so let's address the superficial facts: Halle Berry was well paid to bare her breasts in this gratuitous cyber-action thriller, and while Berry's... read more

Swordfish is a superficial movie, so let's address the superficial facts: Halle Berry was well paid to bare her breasts in this gratuitous cyber-action thriller, and while Berry's many fans will enjoy a cheap drool at the actress's expense, her brief topless scene doesn't justify this insipid parade of glossy violence from the director of 2000's Gone in 60 Seconds. Add yet another notch in John Travolta's bad-movie belt, and you've got Hollywood bankruptcy in full blossom. Go ahead, marvel at director Dominic Sena's biggest money shot--a 360-degree pan as a robbery hostage is blown to bits by a bomb that pelts a surrounding SWAT squad with deadly ball bearings.

The plot, as if it matters: Travolta's a slick, self-appointed antiterrorist who recruits a top-flight computer hacker (Hugh Jackman) to transfer a $9.5 billion government slush fund into a cluster of secret accounts. Berry's the curvaceous bait who lures Jackman into the scheme; Don Cheadle's an FBI agent hot on their tails; and an obligatory subplot turns Jackman's daughter (Camryn Grimes) into an innocent bargaining chip. By the time a hostage transport bus is airlifted in the film's not-so-thrilling climax, Swordfish will hold your passive attention or put you to sleep--it all depends on your tolerance for Sena's brand of derivative bloodlust. It's pornography of a sort, and efficiently mechanical, but you can bet good money that Berry and her costars didn't cash their paychecks proudly. --Jeff Shannon (hide)

This cute, 1989 comedy directed by Amy Heckerling (Fast Times at Ridgemont High) helped keep John Travolta busy during some fallow years and extended America's then-love affair with... read more

This cute, 1989 comedy directed by Amy Heckerling (Fast Times at Ridgemont High) helped keep John Travolta busy during some fallow years and extended America's then-love affair with Bruce Willis, whose voice is the only part of him that appears. Kirstie Alley costars as an unwed mother in search of a suitable man to become her baby's father. Travolta is a cab driver who doesn't match her ideal, but he gets involved anyway. Half the fun comes from Willis's risible reading of the newborn's thoughts. The film was followed by two lesser sequels, Look Who's Talking Too and Look Who's Talking Now. --Tom Keogh (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)

Hailed by many critics as one of the best films of 1995, this finely tuned black comedy sparked a renewed interest in movies based on books by prolific... read more

Hailed by many critics as one of the best films of 1995, this finely tuned black comedy sparked a renewed interest in movies based on books by prolific crime novelist Elmore Leonard, whose trademark combination of tight plotting and sharp humor is perfectly captured here. After the success of Pulp Fiction, John Travolta continued his meteoric comeback as Chili Palmer, a Mob "mechanic" whose latest assignment takes him to Los Angeles, where his fascination with the movie business turns into a new career as a would-be movie producer. He pitches ideas with a sleazy producer (Gene Hackman) and a major star (Danny DeVito), and also finds time to deal with a vengeful Mobster (Dennis Farina) and assorted Hollywood types (including Renee Russo and Delroy Lindo) who all want their piece of a tempting show-biz pie. The plot unfolds with enticing precision, but it's really Elmore's snappy dialogue--and the performances that bring it to life--that make this one of the best comedies of the 1990s. --Jeff Shannon (hide)

After the box-office success of Phenomenon, John Travolta continued to charm audiences with this 1996 comedy-fantasy in which he plays a grubby angel who's got one last good... read more

After the box-office success of Phenomenon, John Travolta continued to charm audiences with this 1996 comedy-fantasy in which he plays a grubby angel who's got one last good deed to do before heading back to heaven. Living peacefully in the rural Iowa home of an old, friendly motel owner (Jean Stapleton), the winged Michael (Travolta) is hardly the image of a perfect angel. He's scruffy, unshaven, eats sweetened cereal by the box-full and chain-smokes all day long. But when tabloid reporters (William Hurt, Robert Pastorelli) learn of Michael's alleged existence and head to Iowa to check him out, Michael soon realizes that it's his task to see that Hurt falls in love with an "angel expert" (Andie MacDowell) and breaks free from his habitually cynical attitude. There's more to the story, of course (and Chasing Amy fans will recognize Joey Lauren Adams as a waitress who charms the angel), but Michael is more about the effect that this enchanting angel has on the earthbound humans around him. Whether he's chipping away at Hurt's skepticism or attracting a crowd of women on a truck-stop dance floor, Michael is an enchanting figure, and Travolta plays him with just the right tone of humor, reverence, and effervescent charm. Sure, it's lightweight fluff, but director Nora Ephron specializes in lightweight fluff, and Michael is the kind of feel-good movie that never wears out its welcome. --Jeff Shannon (hide)

Another movie based on a Marvel comic and arguably the worst-although you could make a case for "Daredevil." A buffed-up Tom Jane stars as an F.B.I. agent who's... read more

Another movie based on a Marvel comic and arguably the worst-although you could make a case for "Daredevil." A buffed-up Tom Jane stars as an F.B.I. agent who's out to avenge his murdered family. The ruthless businessman behind the killings is played by John Travolta, who sneers his way through another bad role that neglects his sexy good humor. The film's countless shootings amount to a series of thrill kills, and the director, Jonathan Hensleigh, handles the violence with a finesse worthy of "Death Wish." Depressing. -Bruce Diones
Copyright © 2006 The New Yorker (hide)

Every element of great drama--tragic deaths, titanic greed, a flawed hero--already existed in Jonathan Harr's A Civil Action. John Shea's reading provides the finishing touch: a great voice.... read more

Every element of great drama--tragic deaths, titanic greed, a flawed hero--already existed in Jonathan Harr's A Civil Action. John Shea's reading provides the finishing touch: a great voice. Shea, an Obie Award-winning stage actor, is probably best known for his roles in a handful of films in the '80s, including Missing and Windy City. His smooth, disciplined reading guides us through some of the book's heavy traffic--lots of medical information, many characters with complex backgrounds, multiple carcinogenic chemicals--without for a second allowing us to get lost in those details. We never forget we're heading toward one of modern journalism's great clashes of good and evil, and even if we know in advance which side wins, the narrative path to that conclusion is always riveting. (Running time: 4 hours, 4 cassettes) --Lou Schuler (hide)

In paying simple tribute to firefighters, Ladder 49 gets to the heart of those who risk their lives for a living. Director Jay Russell brought similar sincerity to... read more

In paying simple tribute to firefighters, Ladder 49 gets to the heart of those who risk their lives for a living. Director Jay Russell brought similar sincerity to his memorable family favorite My Dog Skip, and despite the banalities of an ultra-conventional screenplay by Lewis Colick, Ladder 49 generates so much goodwill toward its Baltimore firemen that you may find yourself unexpectedly overcome with emotional appreciation for guys like Jack (Joaquin Phoenix), a firefighter whose career, courtship, marriage, and fatherhood are viewed in flashback as he struggles to survive in the present-day framing scenes, cut off from his fellow firemen in the fiery guts of a collapsing 20-floor building. There are no surprises in the familiar scenes of male bonding, dangerous rescues, injury and death, and the supportive concern of Jack's wife (Jacinda Barrett), but by focusing on the simple integrity of Jack's personal and professional commitment, the movie gives Phoenix a showcase for unselfish virtue, while John Travolta provides dignified support as Jack's mentor and devoted firehouse captain. Ladder 49 is routine in most respects, but it's a much-deserved valentine to working-class heroes. --Jeff Shannon (hide)

John Travolta traded in disco duds for a cowboy hat in this corny love story about a working man who breaks up with his girlfriend (Debra Winger), then... read more

John Travolta traded in disco duds for a cowboy hat in this corny love story about a working man who breaks up with his girlfriend (Debra Winger), then plays out their relationship's turmoil inside a huge honky-tonk called Gilley's. The story essentially parallels Travolta's prior hit film, Saturday Night Fever, in its blend of ordinary life, incomplete relationships, and personal pride channeled into niche stardom at a neighborhood club. But for all its regional flavor, Urban Cowboy never enjoys the immediacy and urgency of Fever, and after awhile you can't help but feel bemused by the macho silliness of ongoing "mechanical bull" competitions (basically a faux rodeo device only brave men can master at great chiropractic risk). The Travolta-Winger relationship is pure soap, as well. But this film really is a kind of time-capsule piece on a lot of levels--notably Travolta's career and late '70s Western kitsch--and while it's silly, it's certainly not disagreeable. --Tom Keogh (hide)

A coming-of-age story starring a bunch of fiftysomething stars rather than teenage actors, Wild Hogs is a well-intentioned comedy starring John Travolta (Woody), Tim Allen (Doug), Martin Lawrence... read more

A coming-of-age story starring a bunch of fiftysomething stars rather than teenage actors, Wild Hogs is a well-intentioned comedy starring John Travolta (Woody), Tim Allen (Doug), Martin Lawrence (Bobby), and William H. Macy (Dudley) as a group of Midwesterners facing their own versions of mid-life crises. They decide to escape their frazzled personal lives and rejuvenate themselves by taking a road trip on their slick hogs. But their journey is less Easy Rider than it is Three Amigos (plus one). As individual actors, each lead is a formidable star. But throw them all together into one crammed screenplay full of scatological humor and uncomfortable homosexual gags and it doesn't quite work. The actors spend so much time trying to outdo each other on screen that they aren't believable as friends, much less comrades. Walt Becker (National Lampoon's Van Wilder) offers minimal direction on a film that could've used some reining in, especially during scenes between Macy and Marisa Tomei (as a diner owner who inexplicably falls for him). There are promises of some interesting vignettes when Ray Liotta shows up as Jack, the leader of a real motorcycle gang. When Jack threatens to break Dudley's legs, Dudley counters, "I'm a computer programmer! I don't need my legs." Without missing a beat, Jack says, "Fine, we'll break his hands." It's not that the lines are so funny, but they way Liotta delivers them that adds some life to this flailing comedy. Unfortunately, his scenes with the rest of the cast are all too few. --Jae-Ha Kim

Stills from Wild Hogs (click for larger image)

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Based on the novel by Anonymous (a.k.a. political reporter Joe Klein) and released when the Monica Lewinsky scandal was in full swing, Primary Colors may have been a... read more

Based on the novel by Anonymous (a.k.a. political reporter Joe Klein) and released when the Monica Lewinsky scandal was in full swing, Primary Colors may have been a case of too much, too soon for many moviegoers, who preferred the real-life Clinton crisis over the movie's thinly disguised "Clintonesque" comedy. The general public felt that the film was exploiting the president's indiscretions, and as a result one of the most critically acclaimed movies of 1998 was a box-office disappointment. But when considered apart from the Clinton scandals and judged on its own considerable merits, this superb comedy-drama provides an illuminating, insightful, and frequently hilarious look at the harsh realities of presidential politics. John Travolta stars as Jack Stanton, a presidential hopeful whose campaign is challenged by dual dilemmas: how to squelch a scandal involving the candidate's alleged sex with an underage girl, and how to handle information that could potentially ruin Stanton's opponent (superbly played by Larry Hagman). Stanton's wife (Emma Thompson) stands by her man despite awareness of his infidelities, but his loyal campaign planners (played by Billy Bob Thornton, Maura Tierney, and promising newcomer Adrian Lester) experience a crisis of conscience. So does one of the Stantons' oldest friends (Kathy Bates, in an Oscar-nominated role), whose sense of betrayal and lost idealism proves too much to bear. Masterfully adapted by director Mike Nichols and his former-comedy-partner-turned-screenwriter, Elaine May, Primary Colors plays like a sophisticated comedy with loads of memorable scenes and dialogue, but it sneaks up on you with devastating dramatic impact. Anchored by Travolta's superb performance (which is reminiscent of Clinton without being a cheap impersonation), the movie presents a story of great moral complexity and leaves viewers to contemplate their own reactions to the volatile and ethically complicated game of modern politics. --Jeff Shannon (hide)

John Travolta is Vic Deakins, a bomber pilot who launches a devilish plan to hijack two nuclear missiles for big-time extortion. Vic never sweats, spews out great one-liners,... read more