In a recent column in Entertainment Weekly, Stephen King cited Patterson's thrillers as the example of "dopey" bestsellers. We hope that doesn't mean that those who enjoy them... read more

In a recent column in Entertainment Weekly, Stephen King cited Patterson's thrillers as the example of "dopey" bestsellers. We hope that doesn't mean that those who enjoy them are dopes, because this new one is vastly entertaining. Alex Cross, Patterson's black lawman hero, has left the D.C. police force for the FBI. But Cross was a star cop, so when the Bureau becomes aware that attractive white women are disappearing at an unusually high rate in the nation's capital, Cross, despite still being in training at Quantico, is brought onto the case and is personally mentored by the Bureau's director, earning the ire of some Feds but the support of others. Behind the disappearances is a sexual slavery operation run as a sideline by one of the more believable and most compellingly evil villains in the Patterson universe, the Wolf, a mysterious former KGB man who's now the world's top mobster. The narrative throughout is swift and varied, as Patterson cuts among the diabolical schemes of a Russian magnate who may be the Wolf, the plight of several kidnap victims, the dogged pursuit by Cross and company of the Wolf, and the hideous designs of the members of an encrypted computer chat room who pay the Wolf fortunes to snatch women who fit their fantasies. And there's domestic drama, too, as the mother of Cross's young son, Alex, decides that she wants her boy back. Full of plot surprises and featuring a balanced mix of intrigue, hard action and angst, the novel, on which Patterson notably does not share cover credit, grips from start to finish. The Alex Cross series remains Patterson's finest, and this is the finest Cross in years. Maybe we're dopes, but we're smiling ones.
Copyright 2003 Reed Business Information, Inc. (hide)

Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. Boogie Nights is one... read more

Even if the notorious 1970s porn-filmmaking milieu doesn't exactly turn you on, don't let it turn you off to this movie's extraordinary virtues, either. Boogie Nights is one of the key movies of the 1990s, and among the most ambitious and exuberantly alive American movies in years. It's also the breakthrough for an amazing new director, whose dazzling kaleidoscopic style here recalls the Robert Altman of Nashville and the Martin Scorsese of GoodFellas. Although loosely based on the sleazy life and times of real-life porn legend John Holmes, at heart it's a classic Hollywood rise-and-fall fable: a naive, good-looking young busboy is discovered in a San Fernando Valley disco by a famous motion picture producer, becomes a hotshot movie star, lives the high life, and then loses everything when he gets too big for his britches, succumbs to insobriety, and is left behind by new times and new technology. Of course, it ain't exactly A Star Is Born or Singin' in the Rain. Writer-director Paul Thomas Anderson (in only his second feature!) puts his own affectionately sardonic twist on the old showbiz biopic formula: the ambitious upstart changes his name and achieves stardom in porno films as "Dirk Diggler." Instead of drinking to excess, he snorts cocaine (the classic drug of '70s hedonism); and it's the coming of home video (rather than talkies) that helps to dash his big-screen dreams. As for the britches ... well, the controversial "money shot" explains everything. And the cast is one of the great ensembles of the '90s, including Oscar nominees Burt Reynolds and Julianne Moore, Mark Wahlberg (who really can act--from the waist up, too!), Heather Graham (as Rollergirl), William H. Macy, John C. Reilly, and Ricky Jay. --Jim Emerson (hide)

Though it bears little resemblance to the original 1969 thriller starring Michael Caine, the 2003 remake of The Italian Job stands on its own as a caper comedy... read more

Though it bears little resemblance to the original 1969 thriller starring Michael Caine, the 2003 remake of The Italian Job stands on its own as a caper comedy that's well above average. The title's a misnomer--this time it's actually a Los Angeles job--but the action's just as exciting as it propels a breezy tale of honor and dishonor among competing thieves. Inheriting Caine's role as ace heist-planner Charlie Croker, Mark Wahlberg plays straight-man to a well-cast team of accomplices, including Mos Def, Jason Statham, and scene-stealer Seth Green in a variation of the role originally played by Noel Coward. As the daughter of Croker's ill-fated mentor (Donald Sutherland), Charlize Theron is recruited to double-cross a double-crosser (Edward Norton in oily villain mode), and once again, speedily versatile Mini Coopers play a pivotal role in director F. Gary Gray's exhilarating car-chase climax. It's perhaps the greatest product placement in movie history, and just as fun the second time around. --Jeff Shannon (hide)

A confident hybrid of M*A*S*H, Treasure of the Sierra Madre, and Dr. Strangelove, Three Kings is one of the most seriously funny war movies ever made. Improving the... read more

A confident hybrid of M*A*S*H, Treasure of the Sierra Madre, and Dr. Strangelove, Three Kings is one of the most seriously funny war movies ever made. Improving the premise of Kelly's Heroes with scathing intelligence, it explores the odd connection between war and consumerism in the age of Humvees and cellular phones. Writer-director David O. Russell's third film (after Spanking the Monkey and Flirting with Disaster), it's a no-holds-barred portrait of personal conscience in the volatile arena of politics, played out by one of the most gifted filmmakers to emerge in the 1990s.

George Clooney, Mark Wahlberg, Ice Cube, and Spike Jonze (director of Being John Malkovich) play a quartet of U.S. soldiers who, disillusioned by Operation Desert Storm, decide to steal $23 million in gold hijacked from Kuwait by Saddam Hussein's army. Getting the bullion out of an Iraqi stronghold is easy; keeping it is a potentially lethal proposition. By the end of their mercenary mission, the Americans can no longer ignore wartime atrocities (and neither can we--the film is boldly unflinching), and conscience demands their aid to Iraqi rebels abandoned by President George Bush's fickle wartime policy. This is serious stuff indeed, but Russell infuses Three Kings with a keen sense of the absurd, and the entire film is an exercise in breathtaking visual ingenuity. Despite a conventional ending that's mildly disappointing for such a brashly original film, Three Kings conveys the brutal madness of war while making you laugh out loud at the insanity. --Jeff Shannon (hide)

Walt Disney Pictures scored a surprise box-office hit with Invincible, and the movie deserved its good reviews as a fine example of how above-average writing, direction, and casting... read more

Walt Disney Pictures scored a surprise box-office hit with Invincible, and the movie deserved its good reviews as a fine example of how above-average writing, direction, and casting can turn formulaic material into something special. And make no mistake, this is a formulaic movie, with its real-life story embellished with Rocky-like enthusiasm, and lovingly crafted with the same quality of working-class humanism that made The Rookie a similarly popular Disney hit. This time, the inspirational true story is that of Vince Papale, a down-on-his-luck substitute teacher in Philadelphia (played by Mark Wahlberg in a nicely understated performance) who was 30 years old, out of work, abandoned by his wife, and biding time as a bartender when he answered an open call for tryouts on the Philadelphia Eagles NFL football team in 1976. Going with his gut instinct, new coach Dick Vermeil (Greg Kinnear) rewards Papale's diligent efforts with a place on the team, and Invincible combines gridiron guts, low-key romance (as Papale meets his future wife-to-be, played by Elizabeth Banks) and blue-collar friendship in an underdog story that moves, with casual charm and abundant appeal, toward a rousing feel-good finish. Making good use of digital visual effects to recreate Philly's now-demolished Veterans Stadium, director Erickson Core (also serving as his own cinematographer) tackles this heartwarming assignment with intelligence and flair, spinning gold from what could have been just another routine sports movie. --Jeff Shannon (hide)

Bound by love for their slain adoptive mother, the brothers in Four Brothers form a unique quartet that gives John Singleton's film a razor's edge of redemption. It's... read more

Bound by love for their slain adoptive mother, the brothers in Four Brothers form a unique quartet that gives John Singleton's film a razor's edge of redemption. It's a thin edge, to be sure, because while Singleton's urban Western pays homage to the Blaxpoitation films of the '70s (as he did with his remake of Shaft), it walks a fine line of credibility with a mythic vengeance plot (recalling John Wayne's 1965 hit The Sons of Katie Elder) that endorses violence as the last resort of a family under siege. When a saintly foster mother (Fionnula Flanagan) is gunned down in a convenience store, her only adopted sons (two white, two black, played respectively by Mark Wahlberg, Garrett Hedlund, Tyrese Gibson and Andre Benjamin) go after the killers, only to discover that their mother's death was not a random event. As they uncover a sticky web of criminal activity involving a local kingpin (Chiwitel Ejiofor), the character-driven plot races toward an inevitable showdown, with ex-con Wahlberg leading the way. Making excellent use of blue collar locations in Detroit, Singleton keeps the action moving fast enough that the film's lack of realism is easily ignored, and the well-drawn characters (including Terrence Howard as a tenacious detective) lend emotional dimension to an otherwise familiar revenge scenario. Four Brothers is manipulative, but it's filled with grace notes of rugged working-class humanity, and it definitely holds your attention. --Jeff Shannon (hide)

Setting out for the one last catch that will make up for a lackluster fishing season, Captain Billy Tyne (George Clooney) pushes his boat the Andrea Gail out... read more

Setting out for the one last catch that will make up for a lackluster fishing season, Captain Billy Tyne (George Clooney) pushes his boat the Andrea Gail out to the waters of the Flemish Cap off Nova Scotia for what will be a huge swordfish haul. While his crew is gathering fish, three storm fronts (including a hurricane) collide to create a "perfect storm" of colossal force, and Billy's path back to Gloucester, Massachusetts, takes them right smack into the middle of it. Wolfgang Petersen's adaptation of Sebastian Junger's seafaring bestseller is a faithful if by-the-numbers true-story account of a monster storm that rocked New England in 1991, specifically Tyne's commercial fishing boat and its crew. Junger's tale fashioned a compelling if staid narrative out of seemingly disparate events, but this film adaptation tends to flatten out the story into a conventional if absorbing story of man vs. nature, as the crew fights for survival against the awesome waves the storm kicks up. The central part of the film, which cuts between the Andrea Gail's fight to stay afloat and the attempts of the Coast Guard to rescue a yacht in peril, is suspenseful action of the first degree, aided by some awesome computer-generated waves.

Still, it's a long way to that action, with an extended first act that consists mainly of stoic men, crying women, and a fair amount of "don't go out into the sea" dialogue--in other words, a compelling story has been shoehorned into standard summer movie fare. It's too bad, as Peterson assembled an excellent cast--including Mark Wahlberg, Diane Lane, John C. Reilly, and William Fichtner among them--but seems to opt for only a surface exploration of these characters, though Clooney seems to have a touch of Captain Ahab in him. You may still be won over by the movie, but for a more in-depth portrait, go to Junger's book for the missing details. --Mark Englehart (hide)

Two years before he let it all hang out in Boogie Nights, former rapper and Calvin Klein underwear model Mark Wahlberg played the psychotic boyfriend in this derivative... read more

Two years before he let it all hang out in Boogie Nights, former rapper and Calvin Klein underwear model Mark Wahlberg played the psychotic boyfriend in this derivative but surprisingly effective thriller, aptly described by producer Brian Grazer as "Fatal Attraction for teens." Reese Witherspoon plays Nicole Walker, the unwitting teenager who gets the hots for David McCall (Wahlberg). David only seems like a nice guy until he gets upset by the girl's overly protective father. That's when hell breaks loose and the love-struck Romeo turns into a deadly threat who just won't go away. You'd think this kind of material would be beneath the talents of a fine director like James Foley (whose credits include At Close Range and Glengarry Glen Ross), but Foley gives the film just the right blend of style and tension to match Wahlberg's breakthrough role as an all-too-believable teenage maniac. You might feel silly afterwards, but don't be surprised if you find yourself getting caught up in the expertly manipulative suspense. --Jeff Shannon (hide)

Many early science fiction films are now, quite inadvertently (and in most cases undeservedly), objects of camp attention: we laugh at the silly makeup, tin-can special effects, and... read more

Many early science fiction films are now, quite inadvertently (and in most cases undeservedly), objects of camp attention: we laugh at the silly makeup, tin-can special effects, and the naive "high-tech" dialogue. Planet of the Apes is no such film. Its intelligent script, frightening costuming, and savagely effective conclusion (which needs no big-budget special effects to augment its impact) remain both potent and relevant. When Colonel George Taylor (the fabulous Charlton Heston) crash lands his spacecraft on what seems to be an unfamiliar planet, he is captured and held prisoner by a dominant race of hyperrational, articulate apes. However, the ape community is riven with internal dissention, centered in no small part on its policy toward humans, who, on this planet, are treated as mindless animals. Befriended and ultimately assisted by the more liberal simians, Taylor escapes--only to find a more terrifying obstacle confronting his return home. Heavy-handed object lessons abound--the ubiquity of generational warfare, the inflexibility of dogma, the cruelty of prejudice--and the didactic fingerprints of Rod Serling are very much in evidence here. But director Franklin Schaffner has a dark, pop-apocalyptic sci-fi vision all his own, and time has not dulled the monumental emotional impact of the film's climactic payoff shot. If you don't know what I'm talking about here, you owe it to yourself to check out this stone classic, and even if you do, see it with fresh eyes; and don't be surprised if you get the chills all over again... and again... and again. --Miles Bethany (hide)

A movie that would not have been out of place in the run of paranoid-political thrillers of the 1970s, Shooter works an entertaining variation on the assassination picture.... read more

A movie that would not have been out of place in the run of paranoid-political thrillers of the 1970s, Shooter works an entertaining variation on the assassination picture. Mark Wahlberg, carrying over good mojo from The Departed, slides neatly into the character of Bob Lee Swagger, master marksman. Swagger has retreated from his duty as an off-the-books hired gun for the military, having become disillusioned with his government (switching on his TV at his remote mountain cabin, he mutters, "Let's see what kind of lies they're trying to sell us today."). Ah, but the government needs Swagger to scope out the location of a rumored attempt on the life of the president, so a shadowy government operative (Danny Glover) begs Swagger to use his sniper's skills to out-fox the assassin. From there--well, spoilers are not fair, since the movie has a few legitimate shocks and a very nice wrong-man scenario about to unfold.

A novel by the Washington Post's Pulitzer Prize-winning film critic Stephen Hunter gives the movie a logical spine, even if the premise itself is the stuff of conspiracy theorists. Wahlberg gets support from Michael Pena, as a skeptical FBI agent; Kate Mara, as a trustworthy widow; and Ned Beatty, trailing along memories of Network, as a supremely cynical Senator. Along with the well-executed action sequences (the previously unreliable director Antoine Fuqua gets it in gear here), the movie includes a few potshots at the Bush administration. No, that doesn't put Shooter at the level of The Parallax View or All the President's Men, but it provides some tang along with the flying bullets. --Robert Horton (hide)

If you've ever indulged a rock & roll fantasy, Rock Star will give you the vicarious thrill of seeing that fantasy come to life. That's what happens when... read more

If you've ever indulged a rock & roll fantasy, Rock Star will give you the vicarious thrill of seeing that fantasy come to life. That's what happens when talented tribute-band singer Chris Cole (Mark Wahlberg) is tapped to replace his idol as frontman for 1980s metal gods Steel Dragon. Chris becomes the groupie-laden "Izzy," his manager girlfriend (Jennifer Aniston) grows weary of sex 'n' drugs on tour, and Rock Star plays out its utterly conventional plot line. Despite the casting of real rockers to support Wahlberg's underrated performance (nicely matched by Aniston and Timothy Spall as Steel Dragon's road manager), his character is too rigidly written to follow an obligatory rise and fall, and even its basis in fact (inspired by Tim "Ripper" Owens's recruitment into Judas Priest) can't conceal the movie's predictable formula. As a cautionary tale it's routine, but as a leather-pants love story, Rock Star's got enough good karma to keep its dream alive. --Jeff Shannon (hide)

Film fans might someday recognize 1997 and '98 as the years Hong Kong came to Hollywood. Stars Jackie Chan, Sammo Hung, Chow Yun-Fat, Jet Li, and Michelle Yeoh... read more

Film fans might someday recognize 1997 and '98 as the years Hong Kong came to Hollywood. Stars Jackie Chan, Sammo Hung, Chow Yun-Fat, Jet Li, and Michelle Yeoh all appeared in major Hollywood projects and directors John Woo, Ronny Yu, and Tsui Hark directed Face/Off, Bride of Chucky, and Knock Off, respectively. Another entry into this new era of entertainment is The Big Hit, directed by Che-Kirk Wong (who also directed Jackie Chan in Crime Story), executive produced by John Woo, and produced by Wesley Snipes. Mark Wahlberg leads this all-American cast in a played-for-laughs macho blowout. Rounding out the testosterone brigade are Lou Diamond Phillips (sprouting a gold-capped tooth and a dirty mouth), Bokeem Woodbine (who, according to this DVD's director audio track, wore extra socks where it counts), Antonio Sabàto Jr., and Avery Brooks. Wahlberg plays Melvin Smiley, a nice-guy hit man with an ulcer and a severe insecurity problem. He's short on cash due to the spending habits of his unsuspecting fiancée Pam (Christina Applegate) and his girlfriend-on-the-sly Chantel (Lela Rochon). He and his crew decide to do a little freelancing and cook up their own heist to make a little mo' money--specifically by kidnapping Keiko (China Chow), the daughter of a Japanese businessman whom they target for ransom. Little do they know her dad is broke and she's the goddaughter of their boss. The Big Hit has action scenes aplenty (one of the stunt coordinators worked on Woo's The Killer and Bullet in the Head) and the same cornball sense of humor as other films in the Hong Kong action genre. Slick pacing and over-the-top humor made this movie a miss with the critics but a fun ride for fans of Hong Kong-styled action. --Shannon Gee (hide)

Fulfilling the promise of his debut film, Little Odessa, 31-year-old writer-director James Gray proves himself a mature storyteller who attracts good actors and elicits their best work. Inspired... read more

Fulfilling the promise of his debut film, Little Odessa, 31-year-old writer-director James Gray proves himself a mature storyteller who attracts good actors and elicits their best work. Inspired by the experiences of his own father, Gray sets The Yards inside the corrupt workings of the New York City railway system, in which men such as Frank Olchin (James Caan) maintain their dominance by sabotaging the work of their competitors. Mark Wahlberg is well cast as Leo Handler, who serves jail time for a crime he didn't commit and returns home to a warm welcome from his ailing mother (Ellen Burstyn), his aunt Kitty (and Frank's wife, played by Faye Dunaway), and cousin Erica (Charlize Theron).

He's also welcomed by his friend Willie (Joaquin Phoenix), who does most of Uncle Frank's dirty work and brings the needy Leo into his lucrative fold. Things go from bad to worse, and Leo's suspected in the killing of a railway official and the beating of a city patrolman. On the run, he uncovers the political machinations that keep Uncle Frank in power, and The Yards unfolds as a compelling tale of family, twisted loyalties, and the quest for truth. There's stellar work from everyone involved, but if The Yards has one major flaw, it's that Gray directs with a solemnity that's almost off-putting, as if a moment of levity would violate his story's integrity. Visually The Yards invites comparison to The Godfather, and it boasts much of that film's moral complexity and depth of character, but it's too self-consciously heavy, and that compromises its overall impact. Still, this is good work from a talented director whose future films will be watched with interest. --Jeff Shannon (hide)

Billed as "an existential comedy," I Heart Huckabees is a flawed yet endearingly audacious screwball romp that dares to ponder life's biggest questions. Much of director David O.... read more

Billed as "an existential comedy," I Heart Huckabees is a flawed yet endearingly audacious screwball romp that dares to ponder life's biggest questions. Much of director David O. Russell's philosophical humor is dense, talky, and impenetrable, leading critic Roger Ebert to observe that "it leaves the viewer out of the loop," and suggesting that Russell's screenplay (written with his assistant, Jeff Baena) is admirably bold yet frustratingly undisciplined. Russell's ideas are big but his expression of them is frenetic, centering on the unlikely pairing of an environmentalist (Jason Schwartzman) and a firefighter (Mark Wahlberg) as they depend on existential detectives (Lily Tomlin, Dustin Hoffman) and a French nihilist (Isabelle Huppert) to make sense of their existential crises, brought on (respectively) by a two-faced chain-store executive (Jude Law) and his spokesmodel girlfriend (Naomi Watts), and the aftermath of 9/11's terrorism. No brief description can do justice to Russell's comedic conceit; you'll either be annoyed and mystified or elated and delighted by this wacky primer for coping with 21st century lunacy. Deserving of its mixed reviews, I Heart Huckabees is an audacious mess, like life itself, and accepting that is the key to enjoying both. --Jeff Shannon (hide)