"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menace as he steps off... read more

"I have a bad feeling about this," says the young Obi-Wan Kenobi (played by Ewan McGregor) in Star Wars: Episode I, The Phantom Menace as he steps off a spaceship and into the most anticipated cinematic event... well, ever. He might as well be speaking for the legions of fans of the original episodes in the Star Wars saga who can't help but secretly ask themselves: Sure, this is Star Wars, but is it my Star Wars? The original elevated moviegoers' expectations so high that it would have been impossible for any subsequent film to meet them. And as with all the Star Wars movies, The Phantom Menace features inexplicable plot twists, a fistful of loose threads, and some cheek-chewing dialogue. Han Solo's swagger is sorely missed, as is the pervading menace of heavy-breather Darth Vader. There is still way too much quasi-mystical mumbo jumbo, and some of what was fresh about Star Wars 22 years earlier feels formulaic. Yet there's much to admire. The special effects are stupendous; three worlds are populated with a mélange of creatures, flora, and horizons rendered in absolute detail. The action and battle scenes are breathtaking in their complexity. And one particular sequence of the film--the adrenaline-infused pod race through the Tatooine desert--makes the chariot race in Ben-Hur look like a Sunday stroll through the park.

Among the host of new characters, there are a few familiar walk-ons. We witness the first meeting between R2-D2 and C-3PO, Jabba the Hutt looks younger and slimmer (but not young and slim), and Yoda is as crabby as ever. Natalie Portman's stately Queen Amidala sports hairdos that make Princess Leia look dowdy and wields a mean laser. We never bond with Jedi Knight Qui-Gon Jinn (Liam Neeson), and Obi-Wan's day is yet to come. Jar Jar Binks, a cross between a Muppet, a frog, and a hippie, provides many of the movie's lighter moments, while Sith Lord Darth Maul is a formidable force. Baby-faced Anakin Skywalker (Jake Lloyd) looks too young and innocent to command the powers of the Force or wield a lightsaber (much less transmute into the future Darth Vader), but his boyish exuberance wins over skeptics.

Near the end of the movie, Palpatine, the new leader of the Republic, may be speaking for fans eagerly awaiting Episode II when he pats young Anakin on the head and says, "We will watch your career with great interest." Indeed! --Tod Nelson (hide)

The extended version of Peter Jackson's King Kong adds 13 minutes to the running time--fortunately those 13 minutes include two dynamic action scenes and no material has been... read more

The extended version of Peter Jackson's King Kong adds 13 minutes to the running time--fortunately those 13 minutes include two dynamic action scenes and no material has been added to the movie's belabored set-up, which tries to give depth to these quintessentially b-movie characters with a clumsy patchwork of melodrama and in-jokes. But once movie-maker Carl Denham (Jack Black, School of Rock) and his crew finally arrive at Skull Island, the movie kicks into gear with spectacular action, technical wizardry, and genuine feeling. Though Kong seems crafted to dazzle the eye on the giant screen, the overlong structure improves when you can take an intermission at will. At home, each scene can be approached on its own terms, be it the insanely choreographed battle between Kong and three T. Rexes or the subtle and multi-layered interplay between Ann Darrow (Naomi Watts, Mulholland Drive) and Kong (played, through motion-capture technology, by Andy Serkis, who previously played the similarly animated Gollum in Jackson's Lord of the Rings). The addition of a rampaging ceratops and an underwater race with what the movie's crew dubbed a "piranhadon" not only add more eye candy, but provide some valuable moments of character development. But in the end, that's frosting on the cake; when the movie's weaknesses and strengths are weighed, the emotional power of the fantastical relationship between a woman and a giant ape is a real cinematic achievement. --Bret Fetzer (hide)

Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix... read more

Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order. They offer the obligatory bigger and better highlights (including the impressive "Burly Brawl" and freeway chase sequences) while remaining focused on cleverly plotting the middle of a brain-teasing trilogy that ends with The Matrix Revolutions. The metaphysical underpinnings can be dismissed or scrutinized, and choosing the latter course (this is, after all, an epic about choice and free will) leads to astonishing repercussions that made Reloaded an explosive hit with critics and hardcore fans alike. As the centerpiece of a multimedia franchise, this dynamic sequel ends with a cliffhanger that virtually guarantees a mind-blowing conclusion. --Jeff Shannon (hide)

Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated... read more

Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected. Picking up precisely where The Matrix Reloaded left off, this 130-minute finale finds Neo (Keanu Reeves) at a virtual junction, defending the besieged human enclave of Zion by confronting the attacking machines on their home turf, while humans combat swarms of tentacled mechanical sentinels as Zion's fate lies in the balance. It all amounts to a blaze of CGI glory, devoid of all but the shallowest emotions, and so full of metaphysical hokum that the trilogy's detractors can gloat with I-told-you-so sarcasm. And yet, Revolutions still succeeds as a slick, exciting hybrid of cinema and video game, operating by its own internal logic with enough forward momentum to make the whole trilogy seem like a thrilling, magnificent dream. -- Jeff Shannon (hide)

When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200 million disaster epic would cause the... read more

When the theatrical release of James Cameron's Titanic was delayed from July to December of 1997, media pundits speculated that Cameron's $200 million disaster epic would cause the director's downfall, signal the end of the blockbuster era, and sink Paramount Studios as quickly as the ill-fated luxury liner had sunk on that fateful night of April 14, 1912. Some studio executives were confident, others horrified, but the clarity of hindsight turned Cameron into an Oscar-winning genius, a shrewd businessman, and one of the most successful directors in the history of motion pictures. Titanic would surpass the $1 billion mark in global box-office receipts (largely due to multiple viewings, the majority by teenage girls), win 11 Academy Awards including best picture and director, produce the best-selling movie soundtrack of all time, and make a global superstar of Leonardo DiCaprio. A bona fide pop-cultural phenomenon, the film has all the ingredients of a blockbuster (romance, passion, luxury, grand scale, a snidely villain, and an epic, life-threatening crisis), but Cameron's alchemy of these ingredients proved more popular than anyone could have predicted. His stroke of genius was to combine absolute authenticity with a pair of fictional lovers whose tragic fate would draw viewers into the heart-wrenching reality of the Titanic disaster. As starving artist Jack Dawson and soon-to-be-married socialite Rose DeWitt Bukater, DiCaprio and Kate Winslet won the hearts of viewers around the world, and their brief but never-forgotten love affair provides the humanity that Cameron needed to turn Titanic into an emotional experience. Present-day framing scenes (featuring Gloria Stuart as the 101-year-old Rose) add additional resonance to the story, and although some viewers proved vehemently immune to Cameron's manipulations, few can deny the production's impressive achievements. Although some of the computer-generated visual effects look artificial, others--such as the sunset silhouette of Titanic during its first evening at sea, or the climactic splitting of the ship's sinking hull--are state-of-the-art marvels. In terms of sets and costumes alone, the film is never less than astounding. More than anything else, however, the film's overwhelming popularity speaks for itself. Titanic is an event film and a monument to Cameron's risk-taking audacity, blending the tragic irony of the Titanic disaster with just enough narrative invention to give the historical event its fullest and most timeless dramatic impact. Titanic is an epic love story on par with Gone with the Wind, and like that earlier box-office phenomenon, it's a film for the ages. --Jeff Shannon (hide)

Chicago director Rob Marshall's pretty but empty (or pretty empty) film has all the elements of an Oscar® contender: solid adaptation (from Arthur Golden's bestseller), beautiful locale, good... read more

Chicago director Rob Marshall's pretty but empty (or pretty empty) film has all the elements of an Oscar® contender: solid adaptation (from Arthur Golden's bestseller), beautiful locale, good acting, lush cinematography. But there's something missing at the heart, which leaves the viewer sucked in, then left completely detached from what's going on.

It's hard to find fault with the fascinating story, which traces a young girl's determination to free herself from the imprisonment of scullery maid to geisha, then from the imprisonment of geisha to a woman allowed to love. Chiyo (Suzuka Ohgo), a young girl with curious blue eyes, is sold to a geisha house and doomed to pay off her debt as a cleaning girl until a stranger named The Chairman (Ken Watanabe) shows her kindness. She is inspired to work hard and become a geisha in order to be near the Chairman, with whom she has fallen in love. An experienced geisha (Michelle Yeoh) chooses to adopt her as an apprentice and to use as a pawn against her rival, the wicked, legendary Hatsumomo (Gong Li). Chiyo (played as an older woman by Ziyi Zhang), now renamed Sayuri, becomes the talk of the town, but as her path crosses again and again with the Chairman's, she finds the closer she gets to him the further away he seems. Her newfound "freedom" turns out to be trapping, as men are allowed to bid on everything from her time to her virginity.

Some controversy swirled around casting Chinese actresses in the three main Japanese roles, but Zhang, Yeoh and Gong in particular ably prove they're the best for the part. It's admirable that all the actors attempted to speak Japanese-accented English, but some of the dialogue will still prove difficult to understand; perhaps it contributes to some of the emotion feeling stilted. Geisha has all the ingredients of a sweeping, heartbreaking epic and follows the recipe to a T, but in the end it's all dressed up with no place to go.--Ellen A. Kim (hide)

Many critics called Gigli one of the worst movies ever made, but their condemnation isn't entirely justified. The movie's got plenty of problems, such as inconsistent tone, gag-inducing... read more

Many critics called Gigli one of the worst movies ever made, but their condemnation isn't entirely justified. The movie's got plenty of problems, such as inconsistent tone, gag-inducing dialogue, and a meandering plot that fails to generate momentum over 124 minutes. And yet, this character-based vehicle for Hollywood sweethearts Ben Affleck and Jennifer Lopez is not without its charms: To begin with, there's J-Lo, whose beauty and presence flourish despite her ill-conceived role as a lesbian contract killer. Critics were also wrong in saying Lopez lacks on-screen chemistry with her off-screen beau; there are moments when they click, but director Martin Brest's screenplay maintains sexual confusion right up to an ending that's a total cop-out. Affleck (who did the lesbian-love thing in Chasing Amy) plays another good-natured killer, and their joint kidnapping job (involving the mentally disabled brother of a federal prosecutor) is destined to fail for all the right reasons, even as this anti-romantic comedy (featuring scenery-chewing cameos by Christopher Walken and Al Pacino) fails for all the wrong ones. --Jeff Shannon (hide)

By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the codirecting Wachowski brothers--Andy and Larry--annihilated any suggestion of a sophomore jinx, crafting one... read more

By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the codirecting Wachowski brothers--Andy and Larry--annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal--from what or whom he doesn't know--until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is--a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.

Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne--who both turn in fine performances--much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise--a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). --Jeremy Storey (hide)

Even when his trademark twist-ending formula wears worrisomely thin as it does in The Village, M. Night Shyamalan is a true showman who knows how to serve up... read more

Even when his trademark twist-ending formula wears worrisomely thin as it does in The Village, M. Night Shyamalan is a true showman who knows how to serve up a spookfest. He's derailed this time by a howler of a "surprise" lifted almost directly from "A Hundred Yards Over the Rim," an episode of The Twilight Zone starring Cliff Robertson that originally aired in 1961. Even if you're unfamiliar with that Rod Serling scenario, you'll have a good chance of guessing the surprise, which ranks well below The Sixth Sense and Signs on Shyamalan's shock-o-meter. That leaves you to appreciate Shyamalan's proven strengths, including a sharp eye for fear-laden compositions, a general sense of unease, delicate handling of fine actors (alas, most of them wasted here, save for Bryce Dallas Howard in a promising debut), and the cautious concealment of his ruse, which in this case involves a 19th-century village that maintains an anxious truce with dreadful creatures that live in the forbidden woods nearby. Will any of this take anyone by genuine surprise? That seems unlikely, since Emperor Shyamalan has clearly lost his clothes in The Village, but it's nice to have him around to scare us, even if he doesn't always succeed. --Jeff Shannon (hide)

Let's be honest: this 1995 epic isn't nearly as bad as its negative publicity led us to expect. At the time it was the most expensive Hollywood production... read more

Let's be honest: this 1995 epic isn't nearly as bad as its negative publicity led us to expect. At the time it was the most expensive Hollywood production in history (it had a Titanic-sized $200 million budget), and the film arrived in theaters with so much controversy and negative gossip that it was an easy target for ridicule. The movie itself, a flawed but enjoyable post-apocalypse thriller, deserves better. Waterworld stars Kevin Costner as the Mariner, a lone maverick with gills and webbed feet who navigates the endless seas of Earth after the complete melting of the polar ice caps. The Mariner has been caged like a criminal when he's freed by Helen (Jeanne Tripplehorn) and enlisted to help her and a young girl (Tina Majorino) escape from the Smokers, a group of renegade terrorists led by Dennis Hopper in yet another memorably villainous role. It is too bad the predictable script isn't more intelligent, but as a companion piece to The Road Warrior, this seafaring stunt-fest is adequately impressive. --Jeff Shannon (hide)