Steven Spielberg's 1982 hit about a stranded alien and his loving relationship with a fatherless boy (Henry Thomas) struck a chord with audiences everywhere, and it furthered Spielberg's... read more

Steven Spielberg's 1982 hit about a stranded alien and his loving relationship with a fatherless boy (Henry Thomas) struck a chord with audiences everywhere, and it furthered Spielberg's reputation as a director of equally strong commercial sensibilities and classical leanings. Henry Thomas gives a strong, emotional performance as E.T.'s young friend, Robert MacNaughton and Drew Barrymore make a solid impression as his siblings, and Dee Wallace is lively as the kids' mother. The special effects almost look a bit quaint now with all the computer advancements that have occurred since, but they also have more heart behind them than a lot of what we see today. --Tom Keogh (hide)

With generous amounts of good luck and good timing, 50 First Dates set an all-time box-office record for the opening weekend of a romantic comedy; whether it deserved... read more

With generous amounts of good luck and good timing, 50 First Dates set an all-time box-office record for the opening weekend of a romantic comedy; whether it deserved such a bonanza is another issue altogether. It's a sweet-natured vehicle for sweet-natured stars Adam Sandler and Drew Barrymore, and their track record with The Wedding Singer no doubt factors in its lowbrow appeal. But while the well-matched lovebirds wrestle with a gimmicky plot (she has no short-term memory, so he has to treat every encounter as their first), director Peter Segal (who directed Sandler in Anger Management) ignores the intriguing potential of their predicament (think Memento meets Groundhog Day) and peppers the proceedings with the kind of juvenile humor that Sandler fans have come to expect. The movie sneaks in a few heartfelt moments amidst its inviting Hawaiian locations, and that trained walrus is charmingly impressive, but you can't quite shake the feeling that too many good opportunities were squandered in favor of easy laughs. Like Barrymore's character, you might find yourself forgetting this movie shortly after you've seen it. --Jeff Shannon (hide)

For every TV-into-movie success like The Fugitive, there are dozens of uninspired films like The Mod Squad. Happily--and surprisingly--this breezy update of the seminal '70s jiggle show falls... read more

For every TV-into-movie success like The Fugitive, there are dozens of uninspired films like The Mod Squad. Happily--and surprisingly--this breezy update of the seminal '70s jiggle show falls into the first category, with Cameron Diaz, Drew Barrymore (who also produced), and Lucy Liu starring as the hair-tossing, fashion-setting, kung fu-fighting trio employed by the mysterious Charlie (voiced by the original Charlie, John Forsythe). When a high-tech programmer (Sam Rockwell) is kidnapped, the angels seek out the suspects, with the daffy Bosley (Bill Murray in a casting coup) in tow. A happy, cornball popcorn flick, Charlie's Angels is played for laughs with plenty of ribbing references to the old TV show as well as modern caper films like Mission: Impossible. McG, a music video director making his feature film debut (usually a death warrant for a movie's integrity), infuses the film with plenty of Matrix-style combat pyrotechnics, and the result is the first successful all-American Hong Kong-style action flick. Plenty of movies boast a New Age feminism that has their stars touting their sexuality while being their own women, but unlike something as obnoxious as Coyote Ugly, Angels succeeds with a positive spin on Girl Power for the new millennium (Diaz especially sizzles in her role of crack super agent/airhead blonde). From the send-up of the TV show's credit sequence to the outtakes over the end credits, Charlie's Angels is a delight. --Doug Thomas (hide)

Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is... read more

Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is no match for her internal strength and purity of heart. Drew Barrymore plays Cinderella's alleged inspiration, Danielle, in this romantic drama that purports to tell the "facts" behind the Grimm brothers' story. One of three daughters of a man (Jeroen Krabbé) who dies and leaves her fate in the hands of a conniving stepmother (Anjelica Huston), Danielle is cast into the lowly role of a servant. Meanwhile, her sisters are evaluated as possible mates for a French prince (Dougray Scott), but he's far more intrigued with Danielle's intelligence and beauty--not to mention her way with a sword and fist. Directed by Andy Tennant (who directed Barrymore in TV's The Amy Fisher Story), Ever After has that rare ability to win the heart and mind of a viewer simply by being committed to its own innocence, particularly where Barrymore's luminous performance is concerned. A contemporary take on an old, virtually forgotten Hollywood convention--the costume adventure with middling artistic ambition but real audience appeal--Ever After is a surprisingly delightful film. --Tom Keogh (hide)

The Farrelly brothers continue their good-natured winning streak with Fever Pitch, a romantic comedy charmed by fate and last-minute improvisation. The movie was originally written with a bittersweet... read more

The Farrelly brothers continue their good-natured winning streak with Fever Pitch, a romantic comedy charmed by fate and last-minute improvisation. The movie was originally written with a bittersweet ending, but something unexpected happened (kismet, or perhaps divine intervention?) when the Boston Red Sox scored miraculous victories in the 2004 playoffs and World Series, and Drew Barrymore and Jimmy Fallon were there, in character, to celebrate love and baseball as a pair of amiable lovers who learn to share their lives while accommodating Fallon's life-long passion for the Red Sox. You really have to love baseball to forgive the formulaic romance by veteran Hollywood screenwriters Lowell Ganz and Babaloo Mandel (who also wrote A League of Their Own, and could write this stuff in their sleep), but the codirecting Farrellys make it work, along with the easygoing chemistry of Barrymore and Fallon. The movie bears little resemblance to Nick Hornby's source novel (which was more faithfully adapted as a 1997 British comedy starring Colin Firth), but anyone who enjoyed High Fidelity or About a Boy will recognize Hornby's keen understanding of men and women, and the hazards we all endure when playing the game of love. --Jeff Shannon (hide)

Let's get this straight: Drew Barrymore started a production company to develop original scripts outside of Hollywood and the first project she chose to produce was this, a... read more

Let's get this straight: Drew Barrymore started a production company to develop original scripts outside of Hollywood and the first project she chose to produce was this, a romantic comedy written by USC grads Abby Kohn and Mark Silverstein about a nerdy, virginal woman who returns to high school as an undercover reporter, finally gets to be popular, and falls in love. And Barrymore decided, as producer, that the perfect actress to play this virtuous, clean-cut, and downright annoying geek would be... Drew Barrymore? It's hard to believe that after The Wedding Singer Barrymore's not getting enough dopey, formulaic, predictable romantic comedies coming across her desk. The complete inability to buy Barrymore as unattractive, awkward, and unpopular ruins Never Been Kissed from the start, but it's doubtful a better actress could have saved it. The jokes fall flat, the romance between Barrymore and her English teacher (played by Michael Vartan) lacks chemistry, and the portrayals of high school and the newspaper newsroom is clichéd and uninspired (big surprise here: the director, Raja Gosnell, previously made Home Alone 3). Gosnell can't even give the gifted character actor, John C. Reilly, anything to do. Only David Arquette, who plays Barrymore's out-of-control brother, brings any energy to the film. --Dave McCoy (hide)

You're better off having been born after, say, 1965, if you really want to enjoy this corny romantic comedy and its abundant references to the MTV culture of... read more

You're better off having been born after, say, 1965, if you really want to enjoy this corny romantic comedy and its abundant references to the MTV culture of the mid-1980s--and even then the odds are only 50-50 that you'll have a shamelessly good time. But a lot of people beat those odds, because The Wedding Singer was a surprise box-office hit when released in early 1998, and it resulted in Saturday Night Live graduate Adam Sandler's salary going ridiculously sky-high. It's a schizophrenic film about a seemingly schizophrenic wedding singer (Sandler) who's charmingly sweet to some people but a tongue-lashing maniac to others, probably out of frustration over his fading ambition as a wannabe rock star (not to mention Sandler's penchant for loud-mouthed lunacy). When he meets an admiring young waitress (delightfully played by Drew Barrymore), it's love at first sight, complicated by their pending marriages to much less appealing fiancés. The plot then contorts itself to accommodate this contrived will-they-or-won't-they? scenario, so you're better off ignoring the love story and focusing on the comedy, which is sporadic but occasionally hilarious. This is also a lighter, friendlier Sandler than moviegoers had seen before, which probably accounts for the movie's success. Toss in a fine supporting cast--including a show-stopping drunk act by indie-movie stalwart Steve Buscemi--and you've got the ingredients for a no-brainer that's ultimately more fun than it is annoying. --Jeff Shannon (hide)

With an additional 20 minutes of material added to the original theatrical edition (including scenes not included in the augmented version previously released on DVD), Donnie Darko: The... read more

With an additional 20 minutes of material added to the original theatrical edition (including scenes not included in the augmented version previously released on DVD), Donnie Darko: The Director's Cut has a slower, more reflective pace than its first edit, and many more moments of emotional and tonal complexity. The film also has a fuller soundtrack (INXS' "Never Tear Us Apart" is featured prominently in writer-director Richard Kelly's mysterious opening) and new, startling special effects that underscore Donnie's ambiguous experience of time travel and cross-dimensional encounters with Frank, the 6-foot provocateur in a terrifying bunny costume. (Of course, new f/x or not, Donnie could still be a paranoid schizophrenic immersed in violent delusions.) Purists might find some of these changes to Kelly's 2001 cult hit about a troubled teen (Jake Gyllenhaal) trapped in alternative, apocalyptic destinies troubling. But overall the film is an even more haunting experience, impossible to shake.

An audio commentary track features a conversation between Kelly and Kevin Smith (Clerks) outlining the former's reasons for making a director's cut. Kelly says his intention was to amplify a science fiction and comic book element in Donnie Darko, re-design the sound (actually, Kelly claims, there never was a sound design for the original release), and purchase rights to various songs (including Joy Division's "Love Will Tear Us Apart") that were lost between the film's premiere at the Sundance Film Festival and the film's theatrical release. Kelly says he also wanted to give something new to the film's fans as thanks for their crucial, early support. Other features in this two-disc set include a highly entertaining production diary (including video of pre-production locations research) as well as a short film about the meaning of "Donnie Darko" as understood by some of the movie's British fans. --Tom Keogh (hide)

With the smash hit Scream, novice screenwriter Kevin Williamson and veteran horror director Wes Craven (A Nightmare on Elm Street) revived the moldering corpse of the teen horror... read more

With the smash hit Scream, novice screenwriter Kevin Williamson and veteran horror director Wes Craven (A Nightmare on Elm Street) revived the moldering corpse of the teen horror picture, both creatively and commercially, by playfully acknowledging the exhausted clichés and then turning them inside out. Scream is a postmodern slasher movie, a horror film that cleverly deconstructs horror films, then reassembles the dead tissue, and (like Frankenstein's monster) creates new life. When a serial killer starts hacking up their fellow teens, the media-savvy youngsters of Scream realize that the smartest way of sticking around for the sequel is to avoid the terminal behaviors that inevitably doom supporting players in the movies. They've seen all the movies, and the rules of the genre are like second nature to them. One of the scariest/funniest setups features a kid watching John Carpenter's seminal Halloween on video. As Jamie Lee Curtis is shadowed by Michael Meyers and the kid on the couch yells at her to turn around, Craven reverses his camera and we see that the kid should be taking his own advice. The fresh-faced young cast (including Drew Barrymore, Neve Campbell, Skeet Ulrich, Courtney Cox, and David Arquette) is fun to watch, and their tart dialogue is sprinkled with enough archly self-conscious pop-culture references to make Quentin Tarantino blush. --Jim Emerson (hide)

This female-bonding film takes your basic soap opera and twists it inside out. Although director Herbert Ross draws superb performances from his actresses, he occasionally wallows in that... read more

This female-bonding film takes your basic soap opera and twists it inside out. Although director Herbert Ross draws superb performances from his actresses, he occasionally wallows in that maudlin, Hollywood melodrama in which close-ups are crucial. Remember, this is the man who directed Steel Magnolias. However, Ross also does something you don't expect: he makes you fall in love with his characters. Whoopi Goldberg is a down-on-her luck singer who hopes to start over in Los Angeles. Mary-Louise Parker is the realtor whose life is going nowhere. After Goldberg answers Parker's ad in the paper for a companion to drive to LA, these two completely different women grudgingly find themselves emotionally involved. Drew Barrymore enters the picture on the first leg of the trip when Goldberg insists on visiting her. After battling with her drug-dealing boyfriend, the flighty, sexy Barrymore throws in with them. During their trek west, the women learn to take life as it lands on them while recognizing true friendship. The film is enlightened in that it accepts the complications and blurred family ties of the '90s. At the heart of the story is the realization that people can expand past expected boundaries. The movie gels in other areas as well. The all-female soundtrack is powerful and works to underscore, not overpower, certain scenes. The same can be said of the supporting cast, specifically Anita Gillette and James Remar. --Rochelle O'Gorman (hide)