Darren (Jason Biggs of American Pie) is convinced that he'll never know love, since his one true love moved away during high school. To cheer him up, Darren's... read more

Darren (Jason Biggs of American Pie) is convinced that he'll never know love, since his one true love moved away during high school. To cheer him up, Darren's best friends Wayne (Steve Zahn, Out of Sight, That Thing You Do) and J.D. (Jack Black, High Fidelity) hook him up with Judith (Amanda Peet, The Whole Nine Yards)--little suspecting that Judith will tear their friendship apart. Judith wastes no time in taking over Darren's life, exiling his friends, and burning his beloved Neil Diamond records. If only Wayne and J.D. can bring Darren back together with his high school sweetheart (Amanda Detmer), who's about to become a nun. Saving Silverman is unquestionably of the There's Something About Mary school of comedy, throwing together absurd characters and over-the-top gags (for example, a scene of Darren getting butt implants, per Judith's orders). It doesn't quite balance everything, but Black and Zahn are engaging comic talents. Also featuring R. Lee Ermey as the boy's deranged high school football coach, whose advice continues to guide their lives, as well as a surprise appearance by Neil Diamond himself. --Bret Fetzer (hide)

This underrated teen comedy from 1998 is guilty of being a proud underachiever, and it doesn't bring anything new to the genre, but look closely and you'll find... read more

This underrated teen comedy from 1998 is guilty of being a proud underachiever, and it doesn't bring anything new to the genre, but look closely and you'll find the makings of a much better movie buried under all the keg-party antics. The basic story is typical for this kind of comedy. A young, aspiring writer named Preston (Ethan Embry) has been lusting after class beauty Amanda (Jennifer Love Hewitt, from TV's Party of Five) for four years of high school, but he's never had the nerve to tell her. Now that they're about to graduate he's finally worked up the courage to write her a soul-baring love letter. At the raucous graduation keg party that takes up most of the movie's 98 minutes, Preston agonizes while Amanda's selfish jock ex-boyfriend tries to win her back, and delivering his love letter turns out to be more difficult than he ever imagined. What's interesting about Can't Hardly Wait has little to do with its attractive leads, however. The most engagingly real and entertaining characters are the misfits who show up in the subplots, including a geek (Charlie Korsmo) who turns into the life of the party, and a pair of old friends (Seth Green, Lauren Ambrose) who confront each other about their mutual needs and insecurities. There are some really good scenes between these two, and this modest movie has a few other pleasant surprises up its sleeve. That doesn't make it particularly good, but it does make it an agreeable waste of time. --Jeff Shannon (hide)

When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in... read more

When Goldie Hawn recommended Elizabeth Berkley for a small role in First Wives Club, she publicly stated that Berkley deserved the opportunity to redeem herself after starring in the ridiculous Showgirls. That says it all: this sleazy, stupid movie, which mixes soft pornography with the clichés of backstage dramas, is the kind of project an aspiring actress would have to put well behind her to keep a career going (though costar Gina Gershon certainly benefited from her, uh, exposure in the film). Berkley plays a drifter who hitches a ride to Las Vegas, becomes a lap dancer and then a performer, and discovers--gasp!--there's a whole world of sex and violence involved with these things. Gershon is probably the best element in the film, playing Berkley's bisexual rival for the big spotlight on stage. Joe Eszterhas was well overpaid for writing this howler, and director Paul Verhoeven (Basic Instinct) should have known better than to take it seriously. --Tom Keogh (hide)

At the time of its release in 1987, this Elaine May production was bandied about as one of the worst films of the decade. It was nominated for... read more

At the time of its release in 1987, this Elaine May production was bandied about as one of the worst films of the decade. It was nominated for three Razzie Awards that year--Worst Picture, Screenplay, Direction--but it still was not the nadir detractors claimed it to be. (Remember, that was the year Norman Mailer's self-indulgence spilled all over the screen in Tough Guys Don't Dance.) If this comedy had been made by unknowns, it would have simply faded into the obscurity it deserves. The fuss came about because May squandered much talent and a ridiculously large budget, rumored to exceed $40 million, returning less than half of that in ticket sales. Two artistically challenged lounge musicians (Warren Beatty and Dustin Hoffman) are jettisoned out of the States by their agent, who finds them a gig in Morocco. En route, they become pawns in an international power play between the CIA, the mythical emir of Ishtar, and upstarts hoping to overthrow the emir's regime. There are some humorous bits, such as when Hoffman and Beatty so badly perform their horrible ditties that audiences are left appalled. Most of the time however, we are the ones lulled into a near daze by a hokey script and boorish jokes about blind camels. If Abbott and Costello had made this flick, it might have worked. --Rochelle O'Gorman (hide)

The legend of Mississippi blues master Robert Johnson has served as a fountainhead for generations of blues and rock musicians, as well as a powerful fable for the... read more

The legend of Mississippi blues master Robert Johnson has served as a fountainhead for generations of blues and rock musicians, as well as a powerful fable for the dark, often violent mysteries of delta blues. Johnson's mythic deal with the Devil, in exchange for his extraordinary musical gifts, has become a fixture in blues lore and an example of the enduring pull of superstitions that can be traced back to Mother Africa and Yoruba deities. Producer-director Walter Hill (The Long Riders, Streets of Fire) sought to put this uniquely American mystery on film, but when he was unable to secure a script devoted directly to Johnson himself, Hill bravely decided to proceed with a more oblique, allegorical story that retold the Satanic bargain through a fictionalized drama set in the present day. In this 1986 feature, the hero is Eugene, a classically trained guitar virtuoso pulled toward the earthier powers of blues. When he stumbles across a lost blues legend, Willie Brown (a real blues figure and Johnson peer known for his partnerships with Charley Patton and Son House, among others), Eugene begins an odyssey back to the delta country and the crossroads of the title, where both Willie and Johnson had traded their souls for blues power, to help the surviving bluesman renegotiate terms.

An opening sequence, shot in sepia-toned black and white, dramatizes Johnson's own supernatural encounter, as well as one of the bluesman's historic Texas recording sessions, and Hill's visuals combine with frequent collaborator Ry Cooder's reliably authentic slide guitar to offer a promising glimpse of cinematic conjury. Even the satanic villain--a grinning huckster named Scratch--honors the trickster figure familiar to African American superstitions, rather than a generic devil. Willie Brown (Joe Seneca) is likewise a convincing link to the blues past, but Hill's central casting choice--Ralph (The Karate Kid) Macchio--sacrifices all for marquee value, a Hobson's choice that casts a shadow of unintended parody across the film. Macchio's earlier character, not Scratch, haunts this film, and even a nifty duel between Eugene, his slashing fretwork supplied off-camera by Cooder, and Scratch's ax-wielding henchman, heavy metal virtuoso, and one-time Frank Zappa protégé Steve Vai, can't safely rescue the film. --Sam Sutherland (hide)

A wimpy remake of an already anemic movie (the 1947 Rita Hayworth vehicle Down to Earth), this glitzy musical from 1980 improbably stars Olivia Newton-John as a heavenly... read more

A wimpy remake of an already anemic movie (the 1947 Rita Hayworth vehicle Down to Earth), this glitzy musical from 1980 improbably stars Olivia Newton-John as a heavenly muse sent here to help open a roller-derby disco. Gene Kelly is mixed up in this well-meaning but goofy effort to fuse nostalgia with late-'70s glitter-ball trendiness, and he looks just plain silly. Directed by Robert Greenwald, the film doesn't even work as decent kitsch. --Tom Keogh (hide)

From the director of Dude, Where's My Car? comes another crazed tale of two friends on a perilous quest--in this case, to eat burgers at the fast food... read more

From the director of Dude, Where's My Car? comes another crazed tale of two friends on a perilous quest--in this case, to eat burgers at the fast food restaurant White Castle. The pair--repressed Harold (John Cho, Better Luck Tomorrow) and freewheeling Kumar (Kal Penn, Love Don't Cost a Thing)--get extremely high and set off on the road, only to be sidetracked by skateboarding hooligans, racist cops, an inbred tow truck driver, and Neil Patrick Harris--yes, Doogie Howser, M.D. The humor is all over the map, and it would be nice if there were one female character who wasn't a caricature, but Harold and Kumar Go to White Castle has a loose, gregarious charm, and the movie's canniness about the cliches of the buddy-movie genre give it a sneaky subversive feel--just the fact that neither of the heroes is white puts a different spin on just about every circumstance. Surprisingly clever, cheerfully stupid. --Bret Fetzer (hide)

Remember the old days, when Pamela Anderson Lee was still just a Playboy Playmate turned Baywatch babe? You know--back before the bootleg release of her infamous home video... read more

Remember the old days, when Pamela Anderson Lee was still just a Playboy Playmate turned Baywatch babe? You know--back before the bootleg release of her infamous home video with then-husband and ne'er-do-well rocker Tommy Lee, at which time the whole world got to compare Pam's barely adequate acting chops with her formidable skill at fellatio? Yes, those were the days (1996, to be exact), when a movie like Barb Wire represented dubious progress for the busty blonde, who was determined to make as big a splash on the big-screen as she did in the world's most popular syndicated TV series. Set in the year 2017 when the Second Civil War is in full force, this sci-fi action thriller stars Pam in the title role--a leather-clad biker babe ("don't call me babe," she warns) who runs a nightclub in the last free city in America. The rest of country is controlled by the "Congressional Directorate," a dictatorial superpower which suspects Barb of trafficking in black-market contraband. That gets her into plenty of trouble (and a lot of cleavage-revealing costumes), and ... well, if any of this sounds even vaguely familiar, it's because this comic book-inspired movie is really just a shamelessly breast-enhanced variation on Casablanca, with Pam Anderson in the Bogart role. Taken for what it is, it's a brazen folly with action to spare, and as guilty pleasures go it's surprisingly enjoyable. What--you were expecting Oscar material? --Jeff Shannon (hide)

From the moment that Prince Eric's ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that "magic" that had... read more

From the moment that Prince Eric's ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that "magic" that had been dormant for thirty years. In the tale of a headstrong young mermaid who yearns to "spend a day, warm on the sand," Ariel trades her voice to Ursula, the Sea Witch (classically voiced by Pat Carroll), for a pair of legs. Ariel can only succeed if she receives true love's kiss in a few day's time and she needs all the help she can from a singing crab named Sebastian, a loudmouth seagull, and a flounder. The lyrics and music by Howard Ashman and Alan Menken are top form: witty and relevant, and they advance the story (go on, hum a few bars of "Under the Sea"). Mermaid put animation back on the studio's "to do" list and was responsible for ushering Beauty and the Beast to theaters. A modern Disney classic. --Keith Simanton (hide)

A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes... read more

A big-budget summer epic with money to burn and a scale worthy of its golden Hollywood predecessors, Ridley Scott's Gladiator is a rousing, grisly, action-packed epic that takes moviemaking back to the Roman Empire via computer-generated visual effects. While not as fluid as the computer work done for, say, Titanic, it's an impressive achievement that will leave you marveling at the glory that was Rome, when you're not marveling at the glory that is Russell Crowe. Starring as the heroic general Maximus, Crowe firmly cements his star status both in terms of screen presence and acting chops, carrying the film on his decidedly non-computer-generated shoulders as he goes from brave general to wounded fugitive to stoic slave to gladiator hero. Gladiator's plot is a whirlwind of faux-Shakespearean machinations of death, betrayal, power plays, and secret identities (with lots of faux-Shakespearean dialogue ladled on to keep the proceedings appropriately "classical"), but it's all briskly shot, edited, and paced with a contemporary sensibility. Even the action scenes, somewhat muted but graphic in terms of implied violence and liberal bloodletting, are shot with a veracity that brings to mind--believe it or not--Saving Private Ryan, even if everyone is wearing a toga. As Crowe's nemesis, the evil emperor Commodus, Joaquin Phoenix chews scenery with authority, whether he's damning Maximus's popularity with the Roman mobs or lusting after his sister Lucilla (beautiful but distant Connie Nielsen); Oliver Reed, in his last role, hits the perfect notes of camp and gravitas as the slave owner who rescues Maximus from death and turns him into a coliseum star. Director Scott's visual flair is abundantly in evidence, with breathtaking shots and beautiful (albeit digital) landscapes, but it's Crowe's star power that will keep you in thrall--he's a true gladiator, worthy of his legendary status. Hail the conquering hero! --Mark Englehart (hide)

Like a pumpkin that transforms into a carriage, some very shrewd casting (and the charisma of Julia Roberts, in particular) morphed this story of a Hollywood whore into... read more

Like a pumpkin that transforms into a carriage, some very shrewd casting (and the charisma of Julia Roberts, in particular) morphed this story of a Hollywood whore into a Disneyfied Cinderella story--and a mainstream megahit. This is the movie that made Roberts a star; the charm of her personality helping tremendously to carry viewers over the rough spots in the script (which was originally a cynical tale about prostitution called 3000--after the amount of money Richard Gere's character pays the prostitute to stay with him for the week). Gere is the silver-haired Wall Street knight who sweeps streetwalker Roberts into a fantasy world of room service at the Regent Beverly Wilshire Hotel and fashion boutique shopping on Rodeo Drive. The supporting cast is also appealing, including Laura San Giacomo as Roberts's hooker pal, Hector Elizondo as the hotel manager, Jason Alexander, Ralph Bellamy, and Hank Azaria. Now, is this something you want your sons and daughters to see? That's entirely up to you. --Jim Emerson (hide)

John Hughes's popular 1985 teen drama finds a diverse group of high school students--a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly... read more

John Hughes's popular 1985 teen drama finds a diverse group of high school students--a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly Ringwald), and a nerd (Anthony Michael Hall)--sharing a Saturday in detention at their high school for one minor infraction or another. Over the course of a day, they talk through the social barriers that ordinarily keep them apart, and new alliances are born, though not without a lot of pain first. Hughes (Sixteen Candles), who wrote and directed, is heavy on dialogue but he also thoughtfully refreshes the look of the film every few minutes with different settings and original viewpoints on action. The movie deals with such fundamentals as the human tendency toward bias and hurting the weak, and because the characters are caught somewhere between childhood and adulthood, it's easy to get emotionally involved in hope for their redemption. Preteen and teenage kids love this film, incidentally. The DVD release includes production notes, cast and crew bios, widescreen presentation, Dolby sound, closed captioning, optional French and Spanish soundtracks, and optional Spanish subtitles. --Tom Keogh (hide)

Reviled by critics and embraced by the public during its initial run (1981), Porky's is interesting to watch after all these years. What holds up about this horny... read more

Reviled by critics and embraced by the public during its initial run (1981), Porky's is interesting to watch after all these years. What holds up about this horny coming-of-age tale is remarkable. Writer/director Bob Clark has little more than sex and practical joking on his mind, and his high school seniors from Angel Beach, Florida, rapidly move from one to the other. Clark displays a sense of timing and, perhaps rarer still, a sense of male friendship--its brutalities and its bonds--that feels right, not artificial. Surprisingly, the showcase practical jokes are still funny: the Everglades encounter with Cherry Forever, the hole in the girls' shower, and Beulah Balbricker, the humongous gym teacher. The comedic set-ups and payoffs surprisingly still work. Clark's insistence on a subplot about anti-Semitism, however, still sticks out as A MESSAGE. Kim Cattrall really got her start here (although almost no one else did) as Ms. Honeywell, a.k.a. "Lassie." Clark later distanced himself from the irritating Porky's sequels and went on to make the wonderful Christmas Story, the tale of a little boy who wants a BB gun for Christmas. --Keith Simanton (hide)