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)

Anyone who's watched just about any teenage film knows that the greatest evil in this world isn't chemical warfare, ethnic cleansing, or even the nuclear bomb. The worst... read more

Anyone who's watched just about any teenage film knows that the greatest evil in this world isn't chemical warfare, ethnic cleansing, or even the nuclear bomb. The worst crime known to man? Why, virginity, of course. As we've learned from countless films--from Summer of '42 to Risky Business--virginity is a criminal burden that one must shed oneself of as quickly as possible. And while many of these films have given the topic a bad name, American Pie quietly sweeps in and gives sex some of its dignity back. Dignity, you may say? How can a film that highlights intercourse with fruit pies, premature ejaculation broadcasted across the Internet, and the gratuitous "gross-out" shots restore the dignity of a genre that's been encumbered with such heavyweights as Porky's and Losin' It? The plot may be typical, with four high school friends swearing to "score" by prom, yet the film rises above the muck with its superior cast, successful and sweet humor, and some actually rather retro values about the meaning and importance of sex. Jason Biggs, Chris Klein, Thomas Ian Nicholas, and Eddie Kaye Thomas make up the odd quartet of pals determined to woo, lie, and beg their way to manhood. The young women they pursue are wary girlfriend Vicky (Tara Reid), choir girl Heather (Mena Suvari), band geek Michelle (Alyson Hannigan), and just about any other female who is willing and able. Natasha Lyonne as Jessica, playing a similar role as in Slums of Beverly Hills, is the general adviser to the crowd (when Vicky tells her "I want it to be the right time, the right place," Jessica responds, "It's not a space shuttle launch, it's sex"). The comedic timing hits the mark--especially in the deliberately awkward scenes between Jim (Biggs) and his father (Eugene Levy). And, of course, lessons are learned in this genuinely funny film, which will probably please the adult crowd even more than it will the teenage one. --Jenny Brown (hide)

As with Grease (1978) and Footloose (1984) before it, Dirty Dancing was a cultural phenomenon that now plays more like camp. That very campiness, though, is part of... read more

As with Grease (1978) and Footloose (1984) before it, Dirty Dancing was a cultural phenomenon that now plays more like camp. That very campiness, though, is part of its biggest charm. And if the dancing in the movie doesn't seem particularly "dirty" by today's standards--or 1987's--it does take place in an era (the early '60s) when it would have. Frances "Baby" Houseman (Jennifer Grey, daughter of ageless hoofer Joel Grey) has been vacationing in the Catskills with her family for many years. Uneventfully. One summer, she falls under the sway (as it were) of dance instructor Johnny Castle (Patrick Swayze). Baby is a pampered pup, but Johnny is a man of the world. Baby's father, Jake (Law and Order's Jerry Orbach), can't see the basic decency in greaser Johnny that she can. It should come as no surprise to find that Baby, who can be as immature as her name, learns more about love and life--and dancing--from free-spirited Johnny than traditionalist Jake.

Dirty Dancing spawned two successful soundtracks, a short-lived TV series, and a stage musical. It may be predictable, but Grey and Swayze have chemistry, charisma, and all the right moves. It's a sometimes silly movie with occasionally mind-boggling dialogue--"No one puts Baby in a corner!"--that nonetheless carries an underlying message about tolerance and is filled with the kind of exuberant spirit that's hard for even the most cynical to resist. Not that they'd ever admit it. --Kathleen C. Fennessy (hide)

Raised in the African bush country by her zoologist parents Cady Heron (Lindsay Lohan) thinks she knows about "survival of the fittest." But the law of the jungle... read more

Raised in the African bush country by her zoologist parents Cady Heron (Lindsay Lohan) thinks she knows about "survival of the fittest." But the law of the jungle takes on a whole new meaning when the home-schooled 15-year-old enters public high school for the first time and falls prey to the psychological warfare and unwritten social rules that teenage girls face today.DVD Features:Commentary: by director Mark Waters Screenplay Writer & Actress Tina Fey and Producer Lorne MichaelsFeaturette: 3 FeaturettesAdditional Scenes: 9 Deleted ScenesBloopers: Blooper ReelSystem Requirements:Runnign Time 96 MinFormat: DVD MOVIE Genre: COMEDY Rating: PG-13 UPC: 097363416043 Manufacturer No: 341604 (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)

Sunny, happy Torrance (Kirsten Dunst) is the new leader of the Toros, the cheerleading squad of Rancho Carne, an affluent San Diego high school that has lousy football... read more

Sunny, happy Torrance (Kirsten Dunst) is the new leader of the Toros, the cheerleading squad of Rancho Carne, an affluent San Diego high school that has lousy football players but one hell of a cheerleading team. National champions, they're the ones who bring in the bodies to the football games with their award-winning moves and sassy grace, and they're poised to take their sixth national cheer title. Torrance's new reign as cheer queen, though, is cut short when she discovers that her snotty, duplicitous forerunner was regularly stealing routines from the East Compton Clovers, the hip-hop influenced cheerleaders of a poor inner city school, and passing them off as the original work of the Toros. Scrambling to come up with a new routine for the Toros--and do the right thing by giving the Clovers their due--Torrance butts heads with the proud and understandably wary Isis (Gabrielle Union), the leader of the Clovers, who wants nothing to do with a rich blond white girl, but does want to get her squad to the championships. Problem is, only one team can take home the national title. Who's it gonna be?

An unexpected box-office hit in the late summer of 2000, Bring It On is a smart, snappy teen comedy that bristles with good cheer (literally) and lively, down-to-earth characters. The story may be fairly predictable (who's going to win the big championship?), but director Peyton Reed and screenwriter Jessica Bendinger have fleshed out their characters with formidable strength and provided them with sharp dialogue. Dunst is a radiant comedian, projecting warmth, determination, sincerity, and a sublime airheadedness, and Union is an impressive dancer and counterpart to Dunst, matching her admirably despite her limited onscreen time. An excellent young supporting cast rounds out the film, most notably Eliza Dushku (Faith of Buffy the Vampire Slayer) and Jesse Bradford (Steven Soderbergh's King of the Hill) as siblings new to Rancho Carne, who become Torrance's best friend and potential new boyfriend, respectively. All in all, a pleasantly surprising and intelligent teen movie. Don't miss the opening sequence, a hilarious send-up of all those high school cheerleading routines you had to sit through at boring pep rallies. --Mark Englehart (hide)

When you consider that old-fashioned tearjerkers are an endangered species in Hollywood, a movie like The Notebook can be embraced without apology. Yes, it's syrupy sweet and clogged... read more

When you consider that old-fashioned tearjerkers are an endangered species in Hollywood, a movie like The Notebook can be embraced without apology. Yes, it's syrupy sweet and clogged with clichés, and one can only marvel at the irony of Nick Cassavetes directing a weeper that his late father John--whose own films were devoid of saccharine sentiment--would have sneered at. Still, this touchingly impassioned and great-looking adaptation of the popular Nicholas Sparks novel has much to recommend, including appealing young costars (Ryan Gosling and Rachel McAdams) and appealing old costars (James Garner and Gena Rowlands, the director's mother) playing the same loving couple in (respectively) early 1940s and present-day North Carolina. He was poor, she was rich, and you can guess the rest; decades later, he's unabashedly devoted, and she's drifting into the memory-loss of senile dementia. How their love endured is the story preserved in the titular notebook that he reads to her in their twilight years. The movie's open to ridicule, but as a delicate tearjerker it works just fine. Message in a Bottle and A Walk to Remember were also based on Sparks novels, suggesting a triple-feature that hopeless romantics will cherish. --Jeff Shannon (hide)

Alicia Silverstone won everyone over with her portrayal of a Beverly Hills teen, Cher, whose penchant for helping others with their relationships and self-esteem is a cover for... read more

Alicia Silverstone won everyone over with her portrayal of a Beverly Hills teen, Cher, whose penchant for helping others with their relationships and self-esteem is a cover for her own loneliness. Director Amy Heckerling (Fast Times at Ridgemont High) made a smart, funny variation on Jane Austen's novel Emma, sweetly romantic and gently satirical of 90210 social manners. The cast is unbeatable: Dan Hedaya as Cher's rock-solid dad, Wallace Shawn as a geeky teacher, Paul Rudd as the boy who has always been Cher's surrogate brother--and the true holder of her most secret wishes. --Tom Keogh (hide)

It's, like, Shakespeare, man! This good-natured and likeable update of The Taming of the Shrew takes the basics of Shakespeare's farce about a surly wench and the man... read more

It's, like, Shakespeare, man! This good-natured and likeable update of The Taming of the Shrew takes the basics of Shakespeare's farce about a surly wench and the man who tries to win her and transfers it to modern-day Padua High School. Kat Stratford (Julia Stiles) is a sullen, forbidding riot grrrl who has a blistering word for everyone; her sunny younger sister Bianca (Larisa Oleynik) is poised for high school stardom. The problem: overprotective and paranoid Papa Stratford (a dryly funny Larry Miller) won't let Bianca date until boy-hating Kat does, which is to say never. When Bianca's pining suitor Cameron (Joseph Gordon-Levitt) gets wind of this, he hires the mysterious, brooding Patrick Verona (Heath Ledger) to loosen Kat up. Of course, what starts out as a paying gig turns to true love as Patrick discovers that underneath her brittle exterior, Kat is a regular babe. The script, by Karen McCullah Lutz and Kirsten Smith, is sitcom-funny with peppy one-liners and lots of smart teenspeak; however, its cleverness and imagination doesn't really extend beyond its characters' Renaissance names and occasional snippets of real Shakespearean dialogue. What makes the movie energetic and winning is the formula that helped make She's All That such a big hit: two high-wattage stars who look great and can really act. Ledger is a hunk of promise with a quick grin and charming Aussie accent, and Stiles mines Kat's bitterness and anger to depths usually unknown in teen films; her recitation of her English class sonnet (from which the film takes its title) is funny, heartbreaking, and hopelessly romantic. The imperious Allison Janney (Primary Colors) nearly steals the film as a no-nonsense guidance counselor secretly writing a trashy romance novel. --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)

Astoundingly silly but incredibly popular, Police Academy is the first film in a seemingly endless franchise that takes aim at the men in blue. After a police academy... read more

Astoundingly silly but incredibly popular, Police Academy is the first film in a seemingly endless franchise that takes aim at the men in blue. After a police academy drops all of its entrance requirements, all manner of misfits flood in, hoping to make it onto the force. One of these misfits, a lazy, aimless cadet played by Steve Guttenberg (Cocoon, Three Men and a Baby), was forced to enlist and tries whatever he can to get kicked out. But once he decides to stay, he tries anything and everything to finish his training, even as his drill instructor tries to shove him out. Featuring a wild bunch of strange supporting characters, from a female trainee who speaks below a whisper to a dominatrix instructor to a human sound-effects machine, Police Academy is mindless but fun. --Robert Lane (hide)

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)

Garry Marshall's 1988 drama about a 30-year friendship between two women, one wealthy (Barbara Hershey) and the other (Bette Midler) seeking her fortune in show business, is well... read more

Garry Marshall's 1988 drama about a 30-year friendship between two women, one wealthy (Barbara Hershey) and the other (Bette Midler) seeking her fortune in show business, is well written (based on the novel by Iris Rainer Dart) and nicely textured in its contrast between the characters' separate destinies. When Hershey becomes ill with cancer, the film takes a predictably sentimental course, yet Marshall brings out the best in both actresses and catches some very fine drama. The film is a little too long, perhaps, but overall it is a fine experience. --Tom Keogh (hide)