![]() The gang that created Airplane and The Naked Gun sets its sights on Top Gun in this often hilarious spoof starring Charlie Sheen, who previously only inspired laughs with his personal life. He plays Topper Harley, a fighter pilot with an ax to grind: clearing the family name. He gets involved in a relationship with Valerie Golino, a woman with an unusually talented stomach. But his mission is to avenge his father. Lloyd Bridges, late in his career, revealed an aptitude for this kind of silliness, here as a commander who is both incredibly dim and delightfully accident prone. Directed by Jim Abrahams, the film makes fun of a variety of other films as well, from Dances with Wolves to The Fabulous Baker Boys. It was so successful that they all returned in the sequel, Hot Shots! Part Deux. —Marshall Fine ![]() Anaïs Nin (Maria de Medeiros) is a young woman in 1930s Paris whose husband is slowly defecting from art to working in a bank, leaving her very bored. When the then-unpublished Brooklyn writer Henry Miller (Fred Ward) enters her life, she embarks on a journey of seduction and sexual exploration that eventually leads from the writer to his wife, June (Uma Thurman), who finances her husband's life in Paris so he may praise her beauty in his writing. Unhappy with her husband's writing and her lovers' affair, June enters a jealous rage, forcing Henry into suffering-artist mode and Nin back to her husband. Despite having one of the more erotic scenes of the 1990s, between Nin and June, the film does not live up to its subject, largely due to a mediocre screenplay and flawed direction. The strength of the original material and Medeiros's decidedly unflawed performance, however, make it worth viewing. —James McGrath ![]() Bill Murray does warmth in his most consistently effective post-Stripes comedy, a romantic fantasy about a wacky weatherman forced to relive one strange day over and over again, until he gets it right. Snowed in during a road-trip expedition to watch the famous groundhog encounter his shadow, Murray falls into a time warp that is never explained but pays off so richly that it doesn't need to be. The elaborate loop-the-loop plot structure cooked up by screenwriter Danny Rubin is crystal-clear every step of the way, but it's Murray's world-class reactive timing that makes the jokes explode, and we end up looking forward to each new variation. He squeezes all the available juice out of every scene. Without forcing the issue, he makes us understand why this fly-away personality responds so intensely to the radiant sanity of the TV producer played by Andie MacDowell. The blissfully clueless Chris Elliott (Cabin Boy) is Murray's nudnik cameraman. —David Chute ![]() Dans la veine d’Amélie Poulain, des films de Capra ou de Pagnol, La Grande Séduction, premier long métrage de Jean-François Pouliot sur un scénario de l’humoriste Ken Scott, est une comédie populaire fort sympathique. Sur un fond social assez fort, le film en a séduit plus d’un, même à l’étranger, surtout par ses interprètes attachants (David Boutin, Raymond Bouchard, Clémence DesRochers, Rita Lafontaine, Benoît Brière, notamment) et son ton humaniste et poétique. Chaleureux, il a été récompensé par un Génie, six prix Jutra et par le prix du public au festival de Sundance en 2003. ![]() The Academy Award winner for Best Original Screenplay, Gosford Park is a whodunit as only director Robert Altman could do it. As a hunting party gathers at the country estate, no one is aware that before the weekend is over, someone will be murdered - twice! The police are baffled but the all-seeing, all-hearing servants know that almost everyone had a motive. This critically-acclaimed murder mystery features a who's who of celebrated actors. With a diverse cast of characters - all with something to hide - it'll keep you guessing right to the surprising end. Gosford Park proves that murder can be such an inconvenience. | ![]() Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. In this 2002 DVD release, Grease lovers can also now see it in the correct 2:35 to 1 Panavision aspect ratio, and see retrospective interviews with cast members and director Randal Kleiser. All these stylistic touches are essential to the film's success. Without the vibrant colors, unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want"), and fabulously choreographed, widescreen musical numbers, the film would have to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative. ![]() Not surprisingly, deleted scenes and outtakes are the hands-down highlights of Goldmember's abundant Infinifilm features. Mike Myers's throwaway gags are funnier than Pauly Shore's entire career, revealing how a relaxed set encourages a flood of inspired improvisation. The Infinifilm feature is a handy, alternative method of seeing (and hearing) all of the bonus materials in logical sequence, mostly comprising behind-the-scenes featurettes devoted to costumes, special effects, all-star cameos, make-up, and various "social and historical" aspects of the Austin Powers franchise. The Myers/Jay Roach commentary track is worth a listening for Myers's casual jocularity (and his decent willingness to give credit to others), but their Hollywood compliments, while obviously sincere, eventually grow tiresome. More enjoyable are the pop-up subtitles in the DVD's "Fact Track" feature, adding lighthearted factoids to enhance an already very funny movie. Taken together, these features emphasize the productive camaraderie of the Austin Powers team and the devoted seriousness that the filmmakers bring to their pursuit of the next big laugh. —Jeff Shannon ![]() Dan Aykroyd and Harold Ramis wrote the script, but Bill Murray gets all the best lines and moments in this 1984 comedy directed by Ivan Reitman (Meatballs). The three comics, plus Ernie Hudson, play the New York City-based team that provides supernatural pest control, and Sigourney Weaver is the love interest possessed by an ancient demon. Reitman and company are full of original ideas about hobgoblins—who knew they could "slime" people with green plasma goo?—but hovering above the plot is Murray's patented ironic view of all the action. Still a lot of fun, and an obvious model for sci-fi comedies such as Men in Black. —Tom Keogh ![]() Barry Levinson (Wag the Dog) directed this comedy-drama about an Armed Forces Radio disc jockey (Robin Williams) whose manic, hilarious delivery from a studio in 1965 Saigon gives U.S. troops in the field a morale boost (while upsetting military brass). Based on the real-life experiences of deejay Adrian Cronauer, the film is actually more concept than story: put Williams in front of a microphone and let him go nuts. Still, the surrounding stuff about the influence upon Cronauer of the endless deaths among his listeners—as Cronauer tries to stay funny while feeling the mounting losses—is affecting. Williams got a much-deserved Oscar nomination for his work. —Tom Keogh |