As children, Nick and his little brother take care of their baby brother while their mother drinks herself senseless. But the baby dies, and both brothers blame themselves. Many years later, Nick is out of prison after serving time for an assault. He drinks, lives in a shelter and tries to help an old friend. When their mother dies, Nick meets his brother at the funeral. The brother, who remains nameless, is a single father to a young boy, but also supports a drug habit that is spiraling out of control. When an opportunity presents itself, he becomes a drug dealer to secure his son's future. Eventually, the two brothers meet again.
Chris B (gb) wrote: Not as good as the main films. Although it was good to see some of the witches get shot.
Barry S (nl) wrote: "The Smell of Success" is a movie to avoid. These salesmen are selling manure. That's it. This is hammered into our heads with so many "fecal jokes" that by the end of the first half hour you just want them to stop. The salesmen are called "bullsh*tters," for no other reason than to "make a joke." One salesman is even called "sh*t for brains." Nothing is any other color but brown. Brown filters are purposely used with CGI brown landscapes and brown cars. Enough! We get it !!! The worst thing about this flick is that you keep watching it to see if it can get any worse. Then the one punch ending. Ugh! The reason there is "No Score Yet" from the critics is that even THEY don't want to waste their time watching it.
Maria D (es) wrote: Ensure you can multi-task with other activities while watching this so you won't feel like you totally lost the cost of your time.
Rob V (mx) wrote: An enjoyable comedy - even better if you are an AC/DC fan. There was an awful lot of funny stuff in here that only an Aussie (or someone like me, who's just visited Oz) would find funny. Well worth a look though.
naomi e (us) wrote: gd but needs more fightin
Jessie J (mx) wrote: simply amazing, thefeeling and emotion portrayed and the camera work was 2nd to none, maybe im weird but i really liked this movie for all its crazyness and exploring the crazy side of sexuality.
Johnny T (it) wrote: The Tall Guy is a cheery, ingratiating romantic comedy with Jeff Goldblum putting in a stellar performance as a bumbling American actor in London whose career and romantic tribulations are suddenly transformed into triumphs. On the bright side, director Mel Smith provides some wonderfully scathing show-biz satire. The Elephant Man musical is an uproarious send-up of Andrew Lloyd Webber's high-glitz earnestness. In addition, the movie comes to life whenever Rowan Atkinson shows up as Goldblum's stage partner, an impishly vitriolic British comedian stewing in his own petty vanity. The fresh, alert performances add enormously to the polished sparkle of the script. Goldblum is in splendid form as the eternally naive American abroad. Thompson makes a wonderfully poised foil for her leading man's volubility. British favorite Atkinson has a great time enacting the most vain and mean-spirited of stars, and Hugh Thomas elicits quite a few laughs in his brief appearance as a wild-eyed medic. VERDICT: "High-Quality Stuff" - [Positive Reaction] This is a rating to a movie I view as very entertaining and well made, and definitely worth paying the full price at a theatre to see or own on DVD. It is not perfect, but it is definitely excellent. (Films that are rated 3.5 or 4 stars)
Jonathan B (ca) wrote: this was a pretty interesting movie despite being similar to E.T. the acting was good, the music gets good, the chemistry between Bridges and Allen is good, and the special effects is good for the most part. not a perfect film but, not a bad film at that.
Dina B (us) wrote: I tried to watch it once but only went through the first half hour, to be fair I wasn't in the mood so can't blame the movie.. I guess I will give it another shot sometime
Sgt C (es) wrote: (57%) A strong entry in Ferrara's output, in this 1980's retelling of star crossed lovers. Richard Panebianco gives a great central performance, and the movie does wrap you up in its own world in which the mean streets of 80's New York city becomes a superb backdrop to the action.
Private U (es) wrote: bra fr att vara en musikal
Leon F (fr) wrote: boss of all bosses. makaveli
Craig B (ag) wrote: [i]Compulsion[/i], filmed in 1959 by Richard Fleischer, is based on the famous Leopold-Loeb trial of 1924. The real case was billed as the "Trial of the Century" by the press, and Americans couldn't stop talking about it. At the heart of the buzz were the two accused murderers, Nathan Leopold, Jr. (aged 19) and Richard Loeb (aged 18,) the sons of two affluent families. They were rich, well-respected, and extremely intelligent, having already completed college, and as such were initially above suspicion for having committed the murder of teenager Bobby Franks. Under pressure from intense investigation, however, they finally admitted to the murder, and even began to brag about the details. They were both fans of philosopher Friedrich Neitzche, and as such, they considered themselves Supermen, above the laws of normal society. They thought that they could pull off the perfect crime, and planned to do so just for the thrill. Clarence Darrow, one of the most respected defense attorneys of his time and an outspoken opponent of the death penalty, was brought in to keep the boys from the gallows. His speech in defense of the murderers is considered one of the best of his career. And this is where [i]Compulsion[/i] gets its power. Many of the arguments made in the film come straight from the trial transcripts, and are masterfully delivered by Orson Welles as Jonathan Wilk (the character based on Darrow.) He knows the murderers are guilty, but his moral conviction against capital punishment compels him to take the case and fight for their lives. Knowing that a trial by jury will likely end in execution, Wilk enters pleas of guilty. He then sets out to convince the judge that capital punishment isn't a practice that a moral nation should endorse. E.G. Marshall matches Welles' intensity as District Attorney Harold Horn, whose expert sleuthing and interrogating catch the young murderers in their own web of deception. He's equally convinced that the death penalty is fitting punishment for the boys...after all, they planned the murder, executed the plan, and show no remorse for the boy whose life they took. It's the viewpoints of these two characters that turn [i]Compulsion[/i] into a real potboiler. Dean Stockwell and Bradford Dillman are strong as Judd and Artie, the movie's murderous Leopold and Loeb counterparts. If you haven't seen this film, treat yourself and rent it. Welles' small performance alone is reason enough for the rental.
Matthew R (fr) wrote: Emotional and inspiring
Blake P (jp) wrote: Whereas Robert Altman liked to root his massive ensemble films in dirt-on-the-ground reality and an all too savage brand of irony, Paul Thomas Anderson, his late-'90s disciple, favors a more slow-burning, cunning method that involves a front of black comedy that slowly reveals itself to be consuming melodrama in a fashion only comparable to the opening of a Russian doll. His breakthrough, "Boogie Nights", introduced itself as a porn industry satire, but, unexpectedly, decided to rip its mask off during its second act to confess a true identity of tragedy. "Magnolia", his third feature, greets us with a playful documentary about the nature of coincidence only to suddenly submerge us in a labyrinth of dying tycoons, charming misogynists, boorish housewives, bumbling cops, sensitive nurses, and repressed child celebrities, all set to the tune of Aimee Mann and eccentric weather patterns. To compare it to "Short Cuts" or "Nashville" would be a mistake only because "Magnolia" doesn't share the same spirit - similar are their massive ensembles, the way they pull you into the jagged lives of jagged people and never allows your interest to cease. But where "Short Cuts" and "Nashville" dared to see the humor in everyday hardships, "Magnolia" is a deluge of emotional catharsis kept bottled for decades prior to its events and left to explode for the viewer to ingest. Its humorous flavors are left out only for the darkest of people to snicker at - even the comedy reeks of contrition. The aforementioned documentary gives us an understanding that the film's characters are all ingeniously connected, whether they share a mutual friend or just happen to unknowingly pass the other by on the street; but where the documentary is whimsical, "Magnolia" goes deeper. It's a daisy chain of various shades of melancholy. Covering a 24-hour period in Los Angeles, "Magnolia" depicts the final few hours of former TV giant Earl Partridge's (Jason Robards) life - dying of cancer and confined to his bed, he confesses to his nurse (Philip Seymour Hoffman) that his biggest regret still haunts him. As a young man, he left his sick wife in the care of his teenaged son, while he, without a care in the world, continued on a path of womanizing as the life he left behind suffered immensely. His son, Frank (Tom Cruise), has grown into a misogynist who promotes "Seduce and Destroy", a step-by-step guide for the sadistic lonely heart who wishes to have a one night fling with a looker and dump her the next day. A similarly doomed television great, Jimmy Gator (Philip Baker Hall), is facing his last days as a game show host, not quite taking his final breaths but close to completely collapsing in the headlights of the irrepressible media. The world sees him as a faraway father figure, but his personal life suggests anything but. His estranged daughter, Claudia (Melora Walters), has spiraled into a cataclysm of cocaine addiction. His wife (Melinda Dillon), completely oblivious, doesn't realize that her husband has been unfaithful throughout their marriage. On coinciding paths of destruction are Earl's wife (Julianne Moore), who married him for the money but is beginning to realize that she actually loves the man and is hopelessly depressed by his illness, Donnie Smith (William H. Macy), a past-dwelling child prodigy/game show champion who believes he will win the love of a metalmouthed bartender if he gets braces too, and Stanley Spector (Jeremy Blackman), a kid in the same shoes as the young Donnie who wants to be viewed as a person rather than a weirdo moppet with a lot of facts brimming in his young head. In "Magnolia", Anderson's takes risk after risk after risk, whether his uninhibitedness is represented by scenes like the one where the leading characters all simultaneously sing to Aimee Mann staple "Wise Up" or the finale that sees frogs (yes, frogs) rain from the sky like an all too literal alternative to the metaphorical torrent of cats and dogs. But "Magnolia" is more than just risk-taking; it's audacious filmmaking that pays in its every step. It, at three-hours, surprisingly doesn't require a great deal of patience. It's magnetic from start to finish - these characters, so fucked up and in such need of an escape from this hell called life, are impossible not to become obsessed with. Take Linda Patridge (Moore), who was fine being a trophy wife for a while, who was fine sneaking around while pretending to love her husband, and who was fine marrying an old rich guy for the sake of comfort. But her past mistakes haunt her more than ever as she begins to understand that her materialism, at one point, paused in favor of realness. She can only express herself in vulgarities, spitting out a hard-edged "fuck" between every word; in one scene, she has a meltdown in front of a pharmacist simply because he asks her why she's purchasing so much medication. Or take Frank Mackey, who was abandoned by his father as a child yet takes out all his anger on women, the very same gender that stuck by him during his developing years. He's been so harshly shaped by his hate that he can hardly understand just what a monster he's become - he's only concerned with making himself "happy," hardly affected when he crushes the emotions of a different soul. In the break between one of his "Seduce and Destroy" seminars, he is interviewed by a television reporter (April Grace) who asks him of his past, wondering aloud if his mother is supportive of his reprehensible lifestyle. He laughs, acting as though his mother never stopped supporting him, getting serious when he sighs that his father passed on years ago. But the reality is, in fact, the opposite. When the reporter confronts his dishonesty - she did her research and discovered the connection between Frank and his famous father - he sits in angry silence, refusing to answer any further questions. He is so numbed by the events that made him the man he is today that a suggestion of those dark times leaves him completely defenseless. He is, once again, put into the shoes of a helpless child at the mercy of a careless father. After he is contacted by Earl's nurse, he hesitantly agrees to go visit the man just so he can tell him how much he hates his guts before he takes his final breath. While the most fascinating characters in "Magnolia" are the ones at the biggest crossroads in their lives, the most touching are Officer Jim (John C. Reilly) and Donnie Smith, both of whom have plenty of love to give but feel hopeless at every turn. Jim knows that he's the least talented policeman in Los Angeles, and, despite his good nature, is haunted by it. Donnie knows that he's a has-been more likely a never-was, but he clings to his long ago fame because it's all he has left in his awful life - when he falls in love with the idea of the muscular bartender of his favorite tavern, his braces idea is pathetic but understandable. He wants to fight for something he believes in, to start a new chapter in his life even if starting that new chapter is closer to impossible than plausible. Their lives are transformed when Jim meets Claudia for the first time - her apartment's cranked music and unpredictable behavior leads to a disturbance call - and when Donnie attempts to rob his work safe and realizes that it's perfectly acceptable to look at life from a new perspective without the love angle. Jim sees potential in Claudia's damaged frame, not willing to let her scarred interior/drug-addicted exterior get the best of her; Donnie sees potential in living for the future instead of the past. Most significantly, "Magnolia" isn't just a film about circumstance, about coincidence - it's also about the meaning of life, about what it takes to recover from personal turmoil, what it takes to find a reason to live in a lost world. Only 28 during production, Anderson displays a talent far more perceptive than the majority of his peers. He takes the good and the bad, throws them at a wall, and studies their behavior with a conviction rarely held. He insists on revealing monologues, insistent music, and low-key eccentricity. And for all its imperfections, "Magnolia" is one of the greatest films of the 1990s.
Eric N (au) wrote: A hacker+heist movie that leans into comedy because it's the boringest thriller you'll find. As a dry comedy or light-hearted romp, this movie really works. But from an action/thriller perspective it's like "Hackers" by old people, for old people.Even though it's quite realistic, the whole thing fits together like something on television. Robert Redford exudes a "I'm in a movie right now" attitude in every scene. Nothing really wrong with the plot other than two very silly uses of technology in one scene involving a phone trace. There's a lot of good use of technology too for being in the pre-Internet days (at least to 99% of the population's knowledge in 1992.) You gotta wonder: Who is this movie for? The only answer I can come up with is hippies that became techno-geeks in their 40s. In other words: like no one almost.In short, seeing this movie 20 years after the fact in the year 2013, this movie is all kinds of meh. Nuff said.