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A rich businessman makes a bet he can survive on the streets of a rough Los Angeles neighborhood for 30 days completely penniless. During his stay he discovers another side of life and falls in love with with a homeless woman.
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It may take more skill and intelligence to live without money than to make and spend a great deal of it, and that is the buried message of "Life Stinks," a warmhearted new comedy from Mel Brooks.It's easy to sit inside an air-conditioned car and feel scorn for some poor wretch who is trying to earn a quarter for wiping a rag across the windshield. But if we were out there on the streets without a home or money, what bright ideas would we come up with? Donald Trump can make millions selling condos to other millionaires, but could he make 10 bucks in a day if he had to start from scratch? The conventional wisdom in these situations is that the poor and homeless should get a grip on themselves, should pull themselves up by their bootstraps. But if they have no boots, what then? Wasn't it Anatole France who said that the Law, in its magnificent equality, prohibits the rich as well as the poor from sleeping under bridges and begging in the streets? What Brooks does with this idea is tell a fable of a rich urban developer who finds himself on the streets, in the ghetto, wondering where his next meal is coming from.Brooks plays the rich man himself. His name is Goddard Bolt, and he intends to buy a large, wretchedly poor area of Los Angeles, tear it down, and start over - at immense profit to himself. His archenemy in business is a predatory capitalist named Vance Crasswell (played by Jeffrey Tambor with oily superiority). They get in a bidding and bluffing war, and it finally all comes down to a bet: The Brooks character bets he can live for 30 days, by his wits, as a homeless bum - without ever stepping foot outside the area.This is a premise Brooks and his writers have borrowed from "Sullivan's Travels," the 1939 Preston Sturges classic in which Joel McCrea plays a Hollywood director who went on the road as a bum. But the streets are a little meaner in 1991 than they were in 1939, and the affluent are stingier. It is sometimes all Brooks can do to make his movie seem like a comedy, when the desperation of the homeless is so evident in every scene.But he pulls it off. He gets mileage out of his own efforts to emulate the panhandlers he sees - he wipes a windshield, he dances and hopes people will toss coins into his hat - and he makes some friends on the street, who steer him toward the nearest soup kitchen. And he meets some kindred spirits, like Molly (Lesley Ann Warren), who lives in an alley that she has furnished as her living room. The movie's best scene is one in which, together, they transform poverty into fantasy, in a dance inspired by the old MGM musicals."Life Stinks" is a new direction in Brooks' directing career. The typical note in most of his earlier work was cheerful vulgarity, as he went for the laugh, no matter what. He has made some of the funniest movies I've ever seen, including "The Producers," "Blazing Saddles" and "Young Frankenstein." This is not one of them. It has its laughs, but it's a more thoughtful film, more softhearted toward its characters. It's warm and poignant.Brooks, as usual, is his own best asset. As an actor, he brings a certain heedless courage to his roles. His characters never seem to pause for thought; they're cocky, headstrong, confident. They charge ahead into the business at hand. There is a certain tension in "Life Stinks" between the bull-headed optimism of the Brooks character, and the hopeless reality of the streets, and that's what the movie is about.Download here
Life Stinks (Comedy)
There's Something About Mary (Comedy,Romance)
No animals were harmed in the making of this movie. Everybody else was on their own.
The most fun you can have on video.
There's Just Something About Her...
Warning: The guys who did 'Dumb & Dumber' and 'Kingpin' bring you a love story.
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Ted was a geek in high school, who was going to go to the prom with one of the most popular girls in school, Mary. The prom date never happened, because Ted had a very unusual accident. Thirteen years later he realizes he is still in love with Mary, so he hires a private investigator to track her down. That investigator discovers he too may be in love with Mary, so he gives Ted some false information to keep him away from her. But soon Ted finds himself back into Mary's life, as we watch one funny scene after another.
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What a blessed relief is laughter. It flies in the face of manners, values, political correctness and decorum. It exposes us for what we are, the only animal with a sense of humor. ``There's Something About Mary'' is an unalloyed exercise in bad taste, and contains five or six explosively funny sequences. OK, five explosive, one moderate.I love it when a movie takes control, sweeps away my doubts and objections, and compels me to laugh. I'm having a physical reaction, not an intellectual one. There's such freedom in laughing so loudly. I feel cleansed.``There's Something About Mary'' is the latest work by Peter and Bobby Farrelly, brothers whose earlier credits include ``Dumb & Dumber'' and ``Kingpin.'' Good taste is not their strong suit. ``Dumb & Dumber'' includes a scene where a blind boy realizes his parakeet's head is held on with Scotch tape. ``Kingpin'' includes a scene where a bowler's artificial hand gets stuck in the ball and rolls down the alley, flop flop flop.Now here is a movie about a woman who is beautiful, sunny, good and pure, and inspires a remarkable array of creeps to fall in love with her. There's ... just something about her. Mary is played by Cameron Diaz as a high school knockout who amazes the geeky Ted (Ben Stiller) by asking him to the prom, even though he has pounds of braces on his teeth. (``I have a thing about braces,'' she muses, long after.) Ted turns up proudly for the date, only to set off the first of the movie's uproariously funny sequences when he asks to use the toilet and then somehow catches in his zipper that part of the male anatomy one least wants to think about in connection with zippers. (``Is it the frank or the beans?'' asks Mary's solicitous stepfather.) In a lesser film, that would be that: The directors would expect us to laugh at his misfortune, and the plot would roll on. Not the Farrelly Brothers. When they get something going, they keep on building, daring themselves to top each outrage. I won't reveal how the scene develops, apart from noting the perfect timing involved with the unexpected closeup.Thirteen years pass. Ted is still in love with Mary. He hires a sleazy investigator named Healy (Matt Dillon) to track her down. Healy, wearing one of those mustaches that shout ``distrust me!,'' finds her in Miami, discovers she is an unbelievable babe who is still single and decides to grab her for himself. He tells Ted that she weighs 250 pounds, has four children by three fathers and has just shipped out for Japan as a mail-order bride.Healy's trick is to eavesdrop on Mary's conversations, so he'll know just what she wants to hear. Among the things most important to her is her retarded brother Warren (W. Earl Brown), who doesn't like to have his ears touched. Healy poses as the person of her dreams (an architect with a condo in Nepal, who loves to work with retarded people), but he raises the suspicions of another of her suitors, Tucker (Lee Evans), who is an architect who uses crutches. Maybe.Further plot description would be pointless. The plot exists, like all screwball plots, simply to steer us from one gag to the next. In the TV ads, you may already have seen the moment when the dog of Mary's deeply tanned neighbor needs to have its heart restarted. That's because the dog has been tranquilized. There also is a scene where the dog is on speed, and his human target does things with walls and furniture not seen since Donald O'Connor's ``Make 'Em Laugh'' sequence in ``Singin' in the Rain.'' Then there are the peculiar and intimate preparations Ted goes through in anticipation of his first date with Mary. I have paused here at the keyboard for many minutes, trying to decide how to describe them (a) in a family newspaper, and (b) without spoiling the fun. I cannot. I will simply observe in admiration that after the scene explodes in disbelieving, prolonged laughter, the Farrellys find a way to blindside us with a completely unanticipated consequence that sets us off all over again.Among the other characters in the movie are Chris Elliott, as Dom, a friend of Ted's, who has a nervous skin condition (``Do you know what it feels like to have a whitehead on your eyeball?''), and Magda (Lin Shaye), the neighbor, whose tan makes her look like she's been put through the same process that produces Slim Jims. Magda is funny in a bizarre over the top way, but Dom is more creepy than funny, or is it just that we're afraid we'll catch his skin rash? Stanley Kauffmann, the great film critic of The New Republic, was on Charlie Rose's show the other night, sharing the discoveries of 40 years as a film critic. What he has noticed over the years, he said, is that we are getting more good dramatic films than in the old days--but fewer good entertainments. It is easier to excel at drama than at comedy. I have no idea if Kauffmann will like "There's Something About Mary," but his point applies for me: After months and months of comedies that did not make me laugh, here at last is one that did.Download here
3000 Miles to Graceland (Action,Comedy,Crime,Drama,Thriller)
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It was an ingenious enough plan: rob the Riviera Casino's count room during an Elvis impersonator convention. But Thomas Murphy decided to keep all the money for himself and shot all his partners, including recently-freed ex-con Michael Zane. With $3.2 million at stake, the Marshals Service closing in, and single mom Cybil Waingrow and her son Jesse constantly confounding things, Michael must track down Murphy.
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Here's a movie without an ounce of human kindness, a sour and mean-spirited enterprise so desperate to please, it tries to be a yukky comedy and a hard-boiled action picture at the same time. It's about a gang that robs a casino while masquerading as Elvis impersonators. I was nostalgic for the recent "Sugar and Spice," in which cheerleaders rob a bank while masquerading as five pregnant Betty dolls (plus one Richard Nixon).The movie has a heavy-duty cast, with top billing shared by Kurt Russell and Kevin Costner. Russell once played Elvis, very well, on TV, and hits some of the right verbal notes here. Costner, the leader of the gang, chain-smokes and looks mean. His fellow criminals include Christian Slater, David Arquette and Bokeem Woodbine, who is the black guy and therefore the first to die, adhering to an ancient cliche this movie lacks the wit to rewrite.The casino robbery involves a gory bloodbath, all gratuitous, all intercut with an Elvis revue on one of the show stages. Not intercut a little, but a lot, complete with dancing girls, until we see so much of the revue we prefer it to the shooting. (Looks like dozens of patrons are killed, but the movie of course forgets this carnage the minute it's over.) The gang makes off with the loot, there is the inevitable squabble over how to divvy it up, and then the movie's most intriguing and inexplicable relationship develops.This is between Kurt Russell and Courteney Cox, who plays the mom of a bright young kid (David Kaye), and is stranded in the Last Chance Motel, one of those movie sets from a Road Runner cartoon.Cox's character is intriguing because we never understand her motivation, and inexplicable because she doesn't, either. She really does like Russell, I guess, and that explains why they're in the sack so quickly, but then the kid, who is about 8, creeps into the bedroom and steals Russell's wallet. The movie never questions the wisdom of showing the kid in the room while his mother is in bed with a stranger. One imagines that the filmmakers were so tickled by the plot point that the moral questions just didn't occur to them.At a point later in the movie, the Cox character drives off in a car containing most of Russell's loot, while leaving her son behind with him. Would a mother do this? Some would, but most movies wouldn't consider them heroines. There is an "explanation" for her behavior, based on the fact that Russell, a criminal she has known for about 10 minutes, is obviously a good guy and likes the guy--but, come on.The plot is standard double-reverse, post-"Reservoir Dogs" irony, done with a lot of style and a minimum of thought. It's about behavior patterns, not personalities. Everybody is defined by what they do. Or what they drive: As the film opens, Russell is in a 1957 red Cadillac, and Costner drives a Continental convertible of similar vintage, perhaps because they want to look like Elvis impersonators, more likely because all characters in movies like this drive 1950s cars because modern ones are too small and wimpy.The cast stays top drawer right down to the supporting roles. Kevin Pollak turns up as a federal marshal, Jon Lovitz is a money launderer, Ice T is hired muscle. You guess they all liked the script. But the Russell and Costner characters are so burdened by the baggage of their roles that sometimes they just seem weary, and the energy mostly comes from Cox--and from the kid, who seems to be smarter than anyone else in the film, and about as experienced.I will give "3000 Miles to Graceland" credit for one thing, a terrific trailer. When a bad movie produces a great trailer, it's usually evidence that the raw materials were there for a good movie. I can imagine a blood-soaked caper movie involving Elvis disguises, a lonely tramp and her bright-eyed son, but it isn't this one.Download here
Music and Lyrics (Comedy,Music,Romance)
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Cheery Alex Fletcher lives comfortably in Manhattan off the residuals from his 80's pop success and reprising his hits at school reunions, theme parks, and state fairs. But those gigs are declining, so he jumps at the chance to write a song and record it with reigning teen idol Cora Corman. Trouble is, he's good at melodies but needs a lyricist and has less than a week to finish. Enter Sophie Fisher, subbing for a friend who waters Alex's plants; she's a pretty good poet, quick witted, and could do it, if she'd agree. But there's some sort of shadow over her head that Alex may not be able to charm his way past. And what if they do get a song written, what then?
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It's impossible not to feel affection for "At Long Last Love," Peter Bogdanovich's much-maligned evocation of the classical 1930s musical. It's a light, silly, impeccably stylish entertainment, and if the performers don't come up to the comparisons they evoke with the genius of Astaire and Rogers, that's not entirely their fault; the studio tradition that developed and nurtured the great musical stars no longer exists, and a movie like this has to be made from scratch.Well, not altogether from scratch: The music and lyrics are all by Cole Porter, a special enthusiasm of Bogdanovich and his star, Cybill Shepherd, who recorded an album of Porter last year. There are 16 Porter classics, and in an age when original songs composed for the movies tend to seek the level of "Love Theme from the Towering Inferno," maybe it's a good idea to go back to the golden age of popular American composition and cherish once again "It's De-Lovely," "Well, Did You Evah?," "Just One of Those Things" and the title song (which, legend has it, Porter acually began writing while waiting for the doctors to arrive at the scene of the accident that crippled him for life).Bogdanovich has found a story and setting that sound the right tone in company with the songs. His screenplay involves a sophisticated (and yet sometimes childishly innocent) dalliance among four members of the idle rich or would-be rich (everyone's idle). There's Burt Reynolds as a playboy millionaire, Miss Shepherd as a beautiful heiress, Madeline Kahn as a Broadway star and Dullio Del Prete as a seductive Italian gambler. They sip champagne almost without respite, dance the night away, run through a series of wrecked limousines and touring cars, trade partners and try never, ever, to be bored: It's like 'Private Live' rewritten by Thorne Smith.The story, of course, is totally inconsequential, as it should be, and Bogdanovich is good at keeping it floating some few inches above the ground; he's not giving us a tribute to the great musicals like "Swing Time" and "Top Hat," he's trying to make another one. He doesn't succeed, primarily because his performers aren't really suited to musical comedy, but he doesn't fail to the extent some of the reviews would have you believe.Cybill Shepherd is a wonder to behold, but she isn't a gifted singer and no regimen of voice lessons is going to make her one. She didn't do a very good job on her Cole Porter album, and she's no better here, although at least we're permitted to see her as she sings, and that provides a certain compensation. Before Bogdanovich, a devoted student of movie classics, makes further attempts to present Miss Shepherd as a singer, he'd do well to rerun "Citizen Kane," particularly the scene of Susan Alexander's disastrous opera debut.Burt Reynolds, on the other hand, isn't really expected to sing and dance well; the fun is in watching him try to have fun in a low-key way without making a fool of himself, and he generally succeeds. His Clark Gable-style moustache and his over all bearing remind us of Gable grinning foolishly during absurd production numbers and having a ball. Miss Kahn is tart and has a nice edge, Del Prete is a satisfactory Latin lover and there's a very funny, understated supporting performance by John Hillerman as Rodney the butler.The movie's no masterpiece, but I can't account for the viciousness of some of the critical attacks against it. It's almost as if Bogdanovich is being accused of the sin of pride for daring to make a musical in the classical Hollywood style. "At Long Last Love" isn't "Swing Time," but then it isn't "Funny Lady" either, thank God. Bogdanovich has too much taste, too sure a feel for the right tone, to go seriously wrong. And if he doesn't go spectacularly right, at least he provides small pleasures and great music.Download here
Coyote Ugly (Comedy,Drama,Music,Romance)
This party never ends.
Tonight, they're calling the shots.
Wanna dance? The hottest party of the year.
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Sexy, romantic comedy about a girl in her early 20s named Violet Sanford going to NYC to pursue a dream of becoming a songwriter. Violet gets a "day" job as a bar maid at a nightclub called Coyote Ugly. Coyote Ugly is the city's newest hot spot were the employees are a team of sexy, resourceful women that provoke the clientele and press with their mischief.
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"Coyote Ugly" is a cliff-hanger in which Piper Perabo ventures into a Jerry Bruckheimer production and escapes more or less untouched.The film stars Perabo as one of a group of heedless wenches who dance on a bar and pour straight shots down the throats of the seething multitude. In a movie of this sort, it is inevitable that the song "I Will Survive" will sooner or later be performed by drunken pals. Next week's opening, "The Replacements," makes us wait an hour to hear it. "Coyote Ugly" takes no chances and puts it under the opening titles. Do you get the feeling these movies are assembled from off-the-shelf parts? There is a story beloved in movie lore about the time Howard Hawks asked John Wayne to appear in "El Dorado." Wayne had already starred in Hawks' "Rio Bravo" and "Rio Lobo," which were essentially the same picture. So was "El Dorado." "Shall I send over the script?" asked Hawks. "Why bother?" asked the Duke. "I've already been in it twice." Does Jerry Bruckheimer have the same nagging feeling of deja vu as he compares each new screenplay to those that have gone before? I wonder if he suspects his movie may not be original, as he contemplates a story about a girl from New Jersey who dreams of being a songwriter, moves to Manhattan, meets a guy, gets a job and has a heart-rending reconciliation with her dad, all in a movie that ends (yes, it really does) with the final line, "What do you do when you realize all your dreams have come true?" Bruckheimer and his director bring superb technical credits to this wheezy old story, and they add wall-to-wall music to make it sound like fun. But you can pump up the volume only so far before it becomes noise. I don't ask for startling originality in a movie like "Coyote Ugly." I don't object to the scene in which the heroine and her guy neck in a convertible and regard the lights on a Manhattan bridge. I am not even surprised that the hero drives a classic car (no characters in Bruckheimer movies drive cars less than 25 years old unless they are parents or gangsters). I don't even mind the obligatory line, "It's payback time!" All I ask is that I be surprised a couple of times. Give me something I can't see coming and make it more unexpected than a beloved character getting hit by a car instead of having a heart attack.In the movie, Perabo, who has big-time star power, plays Violet, a working-class girl from South Amboy, N.J., who packs up and moves to a cheap apartment in Chinatown (where she meets not a single Chinese person) and gets a job in Coyote Ugly, a bar that would be the result if you took the bar in "Cocktail" and performed reckless experiments on its DNA.It's the kind of bar you would fight to get out of--and you'd have to. Customers are jammed so tightly together, the fire marshal can barely wedge his way into the room. They are offered no mixed drinks, no wine, just "Jim, Jack, Johnny Red, Johnny Black and Jose--all my favorite friends," according to Lil (Maria Bello), the sexy blond who owns the club. "You can have it any way you want it, as long as it's in a shot glass." Violet auditions for her job, which consists of dancing on top of the bar, pouring drinks, dumping ice on customers who get into fights and spraying the others every so often with the soda gun. These are skilled dancers. They can do Broadway routines on a slippery bar top, while drunks grab at their ankles. Every once in a while, just for variety, they pour booze on the bar and set it on fire.Many of the movie's shots are high-angle, looking down at the customers, their mouths upturned and gulping like gasping fish. Illuminated by garish neon, they bear an uncanny resemblance to Hieronymus Bosch's paintings of the damned roasting in hell.After a shaky start, Violet becomes a hit at the bar; meanwhile, she tries to place tapes of her songs around town. She has stage fright, you see, and can't sing her own songs because she's afraid to sing in front of an audience, although she will obviously do almost anything else.She meets Kevin (Adam Garcia), an awfully nice Australian short-order cook who encourages her, and even bribes a guy to give her an audition by trading his precious Spider-Man comic. They would no doubt have steamy sex, except that Bruckheimer, a student of straws in the wind, knows this is the summer when PG-13, not his old favorite R, is the coveted rating. (His "Gone in 60 Seconds" was also PG-13, which may explain why Angelina Jolie was missing from most of the film.) "Coyote Ugly" finally leads up to the questions: (1) Does she find the courage to sing? (2) Do they stay together after their Idiot Plot Misunderstanding? and (3) Do all of her dreams come true? There is a reason to see the movie, and that reason is Piper Perabo, who I first noticed in "The Adventures of Rocky and Bullwinkle," writing that she was "so fetching she sort of stops the clock." She has one of those friendly Julia Roberts smiles, good comic timing, ease and confidence on the screen, and a career ahead of her in movies better than this one. Lots better.Download here
Friends with Money (Comedy,Drama,Romance)
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A drama about three married women, their husbands, and their lone single friend.
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"Friends With Money" resembles "Crash," except that all the characters are white, and the reason they keep running into each other is because the women have been friends since the dawn of time. Three of them are rich and married. The fourth is, and I quote, "single, a pothead and a maid." That's Olivia (Jennifer Aniston), who used to teach at a fancy school in Santa Monica, "but quit when the kids started giving her quarters."
The other friends are Jane (Frances McDormand), who screams at people who try to cut in line ahead of her; Christine (Catherine Keener), who writes screenplays with her husband, and Franny (Joan Cusack), whose biggest concern is that her husband spends too much money on their child's shoes. Jane's husband is Aaron (Simon McBurney). "He's so gay," says Olivia. Christine's husband is David (Jason Isaacs). They fight over what the characters should say in the screenplay they're writing, and then they simply fight: She tells him his breath stinks, and he tells her she's getting a lard butt. Not a demonstration of mutual support. Franny's husband is Matt (Greg Germann), whose problem, as far as this film is concerned, is that he has no problems.
The characters meet in various combinations and gossip about those not present, and all three couples spend a lot of time on the topic of Olivia, who they agree needs a husband, although their own marriages don't argue persuasively for wedded bliss. Olivia finally gets fixed up with a physical trainer named Mike (Scott Caan), who in some ways is the most intriguing character in the movie, and certainly the biggest louse. Consider how he asks to go along with her when she cleans houses, and what he asks her afterward, and the present he gives her, and the "friend from junior high school" he sees in a restaurant.
Meanwhile, the marriage of Jane and Aaron is melting down because of her anger. She's a famous dress designer who has decided not to wash her hair, which becomes so greasy her husband turns away from her in bed, although maybe he really is gay. Or probably not, and neither is his new friend, also named Aaron, although they do enjoy trying on sweaters together. Meanwhile, Christine and David are putting a second story on their house, which will give them a view, and we all know that if you're fighting, the best thing to do is remodel.
"Friends With Money" was written and directed by Nicole Holofcener, whose two previous features were wonderful studies of women and their relationships: "Walking and Talking" (1996) and "Lovely and Amazing" (2001). Both of them also starred Catherine Keener, who is expert at creating the kind of Holofcener character who speaks the truth with wit, especially when it is not required. Cusack can do that, too, although she is underused here.
The movie lacks the warmth and edge of the two previous features. It seems to be more of an idea than a story. Yes, it's about how Olivia's friends all have money, and at one point Jane suggests they simply give her some to bring her up to their level. As it happens, characters do exactly that in novels I've read recently by Stendhal and Trollope, but in modern Los Angeles, it is unheard of. If you have millions and your friend is a maid, obviously what you do is tell her how much you envy her. Working for a living is a charming concept when kept at a reasonable distance.
The parts of the movie that really live are the ones involving Olivia and the two men in her life. First, Mike, the fitness instructor, and then Marty (Bob Stephenson), a slob who lives alone, is very shy, and hires her to clean his house. When the rich friends go to a $1,000-a-plate benefit, they invite Olivia along, and she brings Marty, and when she goes to pick him up, she suggests that maybe he should think about wearing a tie. This he is happy to do. At the dinner, he smooths down the tie with pride and satisfaction. Watch the way Aniston regards him while he does this. She is so happy for him. At last she is the friend with money. Not cash money, it's true, but a good line of credit in the bank of love.Download here
Lost in Translation (Comedy,Drama)
Sometimes you have to go halfway around the world to come full circle
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Bob Harris is an American film actor, far past his prime. He visits Tokyo to appear in commercials, and he meets Charlotte, the young wife of a visiting photographer. Bored and weary, Bob and Charlotte make ideal if improbable traveling companions. Charlotte is looking for "her place in life," and Bob is tolerating a mediocre stateside marriage. Both separately and together, they live the experience of the American in Tokyo. Bob and Charlotte suffer both confusion and hilarity due to the cultural and language differences between themselves and the Japanese. As the relationship between Bob and Charlotte deepens, they come to the realization that their visits to Japan, and one another, must soon end. Or must they?
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The Japanese phrase "mono no aware," is a bittersweet reference to the transience of life. It came to mind as I was watching "Lost in Translation," which is sweet and sad at the same time it is sardonic and funny. Bill Murray and Scarlett Johansson play two lost souls rattling around a Tokyo hotel in the middle of the night, who fall into conversation about their marriages, their happiness and the meaning of it all.These conversations can really only be held with strangers. We all need to talk about metaphysics, but those who know us well want details and specifics; strangers allow us to operate more vaguely on a cosmic scale. When the talk occurs between two people who could plausibly have sex together, it gathers a special charge: you can only say "I feel like I've known you for years" to someone you have not known for years. Funny, how your spouse doesn't understand the bittersweet transience of life as well as a stranger encountered in a hotel bar. Especially if drinking is involved.Murray plays Bob Harris, an American movie star in Japan to make commercials for whiskey. "Do I need to worry about you, Bob?" his wife asks over the phone. "Only if you want to," he says. She sends him urgent faxes about fabric samples. Johansson plays Charlotte, whose husband John is a photographer on assignment in Tokyo. She visits a shrine and then calls a friend in America to say, "I didn't feel anything." Then she blurts out: "I don't know who I married." She's in her early 20s, Bob's in his 50s. This is the classic set-up for a May-November romance, since in the mathematics of celebrity intergenerational dating you can take five years off the man's age for every million dollars of income. But "Lost in Translation" is too smart and thoughtful to be the kind of movie where they go to bed and we're supposed to accept that as the answer. Sofia Coppola, who wrote and directed, doesn't let them off the hook that easily. They share something as personal as their feelings rather than something as generic as their genitals.These are two wonderful performances. Bill Murray has never been better. He doesn't play "Bill Murray" or any other conventional idea of a movie star, but invents Bob Harris from the inside out, as a man both happy and sad with his life -- stuck, but resigned to being stuck. Marriage is not easy for him, and his wife's voice over the phone is on autopilot. But he loves his children. They are miracles, he confesses to Charlotte. Not his children specifically, but -- children.He is very tired, he is doing the commercials for money and hates himself for it, he has a sense of humor and can be funny, but it's a bother. She has been married only a couple of years, but it's clear that her husband thinks she's in the way. Filled with his own importance, flattered that a starlet knows his name, he leaves her behind in the hotel room because -- how does it go? -- he'll be working, and she won't have a good time if she comes along with him.Ingmar Bergman's "Scenes from a Marriage" was about a couple who met years after their divorce and found themselves "in the middle of the night in a dark house somewhere in the world." That's how Bob and Charlotte seem to me. Most of the time nobody knows where they are, or cares, and their togetherness is all that keeps them both from being lost and alone. They go to karaoke bars and drug parties, pachinko parlors and, again and again, the hotel bar. They wander Tokyo, an alien metropolis to which they lack the key. They don't talk in the long literate sentences of the characters in "Before Sunrise," but in the weary understatements of those who don't have the answers.Now from all I've said you wouldn't guess the movie is also a comedy, but it is. Basically it's a comedy of manners -- Japan's, and ours. Bob Harris goes everywhere surrounded by a cloud of white-gloved women who bow and thank him for -- allowing himself to be thanked, I guess. Then there's the director of the whiskey commercial, whose movements for some reason reminded me of Cab Calloway performing "Minnie the Moocher." And the hooker sent up to Bob's room, whose approach is melodramatic and archaic; she has obviously not studied the admirable Japanese achievements in porno. And the B-movie starlet (Anna Faris), intoxicated with her own wonderfulness.In these scenes there are opportunities for Murray to turn up the heat under his comic persona. He doesn't. He always stays in character. He is always Bob Harris, who could be funny, who could be the life of the party, who could do impressions in the karaoke bar and play games with the director of the TV commercial, but doesn't -- because being funny is what he does for a living, and right now he is too tired and sad to do it for free. Except ... a little. That's where you see the fine-tuning of Murray's performance. In a subdued, fond way, he gives us wry faint comic gestures, as if to show what he could do, if he wanted to.Well, I loved this movie. I loved the way Coppola and her actors negotiated the hazards of romance and comedy, taking what little they needed and depending for the rest on the truth of the characters. I loved the way Bob and Charlotte didn't solve their problems, but felt a little better anyway. I loved the moment near the end when Bob runs after Charlotte and says something in her ear, and we're not allowed to hear it.We shouldn't be allowed to hear it. It's between them, and by this point in the movie, they've become real enough to deserve their privacy. Maybe he gave her his phone number. Or said he loved her. Or said she was a good person. Or thanked her. Or whispered, "Had we but world enough, and time..." and left her to look up the rest of it.Download here
Two for the Road (Comedy,Drama,Romance)
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The ten-year marriage of Mark and Joanna Wallace is on the rocks. In flashback they recall their first meeting, memorable moments in their courtship and early wedded life, their travels through Europe, their broken vow never to have children, and their increasing tensions that led to both of them having extra-marital affairs.
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Big Lebowski, The (Comedy,Crime,Mystery)
Her life was in their hands. Now her toe is in the mail.
It takes guys as simple as the Dude and Walter to make a story this complicated... and they'd really rather be bowling.
They figured he was a lazy time wasting slacker. They were right.
Times like these call for a Big Lebowski.
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When "The Dude" Lebowski is mistaken for a millionaire Lebowski, two thugs urinate on his rug to coerce him into paying a debt he knows nothing about. While attempting to gain recompense for the ruined rug from his wealthy counterpart, he accepts a one-time job with high pay-off. He enlists the help of his bowling buddy, Walter, a gun-toting Jewish-convert with anger issues. Deception leads to more trouble, and it soon seems that everyone from porn empire tycoons to nihilists want something from The Dude.
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Mona Lisa Smile (Comedy,Drama,Romance)
In einer Welt, die ihnen vorschrieb, wie man lebt, lehrte sie sie, wie man denkt. (In a world that told them how to live, she taught them how to think.)
They had everything. She showed them more.
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Set in 1953, Katherine Watson (Roberts) is a free-spirited graduate of UCLA who accepts a teaching post at Wellesley College, a women-only school where the students are torn between the repressive mores of the time and their longing for intellectual freedom.
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I find it hard to believe that Wellesley College was as reactionary in the autumn of 1953 as "Mona Lisa Smile" says it is -- but then I wasn't there. Neither were the screenwriters, who reportedly based their screenplay on Hillary Clinton's experience at Wellesley in the early 1960s. The film shows a school which teaches, above all, that a woman's duty is to stand by her man, and if Clinton learned that, she also learned a good deal more. No doubt she had a teacher as inspiring as Katherine Watson (Julia Roberts), who trades in the bohemian freedom of Berkeley for a crack at Wellesley's future corporate wives.This is the kind of school which actually offers classes in deportment, grooming and table setting, and the teacher of those classes, Nancy Abbey (Marcia Gay Harden) takes them so seriously that we begin to understand the system that produced Cathy Whitaker, Julianne Moore's showpiece wife in last year's "Far From Heaven." Watson finds her students scornful of her California background (every students makes it a point to be able to identify every slide of every painting in her first lecture), but she counterattacks with a blast of modern art, and there is a scene where she takes them to watch the uncrating of a new work by Jackson Pollock.Of course the board of trustees is suspicious of Katherine Watson, modern art and everything else that is potentially "subversive," and resistance among the undergraduates is led by Betty (Kirsten Dunst), whose mother is a trustee, whose plans include marrying an upward-bound but morally shifty Harvard man, and whose editorials in the school paper suggest Watson is leading her girls in the direction of communism and, worse, promiscuity. (A school nurse who gives advice on contraception has to leave her job.)We are pretty sure what the story parabola of "Mona Lisa Smile" will be (the inspiring teacher will overcome adversity to enlighten and guide), but the movie is more observant and thoughtful than we expect. It doesn't just grind out the formula, but seems more like the record of an actual school year than about the needs of the plot. In the delicate dance of audience identification, we get to be both the teacher and her students -- to imagine ourselves as a free spirit in a closed system, and as a student whose life is forever changed by her.But, you're wondering, how can I identify with a 30ish teacher and her 20ish female students? Don't you find yourself identifying with just about anybody on the screen, if the movie is really working? Katherine Watson is smart and brave and stands by her beliefs, and so of course she reminds us of ourselves.Julia Roberts is above all an actress with a winning way; we like her, feel protective toward her, want her to prevail. In "Mona Lisa Smile," she is the conduit for the plot, which flows through her character. The major supporting roles are played by luminaries of the first post-Julia generation, including not only Dunst, but Julia Stiles as Joan Brandwyn, a girl smart enough to be accepted by Yale Law but perhaps not smart enough to choose it over marriage; Maggie Gyllenhaal as Giselle Levy, who is sexually advanced and has even, it is said, slept with the studly young Italian professor, and Ginnifer Goodwin as Constance Baker, who is too concerned about her looks."A few years from now," the Wellesley students are solemnly informed, "your sole responsibility will be taking care of your husband and children." This is not a priority Watson can agree with. She tells the competent but conservative school president (Marian Seldes), "I thought I was headed to a place that would turn out tomorrow's leaders -- not their wives." Unlike the typical heroes of movies about inspiring teachers, however, she doesn't think the answer lies in exuberance, freedom and letting it all hang out, but in actually studying and doing the work, and she despairs when competent students throw away their futures (as she sees it) for marriage to men who have already started to cheat before their wedding days.Watson herself has a fairly lively love life, with a boyfriend in California (John Slattery) and now a warmth for the abovementioned studly Italian teacher (Dominic West), although it is probably not true, as a student rumor has it, that she had to come east because of a torrid affair with William Holden. The movie is not really about her romances at all, but about her function as a teacher and her determination to install feminism on the campus before that noun was widely in use. The movie, directed by Mike Newell, may be a little too aware of its sexual politics and might have been more absorbing if Katherine and her students were fighting their way together out of the chains of gender slavery. But the characters involve us, we sympathize with their dreams and despair of their matrimonial tunnel vision, and at the end we are relieved that we listened to Miss Watson and became the wonderful people who we are today.Download here
Police Academy 5: Assignment: Miami Beach (Comedy,Crime)
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Commandant Eric Lassard, the head of the police academy, has reached mandatory retirement age, much to the delight of Captain Thaddeus Harris, who is planning to take over Lassard's job. Lassard and a handful of the Academy's former students travel to Miami for a special ceremony where Lassard is to be honored as the Policeman of the Year at a convention. Along for the trip to Miami are Moses Hightower, Eugene Tackleberry, Larvell Jones, Debbie Callahan, Laverne Hooks, Tommy "House" Conklin, and Commissioner Henry Hurst, along with Harris and his right hand man Proctor. A jewel thief named Manny has smuggled stolen diamonds in a camcorder. Manny's suitcase is accidentally switched with Lassard's identical suitcase at the airport in Miami. This gets Lassard and Harris kidnapped by Manny and his two henchmen Julio and Pete, with everyone, including Lassard's nephew, Sergeant Nick Lassard, in pursuit.
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Four Weddings and a Funeral (Comedy,Drama,Romance)
Five good reasons to stay single
He's quite engaging. She's otherwise engaged.
love is on the air, run for cover
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The film follows the fortunes of Charles and his friends as they wonder if they will every find true love and marry. Charles thinks he's found "Miss Right" in Carrie, an American. This British subtle comedy revolves around Charlie, his friends and the four weddings and one funeral which they attend.
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Four Weddings and a Funeral," delightful and sly, is a comedy about people who seem to live out their lives in public, attending weddings. No doubt they have everyday lives as well, but the film doesn't supply them. Even in the case of the central character, a likable, shy, perennial best man named Charles (Hugh Grant), we're never told what he does for a living. Of course the film is British, and in Britain it is considered bad form to ask anyone what they do, so perhaps the film simply doesn't know.The movie is about an extended group of friends. Some of them probably met at school, and others have married into their various families, and they all know each other, more or less.Occasionally a new face pops up: Carrie, for example, the sparkling American girl who is a guest at the first wedding, turns up again at the second, and is scheduled to be married at the third.Carrie, played by Andie MacDowell, is one of those women who is not quite as confident as she seems. She's smart and beautiful, but she is engaged to marry an older man named Hamish (Corin Redgrave) who is so thick, confident and overbearing that you figure no one would marry him who didn't need to. Sure, she says she loves him. But she is clearly falling for Charles, and he for her.Their flirtation begins at the first ceremony, and their romance is consummated during the celebration following the second.She does most of the aggressing, because Charles is too reticent to ever come right out and say what he really feels - not even if the happiness of a lifetime depends on it.While Charles and Carrie fall in love, the movie introduces us in a haphazard way to a lot of the other members ofthe crowd. It's like being at a wedding. We glimpse people across a room, we meet them, we forget their names, we are reminded, and then we make a connection and figure outwho they're with - or not with, as the case may be. Among the regulars at all of the weddings, we grow especially fond of Gareth (Simon Callow), who eats too much and drinks too much, whose vest is too tight and manner too jolly, but who is, we can see, true blue. Eventually we catch on that he is gay, although in this as in most other personal matters the movie is subtle enough that we have to read social clues, just as we would at a wedding.Other regulars at the ceremonies include Fiona (Kristin Scott Thomas), who used to date Charles and now would plainly like to start dating him again. Charles is doubly afflicted: He cannot tell a woman he likes her, and he also cannot tell her he dislikes her. He ends up back in Fiona's arms through a combination of loneliness, absent-mindedess and alcohol, and is engaged to her basically because he lacks the strength to make up his mind."Four Weddings and a Funeral" has been directed by Mike Newell, with the same kind of light-hearted enchantment that made his "Enchanted April" (1991) and last year's "Into the West" so seductive. Here, with his large cast, he moves nimbly through the crowd, making introductions with his camera. Luckily many of the scenes are set in large houses with room for the characters to creep away and engage in private drama.Hugh Grant, the star of the film, has been in a lot of movies, but this may be the one that makes him finally familiar to American audiences. He has a self-deprecating manner, a kind of endearing awkwardness, that makes you understand why a woman might like him - and why he might drive her mad while tap-dancing around his real feelings. MacDowell is much more open and direct ("more American," the movie must feel), and so it's intriguing to realize that while she is in love with a man she can say anything to, she's engaged to a man she basically has to lie to all the time.Like Kenneth Branagh's "Peter's Friends," this film forms a community that eventually envelops us. Also like that film, it's about how a homosexual character becomes a focus for much of what is best among the other characters, who are mostly straight; the gay man in both films is a center of good feeling, and helps create a sense of family. By the end of the movie, you find yourself reacting to the weddings, and the funeral, almost as you do at real events involving people you didn't know very well, but liked, and wanted to know better.Download here
Mummy, The (Action,Adventure,Comedy,Fantasy,Horror)
Death is only the beginning.
Prepare. Beware. Behold.
The legend you know. The adventure you have yet to imagine.
The sands will rise. The heavens will part. The power will be unleashed.
Uncover the secret. Unlock the legend. Unleash the power.
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In ancient Egypt, high priest Imhotep started a forbidden relationship with Anck Su Namun, Pharaoh Seti's Mistress. When Seti finds out about what's going on, Imhotep and his loved one stab him, but can't escape the trustworthy guards: Anck Su Namnun chooses to commit suicide while Imhotep is bestowed with the Hom-Dai, the most feared curse of all: He is mummified alive in Hamunaptra, the city of the Dead. More than thirty-six centuries later, in 1923, to be exact, adventurer Rick leads Egyptologist Evelyn and her brother Johnathan to mysterious Hamunaptra. While Johnathan is keen on finding the legendary Egyptian treasures, Evelyn wants to search for the Book of the Living, which would clarify a lot in historical knowledge about the ancient Egyptians. Unfortunately, they and a rivaling group of careless American adventurers free Imhotep's mummy from his eternal prison. Now, with the ancient and quite agile high priest on the loose, the adventurers and scientists face not only a dangerous enemy, but also a massive threat to today's world: Imhotep wants to bring Ankh-su-namun back to life by using Evelyn's body, but he also wants to rid the world of the disbelieving crowd of democracy-supporters to be able to enforce his tyrannic dictatorship.
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Hot Shots! Part Deux (Action,Comedy,War)
Just Deux it.
The mother of all sequels!
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Topper Harley has retired again, now living in a budhist monastery, and again he's asked to lead a special operation into Iraq, to rescue the guys who were sent to rescue the guys who were sent to rescue some prisoners left behind after the Persian Gulf War, where he will meet again with his beloved Ramada while he tries to uncover who the traitor is and kill as many Iraqis as he can.
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There is a love scene in "Hot Shots, Part Deux" in which the hero, a dashing Navy commando played by Charlie Sheen, is dining with a beautiful espionage expert played by Valeria Golino. They are having spaghetti in an Italian restaurant, and somehow they each get one end of a log strand of pasta into their mouths, and suck it in until their faces come closer, and closer . . . and they kiss.This is, of course, a famous shot stolen from "Lady and the Tramp." So is the next shot, in which Sheen lovingly uses his nose to push a meatball in the direction of his lady love. One of the pleasures of watching a spoof like this is to spot the references; it's like a quiz on pop art.The Golina character is named Ramada Rodham Hayman. The other principal female character in the movie, played by Brenda Bakke, is named Michelle Rodham Hudleston. So it goes. The movie is directed by Jim Abrahams, who was one of the perpetrators of "Airplane!" (1980), the satirical parody that spawned this and many other films, including "Top Secret!" "The Naked Gun" and the original "Hot Shots!" The current film takes "Rambo III" as its starting place, with lots of loving little touches. The Sheen character, patterned on the Stallone original, is a pumped-up man of few words, who at the beginning of the film has left his life of action and violence to live a life of contemplation with monks in a remote Eastern land. He is tracked down there by his old commanding officer, played by Richard Crenna in a repeat of his own role in "Rambo III." Sheen wants to stay where he is, until Crenna tells him a story that makes him realize he is needed for a dangerous mission in the Middle East.The story is "Goldilocks and the Three Bears." Sheen, named Topper Harley in the movie, is needed to rescue Americans who were sent in to rescue other Americans who were sent in to rescue other Americans. Why is his participation essential? "You are the best of what we have left!" In the unnamed Arab country, we see a Saddam Hussein look-alike living a life of blissful domesticity, interrupted by moments of mayhem and torture. And we join Sheen on the mission, which is constructed out of countless jokes based on the "Rambo" movies and other commando epics.There are also the usual in-jokes. Proceeding down an Asian river in a gunboat, Sheen passes another boat headed in the opposite direction. On it is his father, Martin Sheen, who starred, of course, in "Apocalypse Now," and is apparently still inside that movie as we see him. "Loved you in `Wall Street'," the father shouts, as the boats pass.Movies like this are more or less impervious to the depredations of movie critics. Either you laugh, or you don't. I laughed. Will this genre ever run out of steam? "Hot Shots Part Deux" doesn't have the high-voltage nonstop comedy of "Airplane!" and "Top Secret!," still the best of their kind, and it isn't as hard on Stallone as it could have been. But as long as the Hollywood assembly lines keep groaning, there will probably be a function for these corrective measures.Download here
Interstate 60 (Adventure,Comedy,Drama,Fantasy)
Get off on...Interstate 60.
It began as a wish, became an adventure, and ended as the ultimate road trip.
No rules, no boundaries.
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Neal Oliver is a young artist, but his father doesn't like his choice and wants him to go to Oxford. Everything changes after Neal's meeting with O.W.Grant, who grants exactly one wish per person, as his name suggests. Neal wishes for answers, and so he must travel to the nonexistent Danver by the nonexistent Interstate 60. In this trip he hopes to find the girl of his dreams, following the trail of her photos on the advertising stands along the route. Many encounters await him ahead. Will he receive what he asked for?
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Interstate 60 (Adventure,Comedy,Drama,Fantasy)
Get off on...Interstate 60.
It began as a wish, became an adventure, and ended as the ultimate road trip.
No rules, no boundaries.
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Neal Oliver is a young artist, but his father doesn't like his choice and wants him to go to Oxford. Everything changes after Neal's meeting with O.W.Grant, who grants exactly one wish per person, as his name suggests. Neal wishes for answers, and so he must travel to the nonexistent Danver by the nonexistent Interstate 60. In this trip he hopes to find the girl of his dreams, following the trail of her photos on the advertising stands along the route. Many encounters await him ahead. Will he receive what he asked for?
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Next Best Thing, The (Comedy,Drama,Romance)
He was smart, handsome and single. When her biological clock was running out, he was... the next best thing.
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A comedy-drama about best friends - one a straight woman, Abbie (Madonna), the other a gay man, Robert (Rupert Everett) - who decide to have a child together. Five years later, Abbie falls in love with a straight man and wants to move away with her and Robert's little boy Sam, and a nasty custody battle ensues.
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Wild Wild West (Action,Comedy,Sci-Fi,Western)
On July 2nd, it's a whole new west.
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Jim West is a guns-a-blazing former Civil War hero. Artemus Gordon is an inventive U.S. Marshal who excels in disguise. When the United States is threatened by psychotic Confederate Arliss Loveless, President Ulysses Grant teams the duo up to bring him to justice. On a hazard-packed train journey from Washington to Utah, West and Gordon must combine their skills to best Loveless and his diabolical machines.
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``Wild Wild West'' is a comedy dead zone. You stare in disbelief as scenes flop and die. The movie is all concept and no content; the elaborate special effects are like watching money burn on the screen. You know something has gone wrong when a story is about two heroes in the Old West, and the last shot is of a mechanical spider riding off into the sunset.Will Smith and Kevin Kline co-star, as special federal agents who are assigned by President U. S. Grant to investigate the disappearance of lots of top scientists. They stumble over a plot to assassinate Grant, by a megalomaniac who wants to give half the country back to Britain and Spain, and keep the rest in the hands of the villain. Salma Hayek, who claims her father is one of the kidnapped geniuses, teams up with them. The bad guy, Dr. Arliss Loveless (Kenneth Branagh), is a mad inventor who makes steam-powered iron tarantulas, which are not very practical in Monument Valley, but who cares? Certainly not anyone in the movie. Smith and Kline have so little chemistry, they seem to be acting in front of rear-projections of each other. They go through the motions, but there's no eye contact. Imagine Bill Clinton and Kenneth Starr as partners in a celebrity golf tournament.The Kline character is said to be a master of disguise, and first appears in drag as a dance hall girl, wearing a false plastic bosom so persuasive that when a real siren turns up later in the movie, her decolletage looks unconvincing by comparison. That doesn't stop Smith from giving her cleavage a few jolly thumps, and then telling a white lynch mob he was simply following the example of his African ancestors, who communicated by pounding on drums--and bosoms, I guess. (In a movie where almost nothing is funny, the race references are painfully lame.) One of the running gags is about how the Kline character can invent almost anything, right on the spot. He rigs a rail car so that it can shoot people into the air, have them fall through openings that appear in the roof, and land in a chair. The rig works in opposition to the first law of motion, but never mind: In a movie where anything can happen, does it matter that anything does? Branagh's character has no body from the waist down, but operates from a clever wheelchair and, later, with mechanical legs. He has weird facial hair and lots of bizarre plans, and an evil general on his payroll who has a miniature ear-trumpet permanently screwed into the side of his face. His gigantic artificial war machines look like they were recycled from ``Star Wars,'' right down to their command posts.There are moments when all artifice fails, and you realize you are regarding desperate actors, trapped on the screen, fully aware they've been left hanging out to dry. Consider an early scene where Will Smith and a sexy girl are embracing in a water tank when the evil general rides into town. Smith is made to watch the action through a knothole, while continuing to make automatic mid-air smooching movements with his lips--as if he doesn't realize he's not still kissing the woman. Uh huh.``Wild Wild West'' is so bad, it violates not one but two rules from Ebert's Bigger Little Movie Glossary. By casting M. Emmet Walsh as the train engineer, it invalidates the Stanton-Walsh Rule, which states that no movie with Harry Dean Stanton or M. Emmet Walsh can be altogether bad. And by featuring Kevin Kline without facial hair, it violates the Kevin Kline Mustache Principle, which observes that Kline wears a mustache in comedies but is cleanshaven in serious roles. Of course, Kline can always appeal on the grounds that although he is cleanshaven in his main role here, he sports facial hair in several of the other roles he plays in the movie. Or perhaps he could use the defense that ``Wild Wild West'' is not a comedy.Download here
Metro (Action,Comedy,Crime,Drama,Thriller)
San Francisco's top police hostage negotiator is about to get more than he ever bargained for.
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Scott Roper is the best hostage negotiator in San Francisco. His girlfriend Veronica "Ronnie" Tate is a newspaper reporter. Scott and Carmen have a dog named Troy. While listening to a baseball game on his car stereo, Scott is called downtown where a man named Earl is holding 17 hostages in a bank. Scott rescues the hostages by shooting Earl. Scott is then assigned a partner -- sharpshooter Kevin McCall. That night, Scott takes his friend, Lieutenant Sam Baffert, to see a man named Michael Korda. Scott waits downstairs while Sam is in Korda's apartment. Sam asks Korda about a man who deals in stolen jewelry, because Sam suspects that some of the dealer's jewels came from Korda, who is a professional jewel thief. Sam's visit with Korda ends with Korda killing Sam. When Scott hears a woman in the building scream at the sight of Sam's body, Scott runs inside the building and sees the body. Scott wants revenge on Korda, but Captain Frank Solis refuses to let Scott work the case, so Scott decides to work the case on his own. Scott and Kevin go to a horse race track, where they win a bundle of money, then they are called to a downtown jewelry store where hostages are being held. When Scott notices that Korda is the hostage taker, Korda grabs a hostage and leaves in a truck. Scott and Kevin use Captain Solis's car to chase Korda. Korda wrecks the truck, and leaves the hostage behind when he gets out of the truck. Korda then boards a trolley car, and Scott and Kevin start chasing the trolley car. While up close, Scott jumps onto the trolley car, leaving Kevin to drive Solis's car. Scott and Kevin manage to stop the trolley car, and they chase Korda into a parking garage, where Korda tries to hit Scott with a car. Scott and Kevin still manage to grab Korda. During visitation at the jail with his cousin Clarence Teal, Korda orders Teal to kill Ronnie as a way to get revenge on Scott. Teal shows up at Ronnie's apartment that night and attacks Ronnie. Scott shows up and chases Teal down the fire escape, and Teal is hit and killed by a car. On the next morning, Korda escapes from the jail, and soon after escaping, Korda kidnaps Ronnie, luring Scott into a confrontation at an abandoned shipyard.
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