WHEN HARRY MET SALLY ... - Home
MAKE IT RAIN DARK WATERS
For Hicksflicks.com, Friday, Dec. 6, 2019
EDITOR’S NOTE: The new film ‘Dark Waters’ that opens in theaters this weekend reminded me of a similar film, though unlike ‘Dark Waters,’ ‘The Rainmaker’ is fictional. Still, it might get you in the mood for another idealistic lawyer taking on a big corporation, and ‘The Rainmaker’ is readily available on DVD and various streaming sites. My review was published on Nov. 27, 1997, in the Deseret news.
In some ways, "John Grisham's The Rainmaker" plays not like a made-for-television movie — but like two made-for-television movies.
The main and most compelling story is a courtroom drama that pits a young, idealistic Memphis lawyer named Rudy Baylor (Matt Damon) against a huge insurance corporation, David-and-Goliath style.
Second to that is the story of the lawyer's relationship with a tragic young woman (Claire Danes) who is continually abused by her vicious husband.
Both are utterly predictable, and the second, in particular, brings nothing new to the table. (What it does offer is Danes, whose performance is sweet and touching, even when everything she does is overly familiar.)
Claire Danes, Matt Damon, 'The Rainmaker'
The courtroom drama centers around the plight of a dirt-poor family whose son is dying of leukemia but whose claim has been denied by a heartless insurance company.
The company's high-rolling legal team is led by the renowned, if pompous Leo F. Drummond (Jon Voight), who is sure he can easily stomp on Rudy and his streetwise assistant Deck Shifflet (Danny DeVito). What he doesn't count on is Rudy and Deck's tenacity — they believe in their clients and just won't let go.
As written and directed by Francis Ford Coppola (who stumbled last year with "Jack"), Grisham's novel never rises above its pulp roots, but the film is nonetheless slick and entertaining — and boasts some wonderful performances from its all-star cast. (Rudy's voiceover narration was written by Michael Herr in a way that is both clever and witty and which logically pushes the story along.)
Danny DeVito, left, Matt Damon, 'The Rainmaker'
Damon is sincere and natural in the lead, DeVito brings some wonderful energy to the proceedings, Voight is appropriately smarmy as the opposing counsel, unbilled Danny Glover is dignified and warm as the judge and Mary Kay Place is heartbreaking as the leukemia victim's mother. (Johnny Whitworth, as her son, and Red West, as her nearly mute husband, are also quite good.) Roy Scheider as the insurance company's CEO and Randy Travis as a volatile juror, however, seem more like stunt casting.
In the end, this is crowd-pleasing entertainment. A little long (it doesn't need to run more than two hours) and overly predictable, but amusing and emotionally rewarding.
"John Grisham's The Rainmaker" is rated PG-13 for violence and some profanity.
THROUGH A SCREEN DARKLY
For Hicksflicks.com, Friday, Dec. 6, 2019
“Dark Waters” and “Waves” give us some Oscar bait this week, while “The Aeronauts” appears to be pure entertainment. Nothing wrong with that.
“Dark Waters” (PG-13). An attorney (Mark Ruffalo) working for a big-city firm that defends giant corporations discovers some disturbing truths about one of his clients, DuPont, which has been allowing dangerously polluted seepage to enter the water systems of West Virginia farmland. Based on a 2016 true story published in New York Times Magazine. With Anne Hathaway, Tim Robbins, Victor Garber, Mare Winningham and Bill Pullman.
“The Aeronauts” (PG-13). In 1862 a daredevil balloon pilot (Felicity Jones) and a pioneering meteorologist (Eddie Redmayne, playing a real-life character) attempt to fly higher than anyone has ever gone in an effort to learn more about weather. With Himesh Patel and Tom Courtenay.
“Waves” (R). A high school senior on the wrestling team self-medicates when he develops a physical problem so he won’t disappoint his well intentioned but domineering father, and his life becomes more complicated when his girlfriend discovers she is pregnant, which ultimately leads to tragedy and a road to forgiveness. With Kevin Harrison Jr. Lucas Hedges, Taylor Russell and Sterling K. Brown.
“Frankie” (PG-13, in English and in French with English subtitles). Isabelle Huppert and Marisa Tomei star in this exploration of three generations of a European family that comes together in Portugal, where family dynamics prove to be uncomfortable. With Greg Kinnear and Brendan Gleeson.(Exclusively at the Broadway Centre Cinemas.)
“Knives and Skin” (PG-13). The eccentric populace of a small Midwestern town reacts in different ways to the news that a young high school student has disappeared in this psychological thriller that takes come cues from “Twin Peaks.”
“The Islands” (PG-13). Chiefess Kapiolani embraces Christianity and helps spread the word throughout the Hawaiian Islands circa 1823 with the help of Baptist missionaries. Mira Sorvino is the most recognizable cast member in this Christian film. (Exclusively at the Regal Crossroads Theaters.)
“Playmobil: The Movie” (Not Rated). A girl enters a fanciful world to find her younger brother in this English-language French-animated feature, which is based on a German building toy but looks like a “Lego Movie” knock-off. Voice-cast members include Jim Gaffigan, Daniel Radcliffe, Adam Lambert and Kenan Thompson.
“Rising Free” (PG-13). A young woman on the run in the wilds of Oregon in the late 1800s is taken in by a kindly pioneer family, but soon enough her past catches up with her. (Exclusively at the Regal Crossroads Theaters.)
“The Whistleblower” (Not Rated, in English and in Mandarin with English subtitles). After a fatal accident a Chinese expat working for a mining company in Australia learns that he company’s new technology may be come with health risks, so he investigates to learn the truth. (Exclusively at the AMC West Jordan Theaters.)
“En Brazos de un Asesino” (R, in Spanish with English subtitles). An assassin for hire comes to a drug lord’s lair to collect his pay and meets a woman who’s been imprisoned there for nine years. When she hides in his car to escape, the hitman discover his conscience in this thriller from the Dominican Republic (Exclusively at the Megaplex Valley Fair Mall Theaters.)
For Hicksflicks.com, Friday, Dec. 6, 2019
OK, a warning up front: “RoboCop” is the most violent movie to come along in some time. It’s rather numbing in fact, with its penchant for gore and extreme bloodletting (no one takes a bullet here without a lot of goo splurting out of the bullet hole). This one is not for youngsters.
At the same time, however, “RoboCop” is funny and exciting, a rapid-fire action picture portraying a very bleak near-future, played out with humorous, if extremely dark satire. This is sort of an urban “Rambo” by way of “Dr. Strangelove.”
Actually there are a lot of movies that “RoboCop” calls to mind – most prominently “The Terminator,” but you may also recognize bits and pieces of “Westworld” and “Futureworld,” “Blade Runner,” “Brainstorm,” “Escape from New York,” “Future Cop” and even “The Toxic Avenger.”
It is the near future; the setting is Old Detroit, depicted as being overrun with crime and beginning to resemble Beirut. Peter Weller (ol’ “Buckaroo Banzai” himself) is a dedicated cop and family man on his first day in a new precinct — the worst in town, of course.
Karen Allen, Peter Weller, 'RoboCop' (1987)
He is teamed up with tough-but-cute Nancy Allen: We know she’s tough because her first scene has her beating up a slimeball in the police station and we know she’s cute because as soon as she finishes beating the guy to a pulp, she pulls off her helmet and throws her head back in that “Flashdance”-ish “Gee, aren’t you surprised I’m a woman instead of man” manner.
It’s their first day together and they find themselves in hot pursuit of Detroit’s worst evildoers. But after following them to an abandoned warehouse the tables are turned and Weller is tortured and killed. (Reportedly it is this scene that required heavy editing to keep the film from getting an X rating for violence.)
To the world Weller is dead but to Security Concepts Inc. he is about to become a prototype of their new cyborg policeman, “RoboCop,” an invincible supercop that will clean up the crime-ridden town to make way for the building of a new crimeless city. So they say.
But, despite his memory being erased, Weller still has unstructured flashbacks. Humanity, of course, cannot be obliterated.
Along the way, however, he battles the bad guys in a series of rescue scenes that bring to mind the first “Superman” film, where Christopher Reeve ran around Metropolis one night doing everything from getting a cat our of a tree to rescuing Lois Lane from a rooftop fall. And “RoboCop” eventually goes one-on-one with a wild villainous robot that’s even more indestructible than he is (and rather animal-like).
There are crosses and double-crosses but the plot is really secondary to the action — and the humor.
My favorite scenes are the segues with two news anchors (Mario Machado and “Entertainment This Week’s” Leeza Gibbons) reporting bizarre news of the future; the commercials that accompany the news are also hilarious.
Director Paul Verhoeven, whose first American film this is (he did the Dutch movies “Spetters” and “Soldier of Orange”), is a stylist with a sharp sense of humor, and that humor is what makes the excessive violence somewhat palatable, if not excusable.
But the excesses are prominent, and if you are in the least bit squeamish you might want to pass on this one. Weller, Allen, and especially Ronny Cox in a surprisingly nasty role, are good, but in a film like this they are secondary to action and special effects.
“RoboCop,” rated R for violence, profanity, drug use and some brief nudity in the cops’ locker room, overplays its hand but it’s also a lot of fun — in its own perverse, nihilistic way.
Hi. I'm Chris Hicks.
But if you're looking for Chris Hicks the Australian rugby player or the American recording-industry executive or the Major League Baseball player or the author of "Think" or the singer-songwriter or the former basketball player, you're in the wrong place.
I'm Chris Hicks the movie guy from Salt Lake City. If that's who you're looking for, welcome to my website as I enter the 21st century … a little late (May 2013).
This site is all about movies, well mostly, and it's also about me, I guess, but I'll try to keep my ego in check.
My goal, my hope, is that you will be able to browse the pages here and be alerted to or reminded of some great movie you've never heard of or forgotten about. In other words, something that might enhance your movie-watching experience, whether it's by Alfred Hitchcock or Joss Whedon, or stars Audrey Hepburn or Jennifer Lawrence or someone you never heard of. And I've also tried to make it fun.
The bulk of stories and reviews here are gleaned (with permission) from my 40 years of writing about film for the Deseret News, a daily newspaper in Salt Lake City, with side trips here and there to other entertainment forms.
I'm no longer writing for the D-News so this is mostly archival stuff, primarily from the Deseret News but also from my 13 years with KSL Television and Radio, as well as other sundry freelance things I occasionaly come across in my deteriorating hard-copy files.
Hope you enjoy my little site. If you do, tell your friends. If you don't, just say you couldn't find it.
WHEN HARRY MET SALLY ...
For Hicksflicks.com, Friday, Nov. 15, 2019
EDITOR’S NOTE: This fondly remembered romantic comedy is the quintessential cinematic examination of the age-old question, ‘Can men and women ever just be friends?’ You can see it in select local theaters, courtesy of Fathom Events and Turner Classic Movies, on Sunday, Dec. 1, at 4 p.m., and Tuesday, Dec. 3, at 7 p.m. My review was published July 21, 1989, in the Deseret News.
Director Rob Reiner, who, with screenwriter Nora Ephron also wrote much of "When Harry Met Sally … ” (though he gets no screen credit for that), seems to pride himself on doing films that are very different from each other.
First there was the hilarious spoof of rock documentaries, "This Is Spinal Tap!," followed by the teen comedy "The Sure Thing," the preadolescence drama "Stand By Me" and his biggest hit, the fantasy-comedy "The Princess Bride."
Now comes Reiner's "When Harry Met Sally … ” — which could be called his Woody Allen movie. Or more correctly, a Woody Allen movie without the angst. Unfortunately, it's also a Woody Allen movie without the complexity of character. But most moviegoers won't mind.
Despite a certain superficiality, "When Harry Met Sally … ” is an adult romantic comedy in a time when we don't get very many, and it has one thing going for it that gives it an enormous boost — it's very funny.
Meg Ryan, Billy Crystal, 'When Harry met Sally ... ’ (1989)
Billy Crystal is "Harry" and Meg Ryan is "Sally," who meet as college graduates driving together to New York City (shades of "The Sure Thing"). It's hate-at-first-sight, as Harry, an opinionated snob, spouts off theories about men and women, as well as his own penchant for promiscuity, then tries to get Sally to go to bed with him. She declines and they part ways.
Several years later they bump into each other on an airplane but this meeting isn't much more successful than the first, and besides, Sally's in love and Harry's about to be married.
Several more years pass and they meet again. This time both are licking their wounds from failed relationships, but they have matured and somehow hit it off to become friends. Just friends.
We know, of course, that they will eventually acknowledge their love for each other, and recognize that romance and friendship should go hand in hand rather than be mutually exclusive, and in the end there is a nice endorsement of both — and of marriage as well.
But the bulk of the film is made up of comic set pieces that are at once very funny and helpful to the narrative. Some, like this movie's most notorious moment during a restaurant scene, get big laughs, but in retrospect don't seem very realistic. Others are both amusing and insightful.
"Harry/Sally" is well cast, with special kudos to the stars — Meg Ryan is a complete delight, with some wonderful little character nuances that make her role utterly real, and Billy Crystal controls his penchant for doing shtick, which has marred some of his other film appearances, and uses to advantage his natural tendency to be a bit overbearing in creating a character who is occasionally obnoxious but not without charm.
Carrie Fisher and Bruno Kirby, as their respective best friends, are also excellent. Fisher is carving out a nice post-"Star Wars" niche for herself with "best friend" character roles, and she's good at it. Will she evolve into the Eve Arden of the ’90s?
As for the Woody Allen comparisons — fans will see them easily, from the stark black-and-white credits that open the film to the "interview"-testimonials to the old tunes in the background to the ending that parallels "Manhattan."
Call it Rob Reiner's "Annie Hall." But it's funny in its own right and should appeal to a broad audience looking for something other than the slam-bang special effects dominating theater screens at the moment.
"When Harry Met Sally. … ” is rated R for profanity, though there isn't really a lot, and vulgarity as the characters talk frankly about sex.
For Hicksflicks.com, Friday, Dec. 6, 2019
EDITOR’S NOTE: If someone were to ask me, of all the films I reviewed for the Deseret News, which is the least likely to be revived in the 21st century for a Blu-ray upgrade, this might have been at the top of that list. But for some reason, the Shout! Factory believes there is a fanbase for it, so it’s back in the catalog. My review was published in the Deseret News on June 18, 1979.
“Prophecy” has the distinction of possibly being the worst movie with which director John Frankenheimer, writer David Seltzer or star Talia Shire have ever been associated.
The ad campaign for this movie is better than the film itself. It is being built up as “THE” monster movie and those hired to work on it were sworn to secrecy so the “original” storyline could not be stolen by someone else for a quick movie rip-off.
But the real reason this plot was kept under wraps is that “Prophecy” itself is a rip-off of the 1977 film “Day of the Animals,” and others of its genre (“The Birds,” “Frogs,” “Night of the Lepus,” etc).
In “Day of the Animals” a group of people are trapped in the wilderness while animals and birds, driven berserk by the sky’s ozone layer, kill all the humans they can find.
In “Prophecy” a group of people are trapped in the wilderness while mutant animals, driven berserk by mercury in the water, kill all the humans they can find.
Horror, monster and science-fiction films are very commercial right now and it’s a shame to see such talented people involved in such a dumb movie. I’d like to think it is good intentions gone awry, not just a chance to make money with a creaky idea.
Talia Shire and Robert Foxworth, with Richard Dysart in the background, 'Prophecy' (1979)
But next to such recent horror fare as “Alien” and “Halloween,” “Prophecy” appears to be without style and is certainly without anything scary. And this PG-rated film is every bit as bloody as those R-rated movies.
Though Talia Shire receives top billing here she is reduced to screaming and worrying while her husband, Robert Foxworth, does all the typical hero work. For Shire it is a step backward toward such banal first films of hers as “The Dunwich Horror.”
Foxworth, previously seen in “Damien – Omen II” and “Airport ’77,” handles his role well. He is a dedicated U.S. Health Services doctor taken out of the ghettos of Washington, D.C., to spend two weeks evaluating the northern woods of Maine. It is hoped he will settle a land dispute for the Environmental Protection Agency between a paper mill and local Indians.
He takes his cello-playing wife (Shire) along for the ride as he confronts a bigoted mill boss (excellently played by Richard Dysart) and hostile Indians (Armand Assante, Victoria Racimo).
Foxworth soon discovers the mill has been polluting the water with mercury and it is mutating local fish and animals. He doesn’t know Shire is pregnant and has eaten some of the fish — thus opening the door for a possible sequel.
The mutant "bear" or whatever it is in 'Prophecy' (1979)
The first third of the film is pretty good, with Frankenheimer showing his talent for suspense (“The Manchurian Candidate,” “Black Sunday”), as in an ax-and-chainsaw fight scene and with discoveries of a giant fish and a killer raccoon.
But then his actors have to utter such ridiculous dialogue as when they carry a wounded helicopter pilot to a cabin: “Where shall we put him?” asks one carrier; “Let’s take him inside,” the other answers.
When they catch two baby monsters the plot seems to have taken an interesting twist, but it quickly slides downhill as Mama Monster (looking like a giant bare bear) spends the rest of the movie chasing them and her cubs (looking like skinned dogs).
It’s all formula horror. But it’s poorly done and excessively bloody, including a decapitation. The only difference between “Prophecy” and Roger Corman’s 1950s mutant movies is pollution instead of atomic desolation.
The clichés include musical buildups and stark silences as indications the monster is about to jump out at you. You’ll be better off jumping up and leaving the theater.