The Mexican

This movie may be the embodiment of the not so old saying, “it insists upon itself.” There’s plenty in this story to like, but there’s also plenty that comes across as superfluous, too, particularly on the Julia Roberts side of the narrative. The stuff that delves into the inner workings of her and Brad Pitt's relationship, while well meaning and occasionally entertaining, overall comes across as a diversion from the core of the story. A tighter focus on Pitt's side of the action would have made for a sharper, more interesting film. This movie wears its antecedents—particularly Pulp Fiction—on its sleeve, though without quite the same level of accomplishment. You can almost see the movie within this movie that Tarantino would have made, and that flick would have been a riot. As it is, this one comes across as somewhat amusing and entertaining, but definitely not exactly what it could have been. You aim, you shoot…and sometimes you get a misfire.

The Firm

In which we learn that lawyers are sleazy. Sorry, sport—that’s old news. I’ve never read a John Grisham novel; never seemed like my cup of tea. So I had to overcome some preconceptions to appreciate this flick, and I’d have to say the effort mostly succeeded. As always, it helps to have Tom Cruise working towards that goal; he brings his usual solid performance here as young, on the verge of being compromised lawyer Mitchell, though here he plays it without his usual level of hyper-confidence. Even without his normal level of self-assurance, Cruise gives the audience a protagonist to root for. Our lead is ably assisted in this effort by a host of familiar faces in supporting roles, with Jane Tripplehorn not the least among that secondary cast as Mitch’s suffering but ultimately involved and active wife. The plot is intricate, though not so much so that it trips on itself, and there’s just enough action to relieve any slow spots in the proceedings. No doubt the references to various workings of the law are accurate and relevant to the story, though perhaps that’s the least important aspect of the production. I’m going to say that overall, this is a good, entertaining and satisfying flick—I’d just prefer not to have to swear to that under oath. Your witness, counselor.

Bonnie and Clyde

If you ever harbored deep suspicions that the captain of the football team and the prettiest cheerleader were capable of capital crimes, this is the flick for you. The impossible handsomeness of Beatty and Dunaway profoundly informs this story; you can't help but speculate on whether the titular real-lifes were similarly formed, and what role that played in their short lives of crime. It certainly gets you wondering just what made these two people go on such a spree. Speaking of looks, a lot of this film is a feast for the eyes beyond its perfectly pretty stars; the era is meticulously recreated, the '30s expressed in the '60s with a gorgeous veracity. The cars alone are sights to behold. And, of course, the violence--high-ranking even by today's standards--is its own weird selling point. You also get to enjoy what may be the ur-source of the now standard banjo-chase scene music, plus a touch of social commentary that suggests that our heroic sociopaths may not have been all that bad in the eyes of certain peoples. No doubting that it's a rich tapestry. Overall, though, I'm not sure this outing is quite the all-time great it is reputed to be--but it's entertaining enough to be worth a look. 

The French Connection

The don't make Best Picture winners the way they used to. Maybe that's a good thing. This film really shows its age, beyond the facts of Gene Hackman's now advanced age and Roy Scheider's untimely death. And some of the characters' actions, which probably seemed like tough, gritty police work back in the day, come across as ludicrous today. Still, this one does offer up some stylish touches--flourishes of contemporary, down-and-dirty realness, that famous chase scene, and interesting ambiguity all the way to the end. Not bad, but not an all time classic, either--at least not for this viewer.

The Royal Tenenbaums

It's an odd one; no doubt about that. But it plays its low-key humor very well, and occasionally achieves moments of outright hilarity. Give it time to do its work and you'll be rewarded.

Heartbreakers

Utterly banal, except for Jason Lee. At least Jennifer Love Hewitt is easy on the eyes.

Heist (2001)

This would probably get a worse rating but for writer-director David Mamet's touch. There's some typically clever Mamet dialogue here, in high enough quantities to crack just enough wise smiles throughout the proceedings. That pushes it over the hump.

Enemy Of The State

Surprisingly good. Lots of fun, and perhaps the first movie where Will Smith really made a case for himself as a true movie star.