Bond is closest to Ian Fleming sourcein 'From Russia With Love

From Russia With Love (1963)
Starring: Sean Connery, Daniela Bianchi, Lotte Lenya, and Robert Shaw
Director: Terrence Young
Rating: Eight of Ten Stars

When British secret agent James Bond (Connery) is dispatched to Turkey to retreieve a Russian defector (Bianchi) and a decoder machine she is willing to surrender to British Intelligence. However, he soon finds himself in a trap contrieved by international criminal cartel SPECTRE and its shadowy leader, Blofeld.


"From Russia With Love" is perhaps the most straight-forward and most realistic spy movie in the entire James Bond series. The film spends its time in spy-vs-spy territory, the gadgetry is kept to a minimum, and even Bond keeps a relatively low profile throughout. There are some nice set-pieces and some amusing one-liners, but they all take place within a framework far more realstic than any other of the classic Bond films.

(I'm loathe to mention this, but "From Russia With Love" is similar in tone and feel to the Timothy Dalton-starring "License to Kill". Both films are free of the comic-book action that is the hallmark of most Bond films... but "From Russia" has a leg up on "License" in that the former movie is actually entertaining.)

Sherlock Sunday: Wontner in 'The Sign of Four'

The Sign of Four: Sherlock Holmes' Greatest Case (1932)
Starring: Arthur Wontner, Ian Hunter, Isla Bevan, and Graham Soutten
Director: Graham Cutts
Rating: Seven of Ten Stars

After Mary Morstan (Bevan) receives a mysterious string of pearls and a mysterious letter requesting a meeting, and is then menaced by a mysterious thug (Soutten), she retains the services of private investigators Sherlock Holmes and Dr. Watson (Wontner and Hunter) for protection and to get some answers. What is brought to light is a tale of greed, decades-old treachery and murder, and a madman seeking revenge.


"The Sign of Four" is one of the most often adapted Holmes tales, with this 1932 film being the third version and the first talkie. It's a fast-moving and at times very chilling mystery film, with a cinematic style that often anticipates techniques that wouldn't come into wide use until the rise of film noir in the late 1940s and the 1950s. These stylstic flourishes help to offset some of the film's acting styles, which are still heavily influenced by what was then the fast-fading silent movies period, giving the film a more modern feel that many of the early talkies lack.

Another strong point of the film is the portrayal of Sherlock Holmes. Not only does Arthur Wotner's Holmes seem as though he was brought to life straight from the pen-and-ink illustrations in "The Strand Magazine," but Holmes here seems more at ease with himself and those around him than the one we most often find in the films. He comes across as a unmatched genius, but he also has a good sense of humor and a compassionate nature and friendly demeanor that makes it easy to understand why Watson admires him. Another aspect I like about this adaptation is the Holmes is shown to be as excellent at physical confrontations as he is with the matching of wits. During the film's climax, Holmes kicks much butt, just like the character that Doyle described in his fiction.

Similarly, Watson is portrayed as an intelligent and useful assistant to Holmes, so there is no difficulty in understanding why the Great Detective keeps him around and relies on him for important tasks. This cannot be said of Watson in several other Holmes adaptatations.

While I generally liked how Watson was handled in the film, one aspect of Ian Hunter's portrayal of Watson I didn't care for was the way he came across like a lecherous pervert whenever he was around Mary Morstan. He is ogling her, pawing her... obviously barely able to keep himself from jumping her right then and there. While I understand that the intent was to portray "love at first sight" between Watson and Mary--who becomes his wife in the Doyle tales--the combination of clunky writing and silent movie-type acting makes one wonder why Mary wasn't beating this disgusting lech (who is also at least twice her age) with his cane and then running screaming from the room.

While the film keeps most of the generalities of the original Doyle tale, there are a number of changes that lend the film to be internally inconsistent and even nonsensical at times. The villain is so over the top and reprehensible that one wonders why his henchmen stick around, or even helped him in the first place; while the fact that the entire stolen treasure seems to be intact when Mary is sent the pearls instead of partially spent as in the original story; and a bizarre bit of comedy involving the neigh-obligatory "Holmes-in-disguise" scene. Some viewers might also be annoyed by the fact the story has been transported from the 1800s to the modern-day period of the 1930s, but it really makes no difference to the overall thrust of the tale.

On balance, though, it's a strong adaptation that is made even stronger by Wontner's excellent portrayal of Holmes. It's well worth checking out.

John Candy is 'Armed and Dangerous'

Armed and Dangerous (1986)
Starring: John Candy, Eugene Levy, Meg Ryan, Robert Loggia and Kenneth McMillan
Director: Mark L. Lester
Rating: Six of Ten Stars

A disgraced cop (Candy) and an incompetent lawyer (Levy) become friends after they take jobs as security guards to make ends meet. However, they are soon forced to rely upon each other for survival when they get caught up in the illegal dealings of the security company's owner (Loggia).


"Armed and Dangerous" is a fast-paced action comedy that careens from joke to joke, from screwball set-pieces to car chases with wild abandon. It features a fun collection of cartoony characters played by a cast that's mostly at the top of their game, but the film swerves so rapidly and severely through comedic styles that it gets in its own way and times, giving an impression that the writers and director didn't quite know what kind of movie they wanted to make. In some cases, it even feels like they didn't quite know what they wanted certain charaters to be.

The most obvious example of inconsistencies with the film's characters is in Maggie Cavanaugh, another employee of the security company and the manager's daugther, portrayed by Meg Ryan. In the earliest scenes she's in, she comes across either as ditzy or drunk, but later she apears quite intelligent (and there's no indication that the character hits the sauce to excess). She makes references to a bad marriage, but nothing ever comes of this in the film, nor is there ever any indication how she can afford the very large, very fancy house she lives in. All in all, the character is badly focused and developed, and, while it's most obivous with this character, the same is true of John Candy's Frank Dooley (who is alternatively very smart and very stupid, or very industrious or very lazy).

These lapses in good writing and firm direction detract from the overall cohesion of the film and lead to it being a good comedy as opposed to a great one. With just a little more effort on the part of the writers and the director, this could have been a classic, becauase John Candy and Eugene Levy are as good in this film as they've ever been.

'Deathtrap' is perfect adaptation of play

Deathtrap (1982)
Starring: Michael Caine, Christopher Reeve, and Dyan Cannon
Director: Sidney Lumet
Rating: Nine of Ten Stars

Sidney Bruhl (Caine) is a celebrated playwright who is suffering from burnout. If he has too many more failed plays, his career will be over. Fortunately, a solution has just presented itself: A young writer (Reeve) has sent him a brilliant play for comment. All Bruhl has to do is kill the young man and pass his play off as his own, and he'll be on top again. It's a simple enough plan, but as Bruhl sets about executing it, it becomes unclear who is actually trapped in his death trap.


"Death Trap" is playwright Ira Levin's masterpiece. It's a thrilling parlor mystery with such unexpected twists and sudden reversals that you will sit amazed as the story unfolds and you will be kept guessing up until the very end. What's more, the film has moments that are scarier than what is found in most modern horror movies, and funnier than most modern comedies. It's a classic that is as exciting today as it was when it was released three decades ago.


And it could hardly be anything but a masterpiece, as it remains almost totally faithful to Levin's original script, and it is being performed by two very great actors--Michael Caine and Christopher Reeve. The two are spectacular together, playing off one another with great effect. (Interestingly, Caine was in a movie with a very similar plot years earlier--"Sleuth"--where he played the young writer!)

Usually, when I write the words "the film's origin as a stage play is plainly evident", I mean it as a negative. Here, it's very much a postiive. The way most of the play takes place in one room eventually starts to feel like the titular death trap. If you can't see a well-mounted performance of this play, then this film adaptation will forever remain a worthy substitute.

'Charlie's Death Wish' is low-budget fun

Charlie's Death Wish (2005)
Starring: Phoebe Dollar, Ron Jeremy Hyatt, John Fava, and Marc Knudson
Director: Jeff Leroy
Rating: Six of Ten Stars

After her sister is murdered in prison, young Charlie Durham (Dollar) goes on a killing spree to avenge her, violently dispatching anyone connected to her death. Meanwhile, the police detective assigned to stop and catch her (Hyatt) finds himself in the awkward postion of admiring her handiwork, because she is mostly dispatching people he hates.


"Charlie's Death Wish" is a tongue-in-cheek, low-budget action/comedy that moves along at a pace so brisk that the generally weak acting, poor dialogue, and unfocused script almost become non-issues. For a violent, gory low-budgeter, this is a surprisingly well-done film.

But, it's not exactly good. With the exception of Ron Jeremy Hyatt and John Fava (who play a pair of police detectives on the trail of our vigilante heroine, the acting here is pretty amateurish--and this even includes the star, Phoebe Dollar. Dollar isn't exactly bad, but she doesn't have the skill to carry off scenes where she has to show emotion, such as the one where she is confronted by an obnoxious documentarian (a character who is a cross between Michael Moore and a freak who was once a mainstay of public access TV here in northwestern Washington named Richard Lee, played by Marc Knudson). Dollar can strut about and look sexy or tough. She can also manage menacing. But she can't handle angry, or even sad. At least not yet.

Watching Dollar in this film, there are glimmers of what she could become, acting-wise, if she sticks with it, and I'm sure she does just fine in smaller roles. (Her performance almost feels as if she's a stage actor in front of the camera for the first time--something I know isn't the case

Another problem with the film is the scattered focus of the script. It tries to tackle too many things--being an action film with comedic elements AND attempting to make fun of conspiracy theorist filmmakers AND making fun of the gun-loving subculture in the United States AND making fun of dopeheads and druglords. All of these elements COULD perhaps have been tackled comfortably if the script had gone through a couple more drafts, but as it exists, they are presented in a loosely connected jumble. The antics of the documentarian are particularly annoying, because for most of the film they are unconnected detours from Charlie's murderous rampage.

I've been harping on the film's weak points, but I want to stress that this is actually not a bad little movie. It was clearly made by a crew that understand the limitations of making a movie on a very tight budget, and they understand how to get the most for their special effect dollars and how to use lighting and editing to stretch those even further. What's more, the filmmakers don't waste any time, nor do they pad out the film with overlong establishing shots and other filler material; everything on the screen is there for a reason.

I was also impressed with the model effects in the film. There are two model/blue-screen sequences of the kind that I didn't think were still being used, and I suspect at least 1/4 of the film's budget was consumed by them. First, there is a street scene and exploding building that is incredibly well-done (the flying body and the accompanying scream is guarenteed to make you laugh). Then there's the fiery destruction of the Hollywood sign, another very well-done model effect. These are both very fun moments in the film, and they're also excellently done from a technical standpoint.

"Charlie's Death Wish" may not be on the level of even Jean-Claude Van Damme's latest, but it's worth checking out. (If noting else, it's guarenteed to be funnier than Seagal's latest.)

Bond targeted for death by world's top assassin

The Man With The Golden Gun (1974)
Starring: Roger Moore, Christopher Lee, Britt Ekland, Herve Villechaize, Maud Adams, and Clifton James
Director: Guy Hamilton
Rating: Six of Ten Stars

When British spy James Bond (Moore) learns someone has hired the world's most expensive assassin to kill him, he decides to take the fight to the shadowy killer. However, Bond soon discovers that Francisco Scaramanga (Lee), his midget partner in murder (Villechaize) and his exotic girlfriend Andrea Anders (Adams) actually have their sights set on a target more lucrative than even Britain's top Code-00 agent.


"The Man With the Golden Gun" is a beautfilly shot film that takes full advantage of the exotic China Sea islands, and in which Christopher Lee gives one of his career's best performances as the megalomaniacal assassin with a game room that matches both his ego and occupation. It's also got a pair of very beautiful women on prominant display in the film (Adams and Ekland), and it's got a story that's closer to being real-world in nature than any Bond since "From Russia With Love" (with the exception of certain elements). It's also got another fabulous score by John Barry.

However, the film is also strangely slow-moving and lethargic-feeling. I can't quite put my finger on why, but "Golden Gun" never seems to quite build up the steam that just about all the other James Bond films do. Even the awful Timothy Dalton entries had more fire in them. And with a great cast like this, and with the director that helmed "Live and Let Die", "Diamonds Are Forever" and the very best Bond movie "Goldfinger", this should have been a great entry in the series.

I suspect it might be a problem with the script. The sense of urgency and danger surrounding Bond's mission seems downplayed throughout the film, not really manifesting itself until the last 45 minutes or so, where in other Bond movies there interlocking mission arcs where each new one is more deadly and expansive than the one that went before.

Whatever the flaw here--and I really can't quite put my finger on it--this is a decent entry in the series, and it's worth seeing if you enjoyed "From Russia With Love". I think this is probably the other Bond movie in the series to which this "Golden Gun" can most closely be compared.

Proirot experiences 'Evil Under the Sun'

Evil Under the Sun (1981)
Starring: Peter Ustinov, Diana Rigg, Jane Birkin, Maggie Smith, Roddy McDowall, and James Mason
Director: Guy Hamilton
Rating: Eight of Ten Stars

When master detective Hercule Poirot (Ustinov) is hired by an insurance company to trace the path of a phony diamond, the assignment comes with an all-expense-paid trip to an exclusive resort island--just one of those hardships a detective must endure! Soon, however, Proirot finds himself in the midst of a murder myster that he must solve if he is protect his reputation: Famed actress Arlena Marshall (Rigg) is murdered right under his nose, and, while just about everyone on the island had a motive to kill her, everyone also has solid alibis.


"Evil Under the Sun" is another one of those great, all-star Agatha Christie mysteries from the 70s and 80s. I understand from a friend who's read the original book that this is a pretty loose adaptation, but she said that she felt the movie is actually superior to the book.

From Ustinov as Poirot, through McDowall as a effeminate theater critic, the cast gives excellent performances and everyone lives up to their star status, even those in fairly small parts, like James Mason. Diana Rigg and Maggie Smith were particuarly fun to watch, as they go through catty routines with one another. The film also takes full advantage of the gorgeous Mediterranean setting, offering some particularly beautiful shots as the characters move about the island. Another strong point is that the filmmakers actually paid attention to the time period in which the film is set; no 1970s-style hairdos and other silly slip-ups that were common in movies of this type.

One thing that is both a plus and a minus in "Evil Under the Sun" is the soundtrack music. It's all Cole Porter music that's been orchestrated for the film, and sometimes it works--the "Anything Goes" cue for when the hotel guests are frolicking, for example--but other times the orchestration is just too bombastic and intrusive to serve the film properly. At too many times--with a scene where James Mason's character is lurking in some bushes--the music calls attention to itself instead of supporting and enhancing what's unfolding in the film.

"Evil in the Sun" is a fine mystery movie--a great entry in the "cozy" genre--and it's made even better by the fact it plays fair with the audience. (I identified the killer even before all the evidence was presented, based on a scene the character shared with Proirot... and, to me, that makes for the best kind of mystery. I love being able to play along!)

Sherlock Sunday: Holmes Faces Death

Sherlock Holmes Faces Death (1943)
Starring: Basil Rathbone, Nigel Bruce, Arthur Margetson, Hillary Brooke, and Dennis Hoey
Director: Roy William Neill
Rating: Seven of Ten Stars

Sherlock Holmes (Rathbone) is summoned to the country by his friend Dr. Watson (Bruce) to solve discover the secrets behind a series of murders at a convalesce home for injured military officers.




The fourth installment of Universal Pictures' "modern day" adventures of Sherlock Holmes is a loose adaptation of Doyle's story "The Musgrave Ritual." It's an effective update of the tale, and it's perhaps the most thrilling of the Universal Holmes I've seem so far. It's certainly the darkest, as it continues to deal with the contemporary (for when the film was made) issues of World War 2. This time, it deals with homefront issues, such as caring for soldiers who return from battle not just with physical injuries but mental damage as well. It's one aspect of the film that gives it staying-power and that makes it just as relevant today as six decades ago.

The film is especially effective in the way it creates the ending. It gives viewers a real sense that Holmes has outsmarted himself for once and that the clever trap he lays to get the otherwise untouchable killer to reveal himself turns into a death trap for Holmes himself. It's a very well-done twist to the story, and twice-welcomed due to the fact that Holmes' bait and trap are so cliched that I feared for what was going to come next when it showed up in the film.

Also worth noting is that the idiotic hairstyle that Holmes sported in the first few movies in this series is gone. The treatment of Watson and other characters is also notably more respectful by Holmes in this film than in several other entries in the picture. Yes, he puts Lestrade down when he's being a bonehead, but he shows more respect for Watson than is average for the series and he doesn't seem like he's constantly trying to prove how superior he is to everyone around him.

'To Catch a Thief' is one of Hitchcock's best

To Catch a Thief (1955)
Starring: Cary Grant, Grace Kelly, John Williams, and Brigitte Auber
Director: Alfred Hitchcock
Rating: Ten of Ten Stars

Long-retired catburglar and jewel thief John Robie (Grant) teams up with an insurance agent (Williams) to catch a copy-cat thief who has the police hunting him. Robie conceives using a rich American and her massive diamonds as bait for the mystery thief--a mistake, because Robie soon finds that the woman's beautiful, thrill-seeking daughter, Frances (Kelly), wants to catch a thief of her own.


"To Catch a Thief" is a romance film with a mystery plot and some nice action sequences thrown in. It features perhaps the most believable romance featured in any Hitchcock film, as it is one that seems to grow between Grant and Kelly's characters as the story progresses, instead of springing onto the screen from left field as it does in "Notorious", for example.

Grant and Kelly are working with nuanced characters and great dialog in this film--and their bantering is perhaps some of the wittiest that is featured in any of Hitchcock's movies. Their onscreen chemistry was also fabulous, and this, coupled with the gorgeous photography and moody lighting of first the fireworks scene and shortly thereafter the confrontation between Robie and the sexy young heiress after her mother's jewels have vanished, end up creating some of the best-looking scenes in any of Hitchcock's films. (The shot of Frances, her face in shadow while the diamonds around her neck that she is trying to seduce Robie with sparkle brilliantly is pure visual poetry.

This may not be the sort of movie that comes to mind when someone says "Alfred Hitchcock", because while all the elements are there, they are not in the proportions that one expects--there is more romance than drama, and more comedy than suspense--but this is perhaps what makes it such a fantastic movie. Hitchcock made a movie featuring all the elements that are present in just about every movie he made, yet he uses them in ways that makes this movie stand alone.

Although it is more than 50 years since "To Catch A Thief" was released, it remains a fresh and vital picture that is as entertaining today as it was then. It is a film that has stood the test of time, and which is truly deserving of the label "classic."

'The Kingdom' is more evenhanded than usual Hollywood fare

The Kingdom (2007)
Starring: Jamie Foxx, Ashraf Barhom, Chris Cooper, Jason Bateman, Jennifer Garner, and Ali Suliman
Director: Peter Berg
Rating: Seven of Ten Stars

Four FBI agents (Foxx, Cooper, Bateman, and Garner) travel to Saudi Arabia where they team with two Saudi police officers (Barhom and Suliman) to stop a deadly terrorist and his followers.


The Hollywood establishment seems obsessed with justifying or even excusing terrorists, and I expected this film to be a reflection of that. So, I went in expecting to hate it. However, I was pleasantly surprised. This movie shows terrorists exactly for the evil, psychopathic cowardly scum that that they are. It has none of the "one man's terrorist is another man's hero" crap that so many American "intellectuals" are so fond peddling.

The film also shows that the 75 years of Saudi Arabian and American governments have allowed the conditions that gave rise to the likes of the movie's "Abu Hamza" and the real-world Osama bin Ladens through their inaction and unwillingness to behave in anything but fashions that are self-serving and self-aggrandizing. In fact, the film has the rather accurate message that the American and Saudi governments are their own worst enemies--the American government being fawning toadies to the Saudis, and the Saudi government behaving like barbaric bullies.

My very favorite aspect of the film was the way the FBI agents and the Saudi state police officers ended up working together once politics and distrust was set aside, showing that good cop are good cop, no matter where in the world they are.

Almost every aspect of the film was very enjoyable, playing like a cross between "CSI: Riyadh" and an action flick, except for the very last minute or so, where we had to have some of the standard issue Hollywood moral equivalency dished out. Fortunately, the dose was not big enough to ruin the film, and it was so ludicrous that no intelligent person could do anything but snicker at it.

'Taken' is the perfect Magic Daddy fantasy

Taken (2009)
Starring: Liam Neeson, Maggie Grace, Famke Janssen and Arben Bajraktaraj
Director: Pierre Morel
Rating: Eight of Ten Stars

When his teenaged daughter (Grace) is kidnapped by a white slavery and prostitution ring, a retired CIA wetworks specialist (Neeson) puts all his skills to use to get her back... and to kill those who harmed her.


"Taken" is the feel-good fantasy movie of 2009. It's a movie about a father who is trying to make up for lost time with his nearly-grown daughter--and who manages to not only save her life but to make her fondest dreams come true through a series of coincidences established in the film's first act and resolved in the denouement--but it's also a movie where one man brings down a vicious crime syndicate and exposes police corruption at the very highest levels. I've also rarely seen a film with so many people so richly and obviously deserving of death as the ones dispatched by the hero in this film.

With well-drawn and believable characters and a script that is fast-paced and finely tuned, "Taken" is a must-see for lovers of action films--and for anyone who wants to see some truly scummy bad guys get dispatched by a James Bond-like character who is fighting to save someone he truly loves. Neeson is fantastic in the part of a man who isn't especially violent, but who has no problem with killing bad guys when it comes to it. (There is a particularly neat scene that demonstrates exactly how Neeson's character respects life and tries to protect the innocents: He is in the middle of dispatching the first rung of the white slavery operation, but he takes steps to avoid harming some construction workers who may or may not be innocent bystanders.)

As I post this review, "Taken" is airing on HBO in relatively heavy rotation. If you are a subscriber, check the listings and check out this movie.

(A word of caution for parents: I was surprised to note that the film is only rated PG-13. With the level of violence, drug use, and general plot of the film, I would have assume it was R. You should definitely watch the film before you let your kids at it and decide if you think it's appropriate for them. The MPAA is erratic as ever....)

'Dirty Harry' still stands above the rest

Dirty Harry (1971)
Starring: Clint Eastwood and Andy Robinson
Director: Don Seigel
Rating: Ten of Ten Stars

When a madman who calls himself Scorpio (Robinson) sets about to terrorize and extort the city of San Francisco with sniper attacks and kidnappings, only the unorthodox methods of homicide inspector Harry Callahan (Eastwood) can stop him.


"Dirty Harry" stands as one of the greatest police dramas ever made, and the bad guy--the monstrous, utterly insane Scorpio--is so extreme that it even has elements that appeal to lovers of horror films. From the opening shots, the tension in the film keeps building and it doesn't let up until Harry and Scorpio have their final confrontation. Everything in this movie works perfectly, from the casting, to the camera and Foley work, to the great score by Lalo Shafrin (with the eerie "Scorpio Theme" adding a lot to the film).

Eastwood is also great as Harry, a cop who dislikes bureaucracy and who always puts the well-being and rights of crime victims ahead of the criminals that prey on them. And he does it within the boundaries of the law, with no consideration for politics. He's the sort of cop who can only get away with what he does in the fantasy land of movies.

Robinson also makes a fantastic bad guy. Between the actions of the character and the way the actor plays him, even the most hardcore member of the "violence in movies is bad" and "every criminal has rights" has got to be cheering for Harry to give the justice he has earned.

This film lays the foundation for the Dirty Harry sequels that followed, and I think it was just as much the fantasy of a cop who can buck the system and bag in a bad guy who knows how to play it, as it was Eastwood's portrayal of Harry that made the character so popular. (If you watch the movie carefully, you can see the depth that Eastwood brings to Harry's character.)

"Dirty Harry" is well-deserving of its reputation of being a classic. It is a great movie, and while it has been imitated over and over, it's never been matched... even by its own sequels.

'Keeping Mum' is quirky comedy about murder and family values

Keeping Mum (2006)
Starring: Kristen Scott Thomas, Maggie Smith, Rowan Atkinson, Patrick Swayze and Tamsin Egerson
Director:Niall Johnson
Rating: Six of Ten Stars

The new house keeper (Smith) for a distracted country vicar (Atkinson) who is distracted to notice his marriage is failing, starts turning the household around like a real-life Mary Poppins. Unfortunately, she's a homicidal maniac... and that isn't the least of her secrets.


"Keeping Mum" is a dark comedy that's on the predictable side, but it elevated by excellent performances from its stars, most importantly by Rowan Atkinson, who is very different here than other roles you've likely seen him in. Maggie Smith also gives a performance different than what is typical for her--more subdued and restrained.

If you like British humor, and, more importantly, gallow's humor, this is a film worth checking out.

Sean Connery does 'High Noon' in space

Outland (1981)
Starring: Sean Connery, Peter Boyle, Frances Sternhagen, James B. Sikking, and Kika Markham
Director: Peter Hyams
Rating: Nine of Ten Stars

When Federal Marshall O'Neill (Connery) arrives at the remote mining colony on Io, it becomes apparent in short order to everyone that there's a "new sheriff in town." However, when vicious drug-smugglers hire assassins to take out O'Neill, he finds himself fighting for his life, alone.


"Outland" is a traditional western that's been transplanted into space... it's "High Noon" on a moon around Jupiter. As such, it's an action-filled morality play that I think just about everyone who loves movies should find something to like about.

It's got a great cast, expert pacing, great sets, and a fantastic score. It's one of those rare films where everthing's perfect. It's also a film that doesn't show up on TV nearly enough.

'Beverly Hills Cop' is Eddie Murphy's best

Beverly Hills Cop (1984)
Starring: Eddie Murphy, Judge Reinhold, John Ashton, and Ronnie Cox
Director: Martin Brest
Rating: Nine of Ten Stars

When an old friend is murdered, pig-headed, rebellious Detroit police detective Axel Foley (Murphy) travels to Los Angeles to investigate on his own time. He, of course, brings much chaos to the otherwise tranquil and by-the-book police department of Berverly Hills.


"Beverly Hills Cop" remains one of the funnest police comedy/action films ever made. The script is perfectly paced and has a perfect balance between action, suspense, and comedy; Eddie Murphy is perhaps better here than in any other movie he's made since, truly shining as the wise-cracking, never-even-heard-of-the-rulebook sort of police officer that would have been kicked off any realworld police force long ago; and Reinhold and Ashton sparkle as a pair of uptight Beverly Hills cops who become infected with Foley's wild ways. The soundtrack, with the nifty "Alex F Theme", is also perfect.

Just about everything in this film had been done before "Beverly Hills Cop" came along, and it's been done hundreds and hundreds of times since... but it's never been done as well as it is here. This is a definate must-see for lovers of light-hearted police movies.

'Triggermen' is fun but unimpressive

Triggermen (2003)
Starring: Neil Morrissey, Adrian Dunbar, Donnie Wahlberg, Michael Rappaport, Claire Forlani, and Pete Postlethwaite
Director: John Bradshaw
Steve's Rating: Six of Ten Stars

Two small-time English thieves (Morrissey and Dunbar) come to Chicago in search of a big score, but instead find themselves mistaken for a pair of hitmen contracted to kill a mob boss who wants to retire (Postlethwaite). They take the payment and intend to run with the cash before they have to make good on the hit... but first they want to live it up a little. Meanwhile, the real killers (Wahlberg and Rappaport) are staying in the same hotel, waiting for their contact to provide them with cash and instructions. The situation becomes even more complicated when one of the assassins (who is also hoping to retire from his life of violent crime) meets and instantly falls in love with a woman (Forlani) who turns out to be the mob boss' daughter. Professional intergrity and mob codes of honor dictate that someone will have to be dead when the confusion and mistaken identies are sorted out.


"Triggermen" is an amusing crime comedy that will appeal first and foremost of fans of Donald Westlake novels and those who enjoy films like "Snatch" and "A Fish Called Wanda." Like in Westlake's best books, we stay involved with the story in "Triggermen" because all the main characters are very likable, despite the fact they're virtually all hardcore criminals, and because of the ever-escalating difficulties some of them find themselves in.

"Triggermen" doesn't bring anything new to this type of movie, but the acting and scripting is good enough to make it a worthwhile film nonetheless. It could even have been a Seven Star film if it had been slightly quicker in its pace. Once all the players in the drama and confusion have been introduced, the film seems to lose its way in a meandering second act.