Nowadays it's rare to find a movie that pays attention to human weakness as well as strength, and that sees a whole person as having both. When a sports magazine gets bought by a media conglomerate, an ad sales executive named Dave Foreman (Dennis Quaid, The Rookie) finds himself playing second-in-command to Carter Duryea, a hotshot barely half his age (Topher Grace, Win a Date with Tad Hamilton!) whose marriage has just fallen apart.
It took more than 25 years for another Clive Cussler novel to come to the screen after the financial and critical disaster of Raise the Titanic. Based on Cussler's oddly landlocked adventure, Sahara finds the author's hero, Dirk Pitt (Matthew McConaughey)--a sort of all-American, high seas variation of James Bond--in Africa looking for a Confederate ironclad ship that impossibly might have ended up there. Soon he and his faithful sidekick Al Giordino (Steve Zahn) are lost in another adventure, discovering a deadly contaminate being tracked by a beautiful doctor (Penelope Cruz).
Steve McQueen brings his cool fire to the role of the Cincinnati Kid, a small-timer eager to take his chances in high-stakes poker. He gets his chance. Regal, ruthless Lancey Howard (Edward G. Robinson), the elite gambler called the Man, accepts the Kid?s challenge. Norman Jewison (In the Heat of the Night, Moonstruck) directs this taut exploration of back-room gaming, building suspense with each turn of a card. And Ann-Margret, Karl Malden, Rip Torn, National Board of Review Best Supporting Actress Award winner Joan Blondell and many more comprise a full house of talent.
Clint Eastwood's 25th film as a director, Million Dollar Baby stands proudly with Unforgiven and Mystic River as the masterwork of a great American filmmaker. In an age of bloated spectacle and computer-generated effects extravaganzas, Eastwood turns an elegant screenplay by Paul Haggis (adapted from the book Rope Burns: Stories From the Corner by F.X. Toole, a pseudonym for veteran boxing manager Jerry Boyd) into a simple, humanitarian example of classical filmmaking, as deeply felt in its heart-wrenching emotions as it is streamlined in its character-driven storytelling.
From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's The Aviator celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era.
One of Roman Polanski's more overt comedies, this 1966 monster spectacle stars Jack MacGowran and Polanski as a clunky but heroic pair of vampire killers. Called upon to rescue the beautiful and buxom daughter (Sharon Tate) of an innkeeper from a Draculalike bloodsucker, the duo muddle through all sorts of scrapes, the most intense being a scene in which a room full of dancing vampires realize the human interlopers are the only ones in the room who are reflected in a mirror.
Rounders is a film that takes us inside a world of high-stakes card players which is a real curiosity, written by a couple of guys (David Levien and Brian Koppelman) who appear to know something about the dark underbelly of card hustling for fun and profit. Matt Damon stars as a reluctant law student who can't put aside his subterranean career of playing poker and blackjack for big money.
Anybody hungering for a good old-fashioned Western needs to check out Warriors of Heaven and Earth, which--although it's set in 7th-century China--has all the valor and spectacle of a John Ford picture. It also has a goofy supernatural streak, for the chopsocky crowd. The opening 10 minutes or so offer an alarmingly convoluted plot, but it swiftly settles down. What's going on is that a long-exiled Japanese hit man (Kiichi Nakai), hired to kill a renegade Chinese warrior (Jiang Wen), temporarily teams up with his quarry in order to escort a camel caravan along the Spice Road.
The Warriors combines pure pulp storytelling and surprisingly poetic images into a thoroughly enjoyable cult classic. The plot is mythically pure (and inspired by a legendary bit of Greek history): When a charismatic gang leader is shot at a conclave in the Bronx meant to unite all the gangs in New York City, a troupe from Coney Island called the Warriors get blamed and have to fight all the way back to their own turf--which means an escalating series of battles with colorful and improbable gangs like the Baseball Furies, who wear baseball uniforms and KISS-inspired face make-up.
Ex-crime reporter Raymond St. Ives has elegant taste, a yen for gambling and an unfinished novel in his typewriter. When he crosses paths with sinister Oliver Procane, he gets something else: a price on his head. St. Ives is a hard-boiled update of classic mystery thrillers, particularly The Maltese Falcon. Charles Bronson is smoothly right as the clever title character, at odds with petty crooks and high-rollers, among them Maximilian Schell as a whining lackey and Jacqueline Bisset as a modern femme fatale.
