Bicentennial Man
Biker Boyz
Big Fat Liar
Big Kahuna, the
Big Momma's House
Big Trouble
Billy Elliot
Birthday Girl
Black and White
Black Hawk Down
Black Knight
Blade II
Bless the Child
Blood Work
Bloody Sunday
Blow Dry
Blue Crush
Blue Streak

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Archived Video Reviews (Bf - Bn)

Starring: Robin Williams, Embeth Davidtz, Sam Neill, Wendy Crewson, Oliver Platt, Hallie Kate Eisenberg, Stephen Root, Bradley Whitford
Directed by: Chris Columbus
Drama, 131 min
(PG) (Touchstone, 1999)

Based on a series of stories by Isaac Asimov, Bicentennial Man tells the (long) tale of a robot who isn't at all like other robots. You see, unlike many machines who only do what they are told, this robot displays creativity, a desire to learn and, as portrayed by Robin Williams, a penchant for emotional mugging. Throughout the course of two centuries, the android slowly becomes closer and closer to being a human, but it's the picture itself that remains mechanical. Director Chris Columbus, who worked with Williams on Mrs. Doubtfire, never saw an emotion he couldn't wring dry and, though there are some important themes here about what it means to be human, they never reach the surface, instead held back by a screenplay that creaks and whirs where it should effortlessly glide. Worse, the story has an overly creepy feel to it. When the metal man's young love grows into an old woman, he wastes no time in putting the moves on her own daughter (Embeth Davidtz). How charming.
(top) (back)

Laurence Fishburne, Derek Luke, Orlando Jones, Lisa Bonet, Brendan Fehr, Djimon Hounsou, Larenz Tate, Kid Rock, Eriq La Salle
Directed by: Reggie Rock Bythewood
Drama, 90 min (PG) (Dreamworks, 2003)

It comes as no surprise that Biker Boyz, complete with its brightly coloured vehicular assaults, downplayed criminal activity and born-to-ride attitude, wants to be another zip-and-flash hit along the lines of 2001's The Fast and the Furious. The surprise of Biker Boyz is that, despite these less than stellar aspirations and many of its own limitations, Boyz actually turns out to surpass Furious at its own game. Derek Luke, who made his feature debut with an accomplished performance in Antwone Fisher, leads a thorough cast of familiar faces here, including Laurence Fishburne (The Matrix), singer Kid Rock, Orlando Jones (Drumline), Djimon Housou (Amistad), Larenz Tate (Menace II Society), Eriq La Salle (ER), Brendan Fehr (Roswell) and two Different World alumni, Lisa Bonet and Kadeem Hardison. Combined, these actors form a group of gang leaders and members who spend their time illegally racing the streets in tricked-out motorbikes and, though he takes everything too seriously and doesn't add enough unexpected curves to the complex relationship between the hot young upstart (Luke) and celebrated veteran (Fishburne), director Reggie Rock Bythewood captures the energy and attitude of the culture. (top) (back)

Frankie Muniz, Paul Giamatti, Amanda Bynes, Amanda Detmer, Donald Faison, Lee Majors, Russell Hornsby, Jaleel White
Directed by: Shawn Levy
Comedy, 88 min (PG) (Universal, 2002)

Sure, he headlines TV's Malcolm in the Middle and leads this throwaway kids comedy, but he keeps getting overshadows by his costars, be it Malcolm dad Bryan Cranston, the pooch in My Dog Skip or Liar castmates Paul Giamatti and Amanda Bynes, both of whom seem to be having a lot more fun here than little Frankie. A noisy and frantic cross between Ferris Bueller's Day Off, Home Alone and The Player, Big Fat Liar tells the story of Jason (Muniz), a 14-year-old fibber whose short story is stolen by ruthless Hollywood producer Marty Wolf (Giamatti) for a big-budget summer extravaganza. Frustrated, Jason heads to Tinseltown with his friend Kaylee (the goofy Bynes) to set the record straight and seek revenge by whatever means necessary. Unfortunately, none of the tricks here are all that original or inspired (among other things, Jason makes Wolf as blue as a Smurf and puts glue on his cell-phone earpiece), the climax comes across as an advertisement for the Universal Studios Back Lot Tour, and, though there is undeniable glee in Giamatti's parody, he lacks the manic energy to really pull it off. Big Fat Liar certainly isn't offensive, but just because the kids may like it doesn't mean they don't deserve better. (top) (back)

Kevin Spacey, Danny DeVito, Peter Facinelli
Directed by: John Swanbeck
Drama, 91 min
(14A) (Lions Gate, 2000)

Most plays-turned-movies try to hide their stage origins by expanding the action beyond a couple of rooms, increasing the scope of the story, or, on occasion, flipping the whole play inside out. The Big Kahuna, a vanity project produced by Kevin Spacey, doesn't even try to hide its roots, instead keeping all of the action restricted to a single hotel suite and never introducing more than three characters. This may work on the stage, but it is downright frustrating when depicted on the screen. It may have helped had Roger Rueff, who wrote the screenplay based on his play, infused the dialogue and story with some fresh ideas. Instead, we get a tale about three lubricant salesmen sitting in a Wichita hotel that rarely comes across as more than warmed over Glengarry Glen Ross. It's a pity, too, because the three principals - especially a chillingly lonely Danny DeVito - give performances that deserve better. (top) (back)

Martin Lawrence, Nia Long, Paul Giamatti, Terrence Howard, Ella Mitchell, Jascha Washington, Anthony Anderson, Tichina Arnold
Directed by:
Raja Gosnell
Comedy, 98 min
(PG) (20th Century Fox, 2000)

If Martin Lawrence is to ever become even half the comedian that Eddie Murphy is - and, as his increasingly eager-to-please attitude indicates, this is something he wants desperately - he's going to have to start finding a better vehicle for his shtick than films like Big Momma's House. An obvious attempt to cash in on Murphy's Nutty Professor success, Big Momma's House casts Lawrence as a smooth-talking FBI agent who goes undercover as an obese Southern grandmother in order to keep an eye on a single mom (Nia Long) whose convict ex-boyfriend just escaped from jail. But whereas films such as The Nutty Professor and Robin Williams' Mrs. Doubtfire provided their stars with roles that allowed them to break free of their star personalities, Big Momma's House simply dresses Lawrence up in someone else's clothing and leaves him with nothing to play with beyond lame toilet gags, poor makeup, gapping plot holes and strained fish-out-of-water set-ups. (top) (back)

Tim Allen, Rene Russo, Dennis Farina, Jason Lee, Tom Sizemore, Janeane Garofalo, Patrick Warburton, Stanley Tucci
Directed by: Barry Sonnenfeld
Comedy, 85 min (PG) (Touchstone, 2002)

Offbeat doesn't always equal hilarity and, as likeably eccentric as it is, this busy comedy ultimately comes up on the light side in terms of big belly laughs. Based on a 1999 novel by syndicated columnist Dave Barry that specializes in offbeat details about Miami, Martha Stewart, hallucinogenic toads, and the Discovery Channel, Big Trouble has a large cast of proven comic actors, including Tim Allen as a divorced dad trying to communicate with his son (Ben Foster), a potato chip-loving hippy who lives in a tree (Jason Lee), two unbelievably dumb crooks (Tom Sizemore and Johnny Knoxville), a rich mother (Rene Russo), her bored daughter (Zooey Deschanel), and her greedy arms-dealer husband (Stanley Tucci). Faced with all of these loons and an escalating plot, director Barry Sonnenfeld capitalizes on his Get Shorty past by drawing the most satisfying laughs out of an unhappily transplanted New Jersey hit man (Dennis Farina) and many scenes involving a he-said-she-said pair of cops played by Janeane Garofalo and Patrick Warburton. It's just too bad that the film is about 10 degrees too frantic, with too many stretches marked by the actors - and their comic timing - simply running around and bumping into one another. (top) (back)

Jamie Bell, Julie Walters, Gary Lewis, Jamie Draven, Jean Heywood, Stuart Wells
Directed by:
Stephen Daldry
Drama, 111 min
(PG) (Universal, 2000)

A cynic could argue that Billy Elliot offers easy laughs and manipulative sentimentality, but it is difficult to maintain such a stance when faced with the joyous warmth that weaves its way throughout this film. Besides, if one doesn't give in to the film's pleasures, there's a good chance that its best quality - the exhilarating performance of young British actor Jamie Bell - will go sorely underappreciated. Bell plays the title character, an 11-year-old living in a coal-mining town during 1984 who discovers, much to the chagrin of his striking father (Gary Lewis), that his true passion is ballet. As far as story goes, Billy Elliot could be a little punchier - there are some unconvincing changes of heart late in the game and the direction by newcomer Stephen Daldry tends to be blunt - but Bell makes up for many of the film's shortcomings. His subtle, captivating performance is marked with a welcome dose of anger, subtlety and heart, all of it brought to life during one thrilling dance number after the next. (top) (back)

Nicole Kidman, Ben Chaplin, Vincent Cassel, Mathieu Kassovitz, Valentine Cervi
Directed by:
Jez Butterworth
Drama, 93 min (14A) (Miramax, 2002)

Mail order brides only lead to trouble. Antonio Banderas learned this the hard way in Original Sin and now Ben Chaplin (Lost Souls) follows suit in Birthday Girl, another tale of a poor sap outsmarted by a foreign vixen. Chaplin plays John, a mild-mannered British bank teller who puts in an on-line order for a non-smoking, English-speaking bride and instead gets Nadia, a chain-smoking, non-English speaking Russian who may be willing to help John fulfill his deepest sexual fantasies, but has a few dark secrets of her own. Critical to Birthday Girl's small number of pleasures is the fact that Nicole Kidman plays Nadia and, often speaking in Russian or not at all, she confidently transforms what could have been a thin question mark of a character into a sympathetic woman of mystery (Birthday Girl was filmed before the one-two Kidman punch of The Others and Moulin Rouge). Ultimately, however, Kidman's compelling performance and an appropriately nerdy one by Chaplin aren't enough to fully redeem cowriter-director Jez Butterworth's picture, a romantic thriller too confined by genre trappings and all too foreseeable plot "twists" to create more heat or sparks than the candles on a 3-year-old's birthday cake. (top) (back)

Brooke Shields, Robert Downey, Jr, Bijou Phillips, Oli "Power" Grant, Ben Stiller, Elijah Wood, Allan Houston
Directed by: James Toback
Drama, 100 min
(18A) (Columbia Tristar, 2000)

An eclectic cast including Brooke Shields, Elijah Wood, Robert Downey Jr, basketball star Allan Houston and rapper Oli "Power" Grant, from the Wu-Tang Clan, populate this rough and grimy look at race relations at the dawn of a new millennium. Directed by James Toback (Two Girls and a Guy) and largely improvised by his actors, Black and White is at once electric and frustrating, insightful and awkward. For all of the inspired casting stunts – Mike Tyson plays himself as an ultimate bruiser, Bijou Phillips is raw as a white teenager caught up in hip-hop culture – there are just as many that blow up in Toback’s face, the most obvious of which are a miscast Ben Stiller as a crooked cop and a wooden Claudia Schiffer as a grad-student. Even more aggravating for the viewer is the fact that far too much of the film is painted in either black or white, with no gray matter in between. Though Toback wants to say so much, his film is ultimately too shallow to really dig deep. (top) (back)

Josh Hartnett, Ewan McGregor, Tom Sizemore, Sam Shepard, William Fichtner, Eric Bana, Jeremy Piven, Jason Isaacs, Ron Eldard
Directed by:
Ridley Scott
Action, 143 min (18A) (Columbia, 2001)

Like a piercing bullet, it takes only moments for Black Hawk Down to shoot straight into the bloody heart of modern war, spurting blood and pain every step of the way. Based on a 1999 book by journalist Mark Bowden, Black Hawk Down chronicles the events that took place in 1993 Somalia, when a group of peacekeeping American soldiers descended in Mogadishu to kidnap the top aides of a local warlord and the quick covert strike was transformed into a violent 15-hour battle (when it was over, 18 Americans were dead, 73 were wounded and more than 500 Somali were killed). Director Ridley Scott has gone for military operations and gory spectacle before (in G.I. Jane and Gladiator, respectively), but here he combines both elements brilliantly, capturing all of the chaos, grime, isolation and fear of the situation while at the same time offering a clear idea of where characters are and what they are up against. Actors here include Ewan McGregor, Sam Shepard, Eric Bana and some Pearl Harbor refugees (Josh Hartnett, Tom Sizemore, Ewan Bremner) and, though the film comes up short on a character level (particularly the nameless Somalis), the powerful battle sequences and hell-on-earth intensity aren't easy to shake. (top) (back)

Martin Lawrence, Tom Wilkinson, Marsha Thomason, Kevin Conway, Jeanette Weeger, Helen Carey, Michael Countryman
Directed by:
Gil Yunger
Comedy, 95 min
(PG) (20th Century Fox, 2001)

Another entry in the limp Martin Lawrence assembly line (Big Momma's House, Blue Streak, Nothing to Lose…), Black Knight has everything one has come to expect from the mugging comedian: a predictable plot, a do-nothing romance, countless opportunities for Lawrence to gawk and say "Damn!" and a dispiritingly low laugh to joke ratio. Obviously inspired by Mark Twain's A Connecticut Yankee in King Arthur's Court and seemingly made on the cheap during a Renaissance fair, Black Knight casts Lawrence as Jamal, an ambition-less theme park worker who accidentally falls into a time warp and winds up in 14th century England. While there, Jamal is introduced to all the usual fish-out-of-water plot devices (poor waste facilities, shoddy eating habits, women with different sensibilities), is mistaken for an honored messenger from Normandy and gets caught up in a scheme to dethrone the king, but the film shows an outright refusal to let anything besides Lawrence sit in the spotlight for any longer than a second. As a result, Black Knight is never more than a one man show and, considering the familiarity of all of the actor's overdone expressions and tired riffs on race, welfare and women, it's enough to leave you pleading for no moor
. (top)

Wesley Snipes, Kris Kristofferson, Leonor Valera, Ron Perlman, Donnie Yen, Daz Crawford, Luke Goss, Matt Schulze
Directed by: Guillermo Del Toro
Action, 108 min (14A) (New Line, 2002)

Looking back at it now, 1998's Blade was actually before its time, introducing Hong Kong-style action to Hollywood before The Matrix and spinning a film from a Marvel comic long before the recent Spider-Man-led surge. Blade II, on the other hand, feels distinctively like prechewed leather, with all of its slickness only masking a series of bits stolen from the first film, Alien and 1997's Mimic (which, like Blade II, was directed by Guillermo Del Toro). As the half-human, half-vampire Blade, Wesley Snipes has slightly loosened up from his stiff performance in the original and it is a welcome change. Still fighting off his urges to bite necks, here Blade is forced to team up with a group of bloodsuckers to fight a mutant breed of vampires known as Reapers that feed on man and vampires alike. Returning for the second go around is Kris Kristofferson as Blade's grizzled weapons expert (apparently, you only thought he died before), but the screenplay doesn't know what to do with him or the other secondary characters, either treating them as disposable meat or springboards for obvious plot twists. Though there are some fancy fight sequences here - shot by Del Toro with all of the expected comic book swoop - but this Blade is ultimately a little dull. (top) (back)

Kim Basinger, Rufus Sewell, Jimmy Smits, Holliston Coleman, Ian Holm, Angela Bettis, Dimitra Arliss, Christina Ricci
Directed by:
Chuck Russell
Thriller, 107 min
(14A) (Paramount, 2000)

The Exorcist, The Sixth Sense and The Ninth Gate all get pureed and turned into sour swill with this ludicrous good-versus-evil thriller. Kim Basinger, who foolishly followed up her L.A. Confidential Oscar win with this and the photogenic dud I Dreamed of Africa, plays Maggie, a single mother whose adopted daughter (Holliston Coleman) may just be the only one who can stop evil from taking over the Earth. As the diabolic cult leader who kidnaps Coleman, Rufus Sewell is more comical than menacing and he is done no favours by Chuck Russell's overwrought direction or the overwhelmingly silly screenplay. In fact, no one here escapes unscathed: not Basinger, as bland as a scream-queen can get; not Coleman, whose acting is limited to creepy stares; not Jimmy Smits, who wastes his time as a cop (Did he really miss NYPD Blue that quickly?); not even the computer-generated monsters, many of whom look as though they wish they were elsewhere. (top) (back)

Clint Eastwood, Jeff Daniels, Anjelica Huston, Wanda De Jesus, Tina Lifford, Dylan Walsh, Paul Rodriguez
Directed by: Clint Eastwood
Suspense, 110 min (14A) (Warner Bros., 2002)

At some point, Clint Eastwood needs to realize that he can't always have it both ways. Sure, it is nice to see him acting his age (he's 72) as characters whose minds are stronger than their bodies (think Space Cowboys or Unforgiven), but why does it seem like his love interests are usually about half his age? In Blood Work, a workman-like and overly ponderous mystery thriller directed by Eastwood and based on a novel by Michael Connelly, the actor plays Terry McCaleb, a retired FBI agent who hooks up with a thirtysomething waitress (Wanda De Jesus) and that is only one of the film's many improbabilities. For a while, at least, Blood Work succeeds by using McCaleb's health - he retired after a heart attack that left him with a new ticker - as both a plot and suspense device. It turns out that not only was De Jesus' sister murdered, but it is her heart that sits in McCaleb's chest and De Jesus wants his help in getting to the bottom of it. As McCaleb pieces together the mystery, the elements slide together like an old-fashioned and well-diagrammed puzzle, but Eastwood's direction is to meandering for this storyline, providing the audience with far too much time to count the ambulance-size plot holes and far-fetched twists. (top) (back)

James Nesbitt, Tom Pigott-Smith, Nicholas Farrell, Gerard McSorley, Cathy Kiera Clarke, Declan Duddy, Allan Gildea
Directed by: Paul Greengrass
Drama, 110 min (14A) (Paramount, 2002)

On January 30, 1972, a Civil Rights march in the Northern Ireland city of Derry ended in a bloody encounter between the marchers and special British troops, leaving 27 marchers wounded, 13 of them fatally, and providing the IRA with a fresh round of frustrated recruits (even if you are unfamiliar with the history, you may be aware of the U2 song "Sunday Bloody Sunday" that recalled the tragedy). Grippingly directed and written by Brit Paul Greengrass (1998's The Theory of Flight), Bloody Sunday uses documentary-style handheld camera-work, a mob of non-professional actors and grayed out cinematography to drop the viewer directly into the intensity and brewing hostility of the day. Though a bit light on background into the troubled history between Ireland and Britain that led to the events of the day, Bloody Sunday captures an almost unavoidable, all-encompassing and slowly mounting sense of doom and despair, leaving the viewer in shock and anger over an outcome that long has been written in history. As Ivan Cooper, the Protestant member of British parliament who organized the peaceful march, James Nesbitt is exceptional - interpreting the day's events as a crushing and horrifying blow to humanity. (top) (back)

Johnny Depp, Penelope Cruz, Jordi Molla, Ray Liotta, Rachel Griffiths, Franka Potente, Paul Reubens, Ethan Suplee, Max Perlich
Directed by: Ted Demme
Drama, 123 min (14A) (New Line, 2001)

Director Ted Demme (Life, The Ref) has never been the man of substance his uncle Jonathan (Silence of the Lambs) is and, unfortunately, this is all too apparent in Blow, a drug epic that peaks far too early, with a final third that feels like more of a hangover than a high. That's not to say, however, that there aren't pleasures in Blow, especially another fine performance by Johnny Depp as George Jung, the man who introduced Columbian cocaine to America in the mid-1970s and is now serving a 20-year sentence for importing and distributing drugs. As the film chronicles Jung's rise from his blue-collar roots to his relationship with Colombian drug lord Pablo Escobar, Blow has an intriguingly reckless style and a compelling rush that accompanies it. What goes up must come down, however, and when Jung's story of personal, political and professional strife should be at its most compelling, Demme's narrative limitations come into focus and he unapoligetically looks at Jung through rose-coloured glasses as just another innocent dreamer surrounded by vultures (let's not kid ourselves: Jung was a drug dealer). As Jung's wife, Penelope Cruz has little more than a cameo, but Rachel Griffiths and Ray Liotta are sincerely compelling as his parents. (top) (back)

Alan Rickman, Natasha Richardson, Josh Hartnett, Rachel Griffiths, Rachael Leigh Cook, Bill Nighy, Rosemary Harris, Heidi Klum
Directed by: Paddy Breathnach
Comedy, 90 min (14A) (Miramax, 2001)

I'm not sure what the filmmakers behind Blow Dry had in mind when they cast the consistently badly coiffed Josh Hartnett (pre-Pearl Harbor) in this hair-styling picture, but that is only one of the many split-ends associated with this Full Monty-wannabe British comedy. With more than a few shades of The Big Tease, Blow Dry focuses on a dull English village that is overcome in a cloud of hairspray when it is named host of a flashy hairdressing competition. The local competitors, drawn together for an attempt at family bonding, include a champion stylist-turned-drab barber (Alan Rickman), his ill ex-wife (Natasha Richardson), their son (Hartnett) and her girlfriend (Rachel Griffiths). Directed by Paddy Breathnach (I Went Down) and written by The Full Monty's Simon Beaufoy, Blow Dry has its moments of charm, but the Waking Ned Devine-style comedy ultimately gets tangled with thin and unnecessary dramatic subplots about disease, old-time rivalries and a Romeo and Juliet-style romance between Hartnett and Rachael Leigh Cook (as the American daughter of a cheating stylist). Throw in a handful of obvious sight gags and moments of pure audience manipulation and you've got a picture in need of a serious trim. (top) (back)

Kate Bosworth, Michelle Rodriguez, Matthew Davis, Mika Boorem, Sanoe Lake, Faizon Love, Chris Taloa, Kala Alexander
Directed by: John Stockwell
Drama, 103 min (PG) (Universal, 2002)

Forget Blue Crush's often shallow characters and Flashdance-with-waves storyline. The real star of the film is Hawaii's massive crests of water. Cowriter/director John Stockwell (crazy/beautiful) dives his audience headfirst into the sheer thrills, danger and rush of surfboarding, capturing every splash, swoosh and deadly tumble of the sport with a clarity that is awesome even on video and DVD. Kate Bosworth (2000's Remember the Titans) plays Anne Marie, a financially strapped blonde Hawaiian maid who, with the assistance of best friends Michelle Rodriguez and Sanoe Lake, is training for a major surfing content in Oahu but keeps getting distracted by memories of an accident in which she nearly drowned. Stockwell wisely avoids the typical cardboard villains one would expect in this sort of sports film, instead focusing on Anne Marie's internal struggle, but Blue Crush loses some marks for its tired romantic subplot between Anne Marie and an NFL quarterback (Legally Blonde's Matthew Davis) that does little more than act as filler before the big contest. Oh well, at least Blue Crush has more wits about it than the bikinis-and-boards advertising would suggest and it makes the most of its location and the adrenaline rush than accompanies surfing. (top) (back)

Martin Lawrence, Luke Wilson, William Forsythe, Dave Chappelle, Peter Greene, Julio Mechoso
Directed by: Les Mayfield
Comedy, 94 min (14A) (Columbia Tristar, 1999)

It may be entitled Blue Streak, but this wan Martin Lawrence comedy is so predictable and formulaic it may as well be called Blueprint. Lawrence does his usual bug-eyed mugging here as Miles Logan, a jewel thief who is released from prison after two years only to learn that the unfinished building in which he hid a $20 million diamond has since been turned into a police station. Desperate, Miles takes to impersonating a cop to get inside, eventually even obtaining a rookie partner (Luke Wilson) and wowing everyone with his skilled (in other words, lucky) police techniques. Throughout, director Les Mayfield (Flubber) shamelessly steals from one cop movie or another (entire scenes seem lifted from Rush Hour, Beverly Hills Cop and 48HRS) and he shows no apologies in even cribbing from former Lawrence pictures like Bad Boys, Nothing to Lose, Life and A Thin Line Between Love and Hate. In other words, you've seen all this before. So why bother with a greatest hits collection that feels like a rerun? (top) (back)
All reviews by Mike Boon.  

Looking for more? Visit Recent Video Releases, Recommended Releases or the following Archived Video sections: Aa-Am, An-Az, Ba-Be, Bf-Bn, Bo-Bz, Ca-Ch, Ci-Cz, Da-Dn, Do-Dz, E, F, G, H, I, J, K, L, Ma-Mn, Mo-Mz, N, O, P-Q, Ra-Rh, Ri-Rz, Sa-Sg, Sh-Sl, Sm-Ss, St-Sz, Ta-Ti, Tj-Tz, U-V, W, X-Z