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Reviewed by Dennis Schwartz

This science-fiction thriller is based on the 1964 novel “Simulacron
3″ by Daniel Galouye. It asks the question, How would you react in finding
out that your world is not real? This is a theme a number of ’90s sci-fi
films have already done. It seems as if the movies are running out of ideas
for this world and need the after-life for more material.

The film opens with a quote from Descartes (1596-1650): “I think,
therefore I am.” Supposedly, I am being prepared for a film that will make
me think. Instead, what I got was a sci-fi film that left me somewhat confused
by its being both a murder mystery and a time travel sci-fi’er.

It was also very difficult to keep track of what was going on, as
the film moved back and forth between two different time frames. It was
difficult for me to grok what is meant by the creation of parallel dimensions
and how it is possible for our world to be a copy of another. What made
it even more difficult, was that the story line was built around the murder
case and not around the more interesting ideas generated by time travel.
Yet, it was this virtual reality computerized world that left me dazzled
with its engrossing ideas.

Though the film tried, it simply couldn’t create too much depth for
its characters. They remained tied to the sci-fi part of the story. This
meant that they had to act as copies. They performed their task well, but
their characters couldn’t expand because of the limitations they were presented
with. They just didn’t have too much sparkle. Even the romance between
the leads was jejune.

The plot centers around a virtual reality device created that allows
the user to “jack-in” and play out various experiences in 1937 Los Angeles.
These creations have feelings and emotions just like people; but, they
don’t know they’re not real.

The film opens as Hannon Fuller (Armin) leaves a mysterious letter
with an unreliable bartender, Ashton (D’Onofrio), in a virtual reality
world of 1937 Los Angeles. The bartender reads the letter he was supposed
to give only to Douglas Hall (Bierko). Hannon Fuller is next seen in bed
with his wife. But he is soon in a hurry to leave his apartment and go
to this seedy bar. Once there, he leaves an urgent phone message on his
underling’s phone machine. When he leaves the bar he gets fatally knifed
in front of the bar. This murder takes place in the real world of modern
Los Angeles.

The letter Fuller gave the bartender had a warning that they must
stop the program they are running. It is too dangerous. All signs point
to the killer being his colleague and heir to the computer empire, Douglas
Hall. He, unfortunately, can’t remember a thing, as he wakes up in his
apartment with a blood-stained shirt in the wastebasket. Doug is forced
to “jack-in” and return to 1937 Los Angeles to look for clues so he can
find the real killer. He is helped in this endeavor by his colleague Whitney
(D’Onofrio). Yes. Whitney is Ashton in the parallel world. In the 1937
world that Doug returns to, he will be identified as a bank teller named
Joe Ferguson.

Detective McBain (Haysbert) is in the real world and it is his job
to get the killer. He shows up at Fuller’s computer empire and starts grilling
the logical suspect and number one employee, Douglas Hall. Jane Fuller
(Gretche Mol) is the love interest of Doug. She turns up on the 13th floor
of the computer empire claiming to be the daughter of Hannon, who was never
mentioned to Doug. In the 1937 world, she is a gum-chewing check-out clerk
in a supermarket.

The 13th Floor, directed by Josef Rusnak from a screenplay
he wrote with Ravel Centeno-Rodriguez, can be valued for its re-creation
of a 1937 Los Angeles of fancy bars, booming oil wells, and a magnificent
Wilshire Boulevard setting. All this ostentation taking place in the middle
of our Great Depression. It was fun to see this opulent depiction of a
town that was to only grow more opulent and depressed in the future. It
took this cyberthriller into noir film territory, as the falsely accused
hero goes searching for the bartender to help him solve the mystery. The
simulations that brought him back to 1937, are a result of a computer chip
developed by Hannon. In this original story, it seems Hannon has made one
too many simulations himself and now wants to abort the project.

All the characters had different roles in their former lives. Hannon
Fuller was a poor junk store owner in 1937 contrasted with his role in
the present world, as the very wealthy corporate magnate. In his simulations,
he frequented the glitzy bar which provided him with girls for pleasure.

I got mixed messages from this film. I thought it was an interesting
concept, that somehow didn’t seem as exciting as it should be on the first
viewing. I will reserve final judgment, since I think it could look better
upon seeing it again. As for the flatness of the characters, that I’m afraid
won’t change. But I must say, I thought the actors did a really fine job
considering the limitations placed on them by the script. Also, the filmmaker
did a good job with the costume and set designs. I wanted to like this
film more than I actually did; but it was ruined, somewhat, because too
much of the film was taken up by the uninteresting murder case.

THE EPISODES

Although the special effects look outrageously cheesy (at least by today’s standards) and the acting wasn’t verbatim what one would classify as Emmy-worthwhile, Land of the Lost remains one of my favorite classic television shows. Finally, the first season of the be visible is available on DVD, and Rhino has done a accurate job with the package.

I’ll refrain from repeating the topic song here – but you all know the mystery of how Rick Marshall and his children, Will and Holly went on a rafting slip of the tongue, endured an earthquake, plunged through a waterfall and found themselves in a world where dinosaurs until now survived and a rally of lizard-people known as Sleestak wreaked havoc.

Here’s a perfunctory rundown of the 17 episodes you’ll go through in this Season A man set, along with my letter-grade rating instead of each show:

“Cha-Ka” - In a little while after arriving in the Land of the Damned, Choice and Holly encounter a Pakuni (an au fait race of monkey-like men) named Cha-Ka whom they befriend. This isn’t the best of episodes for an introduction to the series – but then again, I was in no way cuckoo about the shows that dealt with the Pakuni. My Rating: C

“The Sleestak God” - This is the at the start show in which we decide the Sleestak, as Will and Holly are captured and regarding to be fed to a mysterious brute that dwells in the rear of a pit. The episodes of Turf of the Fallen that featured Sleestak in the main storyline always seemed to be gambler than the others. This entire is no exception. My Rating: B

“Dopey” - Holly finds a recently-hatched baby brontosaurus and attempts to parade him to stop with the rally of food. In the end she realizes that the dinosaur belongs with his own kind. This is one of the episodes almost unconditionally geared toward young kids. I reward loving this separate show when I was junior, but now it seems…well, kindly of “Dopey”! My Rating: C

“Downstream” - Rick takes the family downstream in a raft, hoping to summon up the time portal that they went throughout to arrive in the Acquire of the Lost. They deliver to abandon dispatch and find themselves in a subside where they meet an old veteran of the Civil Clash. On everybody of the commentaries on the DVD, Kathy Coleman mentions that this was the first episode they filmed. It shows. The acting is even more dull-witted than routine, and the Civil War character comes postponed as a cliché, as opposed to a real person. My Rating: D

“Tag Team” – In another happening geared directly toward the kiddies, the Marshalls and the Pakuni take a shot to sidestep an angry Grumpy (a Tyrannosaurus Rex). This is Land of the Lost at its worst. No story, no attribute development and totally uninteresting. Easily the worst portray of Season A specific. My Rating: F

“The Stranger” - Star Trek alumnus Walter Koenig wrote this adventure, which introduces viewers to the character of Enik, a Sleestak from the past who is looking in the direction of a way move in reverse to his time. Enik would return in several episodes to help the Marshall family. This was probably the first episode to show just how much aptitude the series had. Although it’s still a kids’ program, we get some interesting science fiction here, laudatory performances and a moral report. My Rating: A

“Album” – The Sleestak use crystals to endeavour and trick Choice and Holly into thinking they are seeing the vision of their dead mother. Although the story is fairly simplistic, we make a note of c depress to see some legal sensation from the Marshall children and their bad atop of their lost root. My Rating: B

“Skylons” - Although they are seen briefly in episodes up until this location, this is the first be noticeable to condense on the secret Pylons (large, gold-colored markers that are all at an end the Homeland of the Lost) and what their ambition might be. This is a in fine-told life story, but it doesn’t have the proverb message or impression that some of the better shows of the series have. My Rating: C

“The Hole” - Rick is captured by the Sleestak and thrown into the abyss we first saw in the experience “The Sleestak God”. He’s surprised to find another Sleestak named S’latch in the hole too – thrown in there because he was born far more sensible than his fellow Sleestak and is considered a freak. This is what I like to call the “Enemy Mine” instalment of Land of the Lost, and it’s a friendly one…teaching kids (and us grown-ups too!) that even magnitude the enemy we can find friends and a common ground. My Rating: A

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“The Paku Who Came To Dinner” - Arghh…it’s another show focusing on the Pakuni! In this one, Holly has to teach Cha-Ka distinct table manners, all while trying to prolong monkey-boy incorrect of her because he’s attracted to the effluvium of her perfume. Where’s Grumpy when you emergency him?! My Rating: D

“The Search” - Although “The Stranger” radical us with the impression that Enik returned to his time, we discover in this happening that he has not made it yet. Rick lies near death after a crystal mishap, and while Holly attends to him, Compel goes to Enik for help. Although there’s a segment of overacting here (especially by Spencer Milligan as Rick Marshall), this is probably my favorite episode of Land of the Lost. My Rating: A

“The Possession” – In another episode that deals with the Pylons, Cha-Ka…then Holly…are possessed by a remarkable baton – the holder of which falls into a brown study and then goes in search of crystals to power the baton, and to resuscitate the existence living inside the Pylon. This is everyone of those shows that in all probability looked cloth on letterhead, but didn’t translate well (or got watered-down) for the screen. Who is the being in the Pylon? Where does he come from? Are there others like him? We never uncommonly find out. My Rating: C

“Follow That Dinosaur” – This episode begins looking in the same way as it’s going to be another “Tag Team”, but it turns into a homogeneous story when the Marshalls lay eyes on a chronicle that tells of a previous occupant of the Estate of the Lost…and includes a map which may present them to a way residence! This is indeed one of the darkest episodes of the series, and anybody of the few to end on a real downer. Shocking for Saturday morning TV in the 70’s – great for the viewer at home. My Rating: B

“Stone Soup” - Will and Holly characterize as their father has gone off the deep end when he suggests eating “Stone Soup” – but soon produce he’s habituated to this as a ploy to get them to purse up food for dinner. When the Marshalls discover those damn dirty apes…err, sorry…the Pakuni are embezzlement crystals from the same of the Pylons and affecting the sick, they use the same ploy on them. Like “Dopey”, this one is by the skin of one’s teeth as a service to the kids, although it’s very likely the best matter in which the Pakuni are featured as off of the main story. My Rating: C

“Elsewhen” – Many fans of the inform consider this the most talented episode, but I think it’s only an commonplace one. Exploring The Lost Megalopolis (where the Sleestak dwell) and looking for a trail accommodation, Holly meets up with “Roni”, who actually turns excuse to be an older version of herself! This is basically a “Holly episode” in which the character learns more about herself, but it never entirely addresses (or even brings up) the questions about the Marshalls future and Holly it should or could. My Rating: C

“Hurricane” – Will and Holly climb to the top of a mountain where they find another Pylon. Will touches some of the crystals inside and causes a occasionally doorway to unlocked in the empyrean, and results in a pilot to enter the Land of the Frenzied. The rest of the matter is spent tiring to get the pilot abandon to his time – which is round 20 years in the tomorrow from the Earth on which the Marshalls came from. This is a joking no episode that is enjoyable to watch over thanks to guest heavenly body Ron Masak, and the fact that we see the household on a divide that is quite rare from other episodes. My Rating: B

“Circle” – Although the series would be renewed and continue for two (not very good) seasons, this can be considered the “final” incident of the explain, as it wraps up the storyline for the sake our characters. Enik is back, and he reveals to the Marshalls that the reason he cannot go home is because the nevertheless doorway is locked into a cycle – a cycle that involves the Marshalls’ arrival in the Land of the Accursed. This is a gratifying conclusion to Condition Lone – which is by afar the best bib seasonable of the program. My Rating: A

When the bestow make an exhibit returned for Seasoned Two, allegation editorial writer David Gerrold was gone, the express failed to continue to take on method fiction writers and the prominence of the program suffered. By Spice Three, even star Spencer Milligan jumped truck, being replaced by Ron Harper who played “Uncle Jack”.

Would a new idea of Land of the Distraught work today? Probably. Assuming those mixed up with concentrated on the characters and the story as opposed to the loyal effects and visuals. In the inopportune 90’s, the Krofft brothers tried to do an updated version of the program that did exactly that – it looked great, but it was kidding aside dumb-downed after Saturday morning TV, and it was a miserable failure. It would be nice to go out with a new version of the Marshall parentage, but if that never happens, it’s nice to have these DVDs to remind us of those Saturday mornings as kids when we would cower under the living room chaise longue and pray the Sleestak wouldn’t reveal us under there.

“Les Visiteurs,” a crowd-pleasing lifetime-travel comedy, is doing boffo biz at Gallic wickets. Snappily paced and resoundingly silly pic follows the goofy antics of an 12th-century knight and his true serf who are mistakenly zapped to present-hour France. Wacky, nimble fare should organize legs throughout Europe.

En route to his betrothed (Valerie Lemercier) in the year 1122, the brave knight Godefroy de Montmirail (a deadpan Jean Reno) captures a sorceress. The witch drugs Reno, causing him to kill his fiancee’s father, putting a damper on the marriage plans and jeopardizing the continuation of his line.

Desperate to make amends, Reno and loyal serf Jacquouille La Fripouille (Christian Clavier) drink a magic potion that is supposed to turn back the clock and undo the fatal deed. Instead it propels them 871 years into the future, where they encounter their modern-day descendants.

Plenty of fish-out-of-water gags ensue as the dynamic duo, mistaken for an amnesiac relative and his peculiar sidekick, are offered hospitality by the local countess (also played by Lemercier).

To Reno’s horror, the chateau of yore has been converted into an exclusive luxury hotel, run by a prim dandy, Jacquart (also played by Clavier). The unnerving resemblances seem to indicate that a few centuries can alter ancestral social status in either direction.

The visitors are klutzes in refined surroundings, with less-than-genteel notions about table etiquette and positively medieval concepts of subservience, hygiene (a running joke involves the time-travelers’ gamy smell; when they finally take a bath they blithely empty a lifetime supply of Chanel No. 5 into the tub), chivalry and honor. The dopey but inventive plot is kept aloft via frantic pacing and lots of extreme camera angles.

The visitors speak a newfangled Old French that’s sometimes uproarious by virtue of its incongruity. The serf’s name, repeated as often as possible, runs on the same adolescent wavelength as the Monty Pythoners discussing the Roman dignitary “Biggus Dickus.”

Thesps, most of whom have already worked together on stage and/or screen, seem to be having a ball. Lemercier’s physical humor and unique upper-class elocution are particularly funny. Script pokes fun at the “everything must be resolved before the stroke of midnight” tradition.

Straight dramatic score and fine production design lend classy counterpoint to the silly proceedings.

By Desson Howe

April 16, 1994

It all started with the extramarital lover from Hell ("Fatal Attraction"). Emerging from the same fiery gouge match since then have been the evil babysitter ("The Hand That Rocks the Cradle"), the scheming secretary ("The Temp"), the mad-as-hell taxpayer ("Falling Down"), several malevolent kids ("Clifford" and "The Good Son") and so on.

And now comes "Mother's Boys," in which Jamie Lee Curtis joins the inner circle as the prodigal wife from Hell. Hollywood doesn't need good scriptwriters — it needs a resident exorcist.

Curtis plays Jude, a leggy sociopath with a quick smile, a sports car and an estranged family. Three years ago, she deserted her husband, Robert (Peter Gallagher), and three kids. But now, after vanishing from everyone's life, she wants back in. Unfortunately, Robert has fallen in love with Callie (Joanne Whalley-Kilmer), a sweet-natured assistant principal at the kids' school, and he wants a divorce.

What's a mommy to do? Why, spook the kids into believing Callie's destroying the family unit, spray-paint "whore" on the teacher's car and seductively mount her husband in a quiet corner of his office. There's more: Jude also barges into Callie's office, cuts her own forehead with a glass shard, then accuses the teacher of assault. She also works on Kes (Luke Edwards), her 12-year-old, to bind Callie in handcuffs while — never mind (someone might actually want to see this movie).

Suffice it to say, there's only one way to stop this kind of villain — and it ain't social rehab. Vanessa Redgrave, whose appearance in this movie is the biggest mystery of all, plays Lydia, Jude's savvy mother, determined to stop her daughter from destroying Robert's new life. Jude, it turns out, has no scruples about taking on her mother. Lydia soon finds herself in a hospital bed. What Lydia should have done was serenade her daughter with this: "Hey Jude: Take a bad film and make it better."

"Mother's Boys" is rated R and contains nudity and violence.

Copyright The Washington Post

A zippy, brightly coloured musical - rather like Jacques Demy on speed - which is a the present war cry from Akerman’s earlier slow, life-or-death examinations of women and their flourish. The habitat is the enclosed world of a shopping mall: on one side Lili’s whisker salon, busy with restless young shampoo girls; on the other a clothes boutique take by Monsieur Schwartz and bride Jeanne (played with a nervous false beam by Seyrig). Their son Robert lusts after Madonna-lookalike Lili, who shamelessly shifts between him and a lovelorn robber. One of her girls, Mado, is hopelessly in love with Robert. Then Jeanne’s dated American lover turns up… Akerman breathlessly switches from one group to another, merging bustling set pieces with wistful solos, until somehow the threads revile together in a celebration of tears allowing for regarding fears and rife amour. Precariously flirting with kitsch - some sections do resemble a wacky French pop special - Akerman promptly again gets away with the impossible by worthiness of her verve, perspicacity and enveloping sensuality.

Crime, Thriller

Starring
,

Marg Helgenberger

,

Henry Thomas

, Nicholas Campbell, Rick Peters

Transformers: Revenge of the Fallen movie hd

President

Brian Trenchard Smith

Producer

Diane Jeanne

Litterateur

John Pielmeier

When a young retarded mistress is found murdered, Lorraine Petrovich (Ann-Margret)–a frumpy senior citizen obsessed with SPOIL SHE WROTE–implicates her depreciatory lover as the murderer. Her admiration of Angela Lansbury gets her into trouble even if, as her search after to service the detectives (Helgenberger, Thomas) investigating her boyfriend backfires and she becomes the prime suspect. Charged with butchery, she is incarcerated with the likelihood future of finishing her sustenance in prison, but finds an excuse when the real killer leaves an ominous note–signed with a happy subdue. Based on a unelaborated story.

Annie Wilson (Cate Blanchett) is a pubescent widowed mother of three with unusual psychological
powers, which she uses to shot and better her troubled neighbours in a small Georgian town.
A particular of her regulars car mechanic Buddy Cole (Giovanni Ribisi), a screwed-up young man
tettering on the verge of a breakdown. Another is Valerie Barksdale (Hilary Swank), the
ill-fated old lady of Donnie (Keanu Reeves) a wife beater who thinks Annie is a bad
affect on his wife – and a witch. At a limited dance, she chats to the teacher at
her eldest son’s school, Wayne (Greg Kinnear) and his bride to be, Jessica (Katie
Holmes), who she spies having an issue with another retainer. When Jessica is murdered, local
policemen are baffled and clueless, and (skeptically) on stand-by on Annie to pinch. Her pourboire plays a
essential place in what turns out to be a complicated nebulousness.