Lovett, Lyle

Fear and Loathing in Las Vegas

The original cowriter and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a perfect match in filming Hunter S. Thompson's psychotropic masterpiece of "gonzo" journalism. Unfortunately Cox departed due to the usual "creative differences," and this ill-fated adaptation was thrust upon Terry Gilliam, whose formidable gifts as a visionary filmmaker were squandered on the seemingly unfilmable elements of Thompson's ether-fogged narrative. The result is a one-joke movie without the joke--an endless series of repetitive scenes involving rampant substance abuse and the hallucinogenic fallout of a road trip that's run crazily out of control. Johnny Depp plays Thompson's alter ego, "gonzo" journalist Raoul Duke, and Benicio Del Toro is his sidekick and so-called lawyer Dr. Gonzo. During the course of a trip to Las Vegas to cover a motorcycle race, they ingest a veritable chemistry set of drugs, and Gilliam does his best to show us the hallucinatory state of their zonked-out minds. This allows for some dazzling imagery and the rampant humor of stumbling buffoons, and the mumbling performances of Depp and Del Toro wholeheartedly embrace the tripped-out, paranoid lunacy of Thompson's celebrated book. But over two hours of this insanity tends to grate on the nerves--like being the only sober guest at a party full of drunken idiots. So while Gilliam's film may achieve some modest cult status over the years, it's only because Fear and Loathing is best enjoyed by those who are just as stoned as the characters in the movie. --Jeff Shannon

Fear and Loathing in Las Vegas - Criterion Collection

The original cowriter and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a perfect match in filming Hunter S. Thompson's psychotropic masterpiece of "gonzo" journalism. Unfortunately Cox departed due to the usual "creative differences," and this ill-fated adaptation was thrust upon Terry Gilliam, whose formidable gifts as a visionary filmmaker were squandered on the seemingly unfilmable elements of Thompson's ether-fogged narrative. The result is a one-joke movie without the joke--an endless series of repetitive scenes involving rampant substance abuse and the hallucinogenic fallout of a road trip that's run crazily out of control. Johnny Depp plays Thompson's alter ego, "gonzo" journalist Raoul Duke, and Benicio Del Toro is his sidekick and so-called lawyer Dr. Gonzo. During the course of a trip to Las Vegas to cover a motorcycle race, they ingest a veritable chemistry set of drugs, and Gilliam does his best to show us the hallucinatory state of their zonked-out minds. This allows for some dazzling imagery and the rampant humor of stumbling buffoons, and the mumbling performances of Depp and Del Toro wholeheartedly embrace the tripped-out, paranoid lunacy of Thompson's celebrated book. But over two hours of this insanity tends to grate on the nerves--like being the only sober guest at a party full of drunken idiots. So while Gilliam's film may achieve some modest cult status over the years, it's only because Fear and Loathing is best enjoyed by those who are just as stoned as the characters in the movie. --Jeff Shannon

On a business trip to Las Vegas, renegade journalist Raoul Duke and his friend Dr. Gonzo must resort to the unthinkable and try to act normally.
Genre: Feature Film-Comedy
Rating: R
Release Date: 18-FEB-2003
Media Type: DVD

The Player (Special Edition) (New Line Platinum Series)

A wicked satirical fable about corporate backstabbing--and actual murder--in the movie business, The Player benefits from director Robert Altman's long and bitter experience working within, and without, the Hollywood studio system. Rising young executive Griffin Mill (Tim Robbins) is tormented by threats from an anonymous writer. The pressure and paranoia build until Griffin loses control one night and semi-accidentally kills screenwriter David Kahane (Vincent D'Onofrio), who may or may not be the source of the threats. From that point, Griffin's life and career begin to fall apart. In keeping with the ironic spirit of the film itself, Altman's scathingly funny attack on the moral bankruptcy of Hollywood was embraced by many of the same people it was intended to savage, and restored the director to commercial and critical favor. Michael Tolkin adapted the screenplay from his own novel, and the movie is studded with cameos by famous faces, many of whom appear as themselves. The digital video disc includes a commentary track with Altman and Tolkin, some deleted scenes, a documentary about Altman, and a key to help identify more than 50 of the picture's big-name cameos. --Jim Emerson

Short Cuts - Criterion Collection

If aliens came down to earth to see if humanity was worth saving, showing them Short Cuts, Robert Altman's bluesy riff on life in L.A. in the '90s, would not be a good idea. Based on the stories of Raymond Carver (adapted by Altman and Frank Barhydt), this ambitious film is a devilish valentine to living in L.A., where happiness comes at a premium. There are at least eight separate stories that crisscross, most about people who choose not to relate to the lives they are living. Seemingly by design, none of the stories (nor the performances for that matter) have more impact than the others--this is a true mosaic film. The most representative plot deals with a group of friends (Buck Henry, Fred Ward, and Huey Lewis) who decide to keep fishing even after discovering a body in the river. The story works as a morose comedy and a flag holder for the movie: the inability to take the correct action. Others would rather talk about seeing Alex Trebek than discuss their faltering relationships. A huge and talented cast twists in the wind, bumping into moments of truth, sex, and passion. Some even come out all right in the end. The accidental nature of life--a common theme in many Altman films--has never been so maddeningly persistent, or absorbing. The score by Mark Isham with songs sung by Annie Ross (also a cast member) fuels the moodiness, as does the opening number in which Medfly helicopters spray the town to the tune "Prisoner of Life." Delivering the film a year after his biggest hit in two decades, The Player, Altman proved his artistic tenacity as an aged artist with the heart of a new filmmaker: he's not afraid of risking it all. --Doug Thomas

The work of two great American artists merge in Short Cuts, maverick director Robert Altman's kaleidoscopic adaptation of the stories of renowned author Raymond Carver. Epic in scale yet meticulously observed, the film interweaves the stories of twenty-two characters struggling to find solace and meaning in contemporary Los Angeles. The extraordinary ensemble cast includes Tim Robbins, Julianne Moore, Robert Downey, Jr., Jack Lemmon, and Jennifer Jason Leigh—all giving fearless performances in one of Altman's most compassionate creations.

The Opposite of Sex

Christina Ricci had a great year in 1998. The young actress continued to cast off her youthful image from the Addams Family movies and made a big splash on the independent movie scene, especially in this scathingly witty comedy in which Ricci has the central role. Here she plays Dedee, a buxom, sexually precocious teenager who's pregnant, cynical, and looking for a volunteer father for her unborn child. This takes her to the home of her gay half-brother (Martin Donovan) whose current lover (Ivan Sergei) becomes Dedee's latest target for seduction. That's just the start of the mischief that Dedee so masterfully orchestrates, and Lisa Kudrow (from TV's Friends) is also on hand to deliver some of the movie's most quotable dialogue while fending off the affection of a local policeman played by Lyle Lovett. If all this sounds rather sordid, rest assured that the movie's got a warm heart (well, sort of) beating beneath all of its sharp-edged sarcasm. Writer-director Don Roos (Single White Female) injects most of the movie's appeal and humor through Dedee's voice-over narration, which constantly reminds us that even the most familiar movie clichés can be cleverly overturned. As a result, The Opposite of Sex is the opposite of boring. --Jeff Shannon

A ruthless sixteen-year-old escapes her rotten Louisiana life, to the suburban Indiana home of her half-brother Bill, where she proceeds to seduce his live-in boyfriend Matt, steal $10,000 and lead a cast of devious characters on a cross-country chase toLos Angeles.Los Angeles.
Genre: Feature Film-Comedy
Rating: R
Release Date: 17-NOV-1998
Media Type: DVD

Breast Men

David Schwimmer and Chris Cooper star in an outrageous comedy based on a true story that takes you behind the scenes of one of the scientific world's most impactful discoveries. From the hip 60's to the happening 70's and into the excessive 80's two young doctors change the shape of America and raise the outstanding question of our time. . . ' 'Are they real?' 'Running Time: 92 min.Format: DVD MOVIE Genre: COMEDY UPC: 026359147029 Manufacturer No: 91470

Based on actual, if enhanced, facts, this bouncy comedy stars David Schwimmer and Chris Cooper as the Texas surgeons who pumped up women's profiles by inventing silicone breast implants in 1962. Dispensing scathing social commentary, this follows the mismatched and rather unsympathetic pair over three decades. Cooper, an often underrated actor, breaks away from his usual typecasting as a laconic cowboy. He plays an angry, Machiavellian doctor who sees potential and enormous financial reward in Schwimmer's gelatinous inventions. Schwimmer displays more range than we've previously seen, and there are some interesting supporting faces amid all that jiggly silicone. It is not the vulgar farce you might expect from the title, but a stylish blend of comedy and drama. --Rochelle O'Gorman

The New Guy

Aimed at teens with numb senses of humor, The New Guy earns its chuckles mostly by accident. Most of the comedy is DOA, although the cast--especially DJ Qualls in the title role--possesses a modicum of scrappy charm. DJ plays a "blip" on his high school's social radar, briefly jailed for chronic misbehavior and mentored in coolness by a fellow inmate (Eddie Griffin), who becomes the funky "new guy" at a new school, where he's worshipped as a mysterious hipster and attracts the hottest cheerleader (Eliza Dushku). Directed without a shred of inspiration (by a cowriter of There's Something About Mary) and looking like a drab 16-millimeter industrial film, the movie would be a waste of time were it not for its abiding cheerfulness, rock-star cameos (Henry Rollins, Gene Simmons, Tommy Lee), Lyle Lovett as DJ's dad, and a fresh cast that almost makes this lowbrow mess worthwhile. --Jeff Shannon

Bastard out of Carolina

This fine but shocking drama (which Ted Turner paid for and then refused to show on his cable outfits), based on the novel by Dorothy Allison, concerns extensive abuse endured by a girl (Jena Malone) at the hands of her stepfather (Ron Eldard), while her mother (Jennifer Jason Leigh) looks the other way. Anjelica Huston made her directorial debut with this film and demonstrates that talent also runs in the family when behind the camera. Difficult to watch but mitigated by Huston's intelligent approach and sense of balance--as well as outstanding performances--this is a significant film best left to the most mature audiences. --Tom Keogh

The New Guy (Director's Cut)

Aimed at teens with numb senses of humor, The New Guy earns its chuckles mostly by accident. Most of the comedy is DOA, although the cast--especially DJ Qualls in the title role--possesses a modicum of scrappy charm. DJ plays a "blip" on his high school's social radar, briefly jailed for chronic misbehavior and mentored in coolness by a fellow inmate (Eddie Griffin), who becomes the funky "new guy" at a new school, where he's worshipped as a mysterious hipster and attracts the hottest cheerleader (Eliza Dushku). Directed without a shred of inspiration (by a cowriter of There's Something About Mary) and looking like a drab 16-millimeter industrial film, the movie would be a waste of time were it not for its abiding cheerfulness, rock-star cameos (Henry Rollins, Gene Simmons, Tommy Lee), Lyle Lovett as DJ's dad, and a fresh cast that almost makes this lowbrow mess worthwhile. --Jeff Shannon

Cookie's Fortune

Dedicated fans of Robert Altman will want to check out this drowsy Southern comedy, which is shot through with the director's feel for location and his musical sense of storytelling. Non-Altman fanatics might want to tread more carefully. Cookie's Fortune begins beautifully, as handyman Willis (Charles S. Dutton) staggers home from a blues club in the small town of Holly Springs, Mississippi. In the wee hours of a warm night, he has an affectionate chat with elderly matriarch Jewel Mae "Cookie" Orcutt (the grand Patricia Neal) and the gentle history of their friendship is sketched in a few brief exchanges. Soon enough, Cookie has checked out of this world to join her dear departed husband, prompting her nieces to make the suicide look like a murder---to protect the dubious family name, of course. They are the local drama diva (Glenn Close), a Scarlett O'Hara in her own mind, and her dreamy sister (Julianne Moore), who ain't quite right in the head. Will Willis be blamed for the murder? Will the inheritance go to the nieces? Will Liv Tyler and Chris O'Donnell find a place to express their lust? None of these questions is especially burning, and Altman doesn't seem terribly anxious about the answers. Instead, he aims for a particular kind of laid-back quirky southern comedy, unevenly filtered through his screen of sour irony. Like a jazzman blowing improv, some of this works and some of it doesn't. Speaking of music, the film boasts a nifty R&B soundscape devised by former Eurythmics man David Stewart, with a boost from blues belter Ruby Wilson. --Robert Horton