Noland, Charles

Wayne's World

TV's Saturday Night Live has been like the evil twin of the legendary alchemist's stone, which supposedly could turn lead into gold. SNL usually does the opposite, taking rich comic premises from short skits and extrapolating them into overblown and unfunny full-length films. ("The Coneheads"? Puh-leeze!) But this film proved to be the exception, thanks to Mike Myers's wonderfully rude lowbrow humor and his full-bodied understanding of who his character is. Wayne Campbell (Myers) and his nerdy pal Garth (Dana Carvey) are teens who live at home and have their own low-rent cable-access show in Aurora, Illinios, in which they celebrate their favorite female movie stars and heavy-metal bands. When a Chicago TV station smells a potential youth-audience ratings hit, the station's weasely executive (Rob Lowe) tries to coopt the show--and steal Wayne's new rock & roll girlfriend (Tia Carrere) at the same time. It's filled with all kinds of knowing spoofs of movie conventions, from Wayne talking to the camera (and forbidding other characters to do so) to hilariously self-conscious product placements and labeling a moment a "Gratuitous Sex Scene." Dumb--and very funny. --Marshall Fine

Temptations abound when Wayne and Garth are offered a fat contract to tape their late night show at a sleazy TV executive's network.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 24-JUN-2003
Media Type: DVD

Wayne's World 1 & 2 - The Complete Epic

Desperate Measures

Call it "Desperate Movie," because this ludicrous thriller deteriorates into unintentional comedy. For reasons that are never explained, a sociopathic killer (Michael Keaton) is the only available bone marrow donor for the cancer-stricken son of a San Francisco cop (Andy Garcia), who must capture the killer alive after a laughable escape in a labyrinthine hospital. The ensuing manhunt relies on plentiful plot holes and ridiculous shortcuts (like Keaton's use of a surgical laser to cut leg irons, or accessing hospital schematics from a prison computer). Self-consciously shot in film noir style, the cat-and-mouse routine leads to a briefly impressive car chase, but the premise (which even the movie's original press notes described as "intriguing, if unlikely") is based on "moral ambiguity" that doesn't translate from script to screen. Instead of forcing Keaton's typically "sick genius" to prove his ingenuity, the film pits him against a squad of cops who couldn't find a beer in a crowded pub. --Jeff Shannon

Break Up

No Description Available.
Genre: Feature Film-Drama
Rating: R
Release Date: 5-APR-2005
Media Type: DVD

The Servants of Twilight

Servants of Twilight

The Break Up [Region 2]

Desperate Measures [Region 2]

Call it "Desperate Movie," because this ludicrous thriller deteriorates into unintentional comedy. For reasons that are never explained, a sociopathic killer (Michael Keaton) is the only available bone marrow donor for the cancer-stricken son of a San Francisco cop (Andy Garcia), who must capture the killer alive after a laughable escape in a labyrinthine hospital. The ensuing manhunt relies on plentiful plot holes and ridiculous shortcuts (like Keaton's use of a surgical laser to cut leg irons, or accessing hospital schematics from a prison computer). Self-consciously shot in film noir style, the cat-and-mouse routine leads to a briefly impressive car chase, but the premise (which even the movie's original press notes described as "intriguing, if unlikely") is based on "moral ambiguity" that doesn't translate from script to screen. Instead of forcing Keaton's typically "sick genius" to prove his ingenuity, the film pits him against a squad of cops who couldn't find a beer in a crowded pub. --Jeff Shannon

The Break Up [Region 2]

Desperate Measures [Region 2]

Call it "Desperate Movie," because this ludicrous thriller deteriorates into unintentional comedy. For reasons that are never explained, a sociopathic killer (Michael Keaton) is the only available bone marrow donor for the cancer-stricken son of a San Francisco cop (Andy Garcia), who must capture the killer alive after a laughable escape in a labyrinthine hospital. The ensuing manhunt relies on plentiful plot holes and ridiculous shortcuts (like Keaton's use of a surgical laser to cut leg irons, or accessing hospital schematics from a prison computer). Self-consciously shot in film noir style, the cat-and-mouse routine leads to a briefly impressive car chase, but the premise (which even the movie's original press notes described as "intriguing, if unlikely") is based on "moral ambiguity" that doesn't translate from script to screen. Instead of forcing Keaton's typically "sick genius" to prove his ingenuity, the film pits him against a squad of cops who couldn't find a beer in a crowded pub. --Jeff Shannon