Writers

Where the Buffalo Roam

Bill Murray is in his early-career, shambling glory as Hunter S. Thompson, the gonzo journalist with a fondness for Wild Turkey and firearms. While Murray does not do as exact an impersonation of Thompson as Johnny Depp (in Fear and Loathing in Las Vegas), he does capture Thompson's dazed, anarchic nature. Unfortunately, the movie around him is just anarchic: a series of episodes (true or invented) from Dr. Thompson's career, circa 1968-72. The haphazard structure is probably meant to suggest the spirit of the counterculture or something, but it's just flabby storytelling. Thanks to Murray's blissful delivery, there are scenes that have a stoned giddiness to them: Thompson and his attorney (Peter Boyle) terrifying an unsuspecting hitchhiker, or Thompson alone in a men's room with Richard Nixon. Neil Young contributes some music, and Murray warbles "Lucy in the Sky with Diamonds" while drunkenly piloting a plane. --Robert Horton

Funny Farm

George Roy Hill (Butch Cassidy and the Sundance Kid) directed this 1988 comedy that gives star Chevy Chase one of his better-quality vehicles. Chase plays a New York sportswriter who turns to the country for a simpler, happier way of living. He discovers, of course, that things don't work out that way. Hill's usual touch with comic timing, tone, and dialogue give Chase a rare career opportunity to be part of something a little classier than most of his other movies; but Funny Farm nevertheless has its share of so-what gags. Still, the film's overall tone is winning and laid-back, and it makes for nice escapist fare. --Tom Keogh

Paris When It Sizzles

Paris When It Sizzles is an unusual screwball comedy to say the least. Whether it works is another matter, but the premise and humor are interesting enough to make it enjoyable. The basic problem with the film is its two stars: William Holden and Audrey Hepburn hardly sizzle with onscreen chemistry, and Hepburn's character, Miss Simpson, falls far too easily into the hands of Holden's drunken screen writer. However, the story is an interesting play on the typical Hollywood romance, with two plotlines running in parallel to each other. Holden's Richard Benson has only two days to finish a script for an enigmatic producer (Noel Coward). Hepburn's Miss Simpson is drafted in as the typist and as the script is dictated it manifests itself on the screen, allowing the two lead characters to play out any number of romantic stories. It's the cameo appearances in the imaginary world that really steal the show, with the blink-and-you'll-miss-it last screen appearance by Marlene Dietrich, as well as Tony Curtis having fun with his own screen persona. Not one of Hepburn or Holden's best, but worth a look purely for the interesting slant on the mechanical nature of Hollywood's romances. --Nikki Disney

A screenwriter daydreams with his new secretary in paris instead of meeting a producers deadline. Studio: Paramount Home Video Release Date: 08/22/2006 Starring: William Holden Frank Sinatra Run time: 110 minutes Rating: Nr Director: Richard Quine

Bullets Over Broadway

One of Woody Allen's best films of the '90s, Bullets over Broadway stars John Cusack as a virtual Woody surrogate, a neurotic, Jazz Age writer whose new play sounds wooden and unrealistic to a low-level mobster (Chazz Palminteri) assigned to watch over his boss's actress-girlfriend (Jennifer Tilly). When the hood starts contributing better story ideas and dialogue than what the official playwright can conjure, questions (not unlike those of Amadeus) about the price we pay to make art at the expense of other responsibilities are intriguingly raised. Palminteri gives a very interesting performance as the enforcer waking up to the desperate (and almost feminine) demands of his own creative psyche, and Dianne Wiest (who won an Oscar), Tracey Ullman, Jim Broadbent, and Jennifer Tilly are very funny together playing the ensemble cast of Cusack's play. --Tom Keogh

Big city mobsters and the Broadway stage collide hilariously in this side-splitting all-star comedy that had audiences and critics rolling in the aisles! John Cusack (SERENDIPITY, HIGH FIDELITY) stars as David Shayne, an idealistic young writer who'll do anything to get his first Broadway play off the ground -- even if it means teaming up with the mob! Surrounded by a wacky cast of characters including a gangster's ditzy girlfriend (Jennifer Tilly, LIAR, LIAR), a tipsy actress (Dianne Wiest in her Academy Award(R)-winning performance -- Best Supporting Actress, 1994), and a mob hit man (Chazz Palminteri, THE USUAL SUSPECTS), Shayne's got to pull it all off before the curtain falls and bullets start to fly!

Deconstructing Harry

Woody Allen roared back at his detractors with Deconstructing Harry, a bitterly funny treatise about the creative process. Known to mine his often tumultuous personal life for his movies, the embattled writer-director-star didn't bother to make his alter ego likable in this movie: Harry Block (Allen) pops pills, frequents prostitutes, and cheats on the women in his life, then writes about their foibles in thinly disguised fiction. No wonder they're all furious with him. As Harry journeys to his alma mater with a hooker, ill pal, and kidnapped son, a series of flashbacks unravel, juxtaposing Harry's relationships with their "slightly exaggerated" fictional counterparts. There are amusing cameos throughout, including a humorous turn by Demi Moore as a fictitious ex-wife who "became Jewish with a vengeance," and Billy Crystal as the devil who found Hollywood too nasty for his liking. The humor is dark and caustic, but well worth it; Deconstructing Harry is a near-brilliant mediation on the sometimes queasy relationship between art, creator, and critic. --Diane Garrett

Delirious

You keep waiting for what should be a wild comedy to really take off, but this film sputters along without truly achieving liftoff. John Candy plays a writer for a TV soap opera whose life is as lovelorn as his show is packed with passion. A bump on the head, however, and it's Wizard of Oz time--except that Candy is now trapped in the world of his soap, with the advantage of knowing everyone's secrets, as well as what's going to happen next. Better yet, he's able to strike romantic sparks with characters whose actors (in real life) won't give him the time of day. But cuddly Candy isn't much of a romantic lead and the writing is too flat to let him really shine, even among a cast that includes Raymond Burr, David Rasche, and Emma Samms. --Marshall Fine

A soap opera writer gets hit on the head and wakes up as a character in his own show. Studio: Tcfhe/mgm Release Date: 04/16/2002 Starring: John Candy Raymond Burr Run time: 96 minutes Rating: Pg Director: Tom Mankiewicz

Celebrity

Woody Allen's portrait of the celebrity life--as seen through the eyes of a newly divorced couple--is a black-and-white, New York-style La Dolce Vita that's a chillier flip side to Allen's earlier New York valentine, Manhattan. Despite a few missteps, though, it's an admirable (if dark) and worthy addition to the Allen pantheon. Kenneth Branagh and Judy Davis (both boasting American accents) star as the once-marrieds, each struggling to build new, separate lives in a media-saturated, celebrity-driven world. He tries his hands at celebrity profiles (while peddling a screenplay to any star that will listen) and falls into the lap of a bosomy starlet (Melanie Griffith), the first in a long line of briefly attainable women. She runs into a producer (Joe Mantegna) who offers her a job as a TV personality as well as a loving relationship. This seemingly simple double plot is punctuated with twists and turns in the form of flashbacks and innumerable side trips, all ravishingly photographed in black and white by the legendary Sven Nykvist, and populated by one of Allen's largest casts ever; if you blink you'll miss countless cameos by Isaac Mizrahi, Donald Trump, Hank Azaria, and a host of others.

While Davis is splendid as usual (aside from the requisite nervous breakdown scene she's done one too many times), somebody should have told Branagh to put a kibosh on his Woody Allen imitation, which is so impeccable as to become irritating. His failure in the role, however, isn't entirely his fault, as it's also another in a long line of unlikable male protagonists that Allen has created, as if daring audiences to hate his main characters after loving them in such movies as Manhattan and Annie Hall. He's never more unlikable than in a painful sequence in which he tags along with a spoiled, temperamental teen idol (a shrewd and clever Leonardo DiCaprio) and proves himself the quintessential noodge. Far more enjoyable misadventures with Branagh include Charlize Theron in the film's best performance as a libidinous supermodel with a penchant for echinacea; a stunning Famke Janssen as a successful book editor Branagh almost moves in with; and Winona Ryder, acting like an adult for the first time, as an aspiring actress who catches Branagh's eye more than once. All manage to slip through Branagh's fingers by the end of the film.

Despite the film's lack of focus, Allen aficionados will want this film for at least two wonderful moments, one in which Davis seeks solace from a streetwise fortune teller after she's fleeing her own wedding, and a beautiful nighttime scene in which Branagh romances a captivated Ryder at a subway kiosk. Both episodes prove that Allen, despite the fitful period he's moved into, still has that movie magic. --Mark Englehart

Join an all-star cast in a hysterical look at the pleasure and the pitfalls of fame and fortune. The lives of a newly divorced couple take decidely different turns. They each tracel down a hysterical path paved with supermodels movie stars and the people we all love to celebrate. Studio: Buena Vista Home Video Release Date: 05/03/2005 Starring: Leonardo Dicaprio Judy Davis Run time: 113 minutes Rating: R Director: Woody Allen

Breakin' All the Rules (Special Edition)

A hysterical romantic comedy about a man who after being dumped by his fiancee pens a how-to book on breaking up & becomes a best-selling author on the subject. Not wanting his male friends to suffer the same fate he gives them advice on dumping their mates. What ensues is a hiarious comedy of errors. Studio: Sony Pictures Home Ent Release Date: 01/04/2005 Starring: Jamie Foxx Gabrielle Union Run time: 85 minutes Rating: Pg13

Jamie Foxx proves a winning romantic lead in the surprisingly subtle Breakin' All the Rules. When Quincy (Foxx, Ali, Collateral) gets brutally dumped by his fiancee, he researches the psychology of firing employees to create a break-up guide--a guide to a kinder, gentler break-up. His cousin Evan (Morris Chestnut, The Brothers) is afraid that his girlfriend is going to dump him, so he asks for Quincy's help, setting in motion a web of mistaken identities that snares Evan's girlfriend Nicky (Gabrielle Union, Bring It On), Quincy's boss Philip (a wonderfully squirmy Peter MacNicol), and a blithe gold digger named Rita (Jennifer Esposito, Dracula 2000). Writer/director Daniel Taplitz gives his characters, if not three dimensions, then two and a half--comedy comes out of their personalities instead of lame gags. Add in some unpredictable plot twists, genuine chemistry between Foxx and Union, and the result is genuinely fun. --Bret Fetzer

Hav Plenty

Lee plenty is an almost broke would-be novelist and haviland savage is rich and very beautiful woman and his friend. When she invites him to her home for new years eve they start to build up a romance. The fun and laughs begin when the once dateless plenty becomes a magnet for women. Studio: Buena Vista Home Video Release Date: 01/25/2005 Starring: Nia Long Hill Harper Run time: 84 minutes Rating: R

The Muse

Comic writer-director Albert Brooks (Lost in America, Defending Your Life, Mother) specializes in difficult characters. Not characters who are neurotic in a fumbling but endearing Woody Allen kind of way; Brooks creates characters who would be a pain in the ass to know and are sometimes kind of excruciating to even watch--which is not to say that they're not also extremely funny. However, The Muse manages to soften the edges of his persona while sustaining the humor. Steven (Brooks), a screenwriter, can't get anyone interested in his scripts. An extremely successful friend recommends that he talk to Sarah (Sharon Stone), who is--according the friend--a muse, one of the daughters of the Greek god Zeus who inspire creativity. The only problem is that Sarah not only gives, she takes: She demands gifts of diamond necklaces, expensive hotel rooms, late-night trips to expensive restaurants, and virtual servitude from whomever she's taken under her wing. This initially arouses suspicion in Steven's wife, Laura (Andie MacDowell), but soon Laura is asking for her own inspiration and it's Steven who starts to get jealous. Stone runs wild with her capricious character and an abundance of tart cameos (from Martin Scorsese, James Cameron, Rob Reiner, Jennifer Tilly, Cybill Shepherd, and Wolfgang Puck) add juice to the proceedings. --Bret Fetzer