Con Artists

The Sting

Winner of seven Academy Awards including Best Picture, Director, and Screenplay, this critical and box-office hit from 1973 provided a perfect reunion for director George Roy Hill and stars Paul Newman and Robert Redford, who previously delighted audiences with Butch Cassidy and the Sundance Kid. Set in 1936, the movie's about a pair of Chicago con artists (Newman and Redford) who find themselves in a high-stakes game against the master of all cheating mobsters (Robert Shaw) when they set out to avenge the murder of a mutual friend and partner. Using a bogus bookie joint as a front for their con of all cons, the two feel the heat from the Chicago Mob on one side and encroaching police on the other. But in a plot that contains more twists than a treacherous mountain road, the ultimate scam is pulled off with consummate style and panache. It's an added bonus that Newman and Redford were box-office kings at the top of their game, and while Shaw broods intensely as the Runyonesque villain, The Sting is further blessed by a host of great supporting players including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. Thanks to the flavorful music score by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently on the soundtrack. One of the most entertaining movies of the early 1970s, The Sting is a welcome throwback to Hollywood's golden age of the '30s that hasn't lost any of its popular charm. --Jeff Shannon

The Color of Money

Martin Scorsese handles directing duties in this 1986 sequel to the classic 1961 film The Hustler, which marks the return of Paul Newman to the role of pool shark Fast Eddie Felson. Anxious to break into the big time again, Eddie finds a talented protégé (Tom Cruise) to groom; but with the addition of the latter's manipulative girlfriend (Mary Elizabeth Mastrantonio) and the wild streak in Cruise's character, the trio make for a fascinating portrait in group psychology. The cast is brilliant, the script by Richard Price (Clockers) is a paragon of tightly controlled character study and drama (at least in the film's first half), and Scorsese and cinematographer Michael Ballhaus make an ornate show of the collision and flight of pool balls through space--something of a metaphor for the dynamics among the three principals. The film is generally regarded as weaker in its second half, and rightly so, as everything that was interesting in the first place disappears. Still, Newman won a deserved Oscar for his performance. --Tom Keogh

Legendary actor Paul Newman (MESSAGE IN A BOTTLE) and Academy Award(R)-nominee Tom Cruise (Best Actor, 1996, JERRY MAGUIRE) ignite the screen in this powerful drama. Brilliantly directed by Martin Scorsese (GANGS OF NEW YORK), Newman re-creates one of his most memorable roles from THE HUSTLER. As Fast Eddie Felson, he still believes that "money won is twice as sweet as money earned." To prove his point, he forms a profitable yet volatile partnership with Vince (Cruise), a young pool hustler with a sexy, tough-talking girlfriend (Mary Elizabeth Mastrantonio, THE PERFECT STORM). But when Vince's flashy arrogance leads to more than a few lost matches, all bets are off between Eddie and him. THE COLOR OF MONEY will electrify you with its suspenseful story, dazzling cinematography, and dynamic performances.

The Hot Spot

The Hot Spot is best known to lecherous film buffs for Jennifer Connelly's topless scene, but this sultry southern noir deserves more than prurient interest. It's arguably Dennis Hopper's best directorial effort (OK, so that's not saying much), and Charles Williams's source novel Hell Hath No Fury finds Hopper in a comfortable B-movie milieu, riffing on Double Indemnity with an overripe tale of sex, greed, and blackmail in an unnamed Texan town. Fresh from the final season of Miami Vice, Don Johnson stars as a shifty drifter, conning his way into a salesman job on a used-car lot, where the boss's insatiable wife (Virginia Madsen) offers him sexual favors and a lovely secretary's (Connelly) innocence is threatened by a percolating scandal. Nobody's really innocent, of course, and Hopper spices this languid web of secrets with enough trashy misbehavior to qualify The Hot Spot as a bona fide guilty pleasure. --Jeff Shannon

Don Johnson ("Nash Bridges"), Virginia Madsen (The Haunting) and Jennifer Connelly (Dark City) heat up the screen in this torrid erotic thriller from the acclaimed director of Easy Rider. Exploding in a series of suspenseful twists and passionate encounters, this "ingenious" (Los Angeles Daily News) film will keep you guessing until its final, shocking climax! Harry Madox (Johnson) is a handsome drifter who is not above larceny to make ends meet. After staging a daring daylight robbery at a local bank, he receives an alibi from an unexpected ally: Dolly Harshaw (Madsen), a sexy and mysterious local woman who has her own plans for him. But when Harry falls for another beautiful woman (Connelly), he incurs Dolly's wrath and finds himself caught in a maze of jealousy, betrayal and murder from which escape is impossible and danger is the ultimate aphrodisiac.

The Killing

Stanley Kubrick's third feature, and first screen classic, is one of the great crime films of the 1950s. The Killing was written in collaboration with Jim Thompson, who penned pulp novels like The Grifters, The Killer Inside Me, and Pop. 1280, all of which were made into classic films. This time writing directly for the screen, Thompson joined with Kubrick to concoct a story about a desperate gang of lowlifes led by a grim, determined Sterling Hayden. Together they devise and execute a complex racetrack robbery, but inner tensions and the iron fist of fate work against them. The cast is uniformly superb, with Hayden, Jay C. Flippen, Timothy Carey, Marie Windsor, and Elisha Cook Jr. fleshing out characters torn between grandiose ambition and petty desire. Cinematographer Lucian Ballard fashions distorted, starkly lit interiors that reflect the psychological tensions of the characters. He and Kubrick also create one of the most memorably ironic final sequences in film history.

The Killing is a perfect introduction to the art and joys of film noir, and its bizarre narrative structure has been copied many times since. For a terrific double feature, see it with John Huston's The Asphalt Jungle, another noir masterpiece featuring Hayden; or Paths of Glory, Kubrick's next picture, again cowritten with Thompson; or even Jackie Brown, in which Quentin Tarantino pays homage to the ways this film leaps around in time. More commercial than some of Kubrick's later work, The Killing remains a tour de force by one of the world's finest filmmakers. --Raphael Shargel

When ex-con Johnny Clay (Sterling Hayden) says he has a plan to make a killing everybody wants to be in on the action. Especially when the plan is to steal $2 million in a racetrack robbery scheme in which "no one will get hurt." But despite all their careful plotting Clay and his men have overlooked one thing: Sherry Peatty (Marie Windsor) a money-hungry double-crossing dame who's planning to make a financial killing of her own...even if she has to wipe out Clay's entire gang to do it!System Requirements:Starring: Vince Edwards Jay C. Flippen Colleen Gray Sterling Hayden Marie Windsor Directed By: Stanley Kubrick Running Time: 89 Min. Color Copyright 2003 MGM Studios.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: NR UPC: 027616770622

Wall Street

Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, Wall Street grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. --Jeff Shannon

Michael Douglas won an Oscar for perfectly embodying the Reagan-era credo that "greed is good." As a Donald Trump-like Wall Street raider aptly named Gordon Gecko (for his reptilian ability to attack corporate targets and swallow them whole), Douglas found a role tailor-made to his skill in portraying heartless men who've sacrificed humanity to power. He's a slick, seductive role model for the young ambitious Wall Street broker played by Charlie Sheen, who falls into Gecko's sphere of influence and instantly succumbs to the allure of risky deals and generous payoffs. With such perks as a high-rise apartment and women who love men for their money, Charlie's like a worm on Gecko's hook, blind to the corporate maneuvering that puts him at odds with his own father (played by Sheen's offscreen father, Martin). With his usual lack of subtlety, writer-director Oliver Stone drew from the brokering experience of his own father to tell this Faustian tale for the "me" decade, but the movie's sledgehammer style is undeniably effective. A cautionary warning that Stone delivers on highly entertaining terms, Wall Street grabs your attention while questioning the corrupted values of a system that worships profit at the cost of one's soul. --Jeff Shannon

In this riveting, behind-the-scenes look at big business in the 1980's, an ambitious young broker (Charlie Sheen) is lured into the illegal, lucrative world of corporate espionage when he is seduced by the power, status and financial wizardry of Wall Street legend Gordon Gekko (Michael Douglas). But he soon discovers that the pursuit of overnight riches comes at a price that's too high to pay.

Malice

Movie critic Roger Ebert made this amusing observation about Malice: "This is the only movie I can recall in which an entire subplot about a serial killer is thrown in simply for atmosphere." He's referring to the fact that this hokey but highly charged thriller is so packed with plot twists and red herrings that you'll soon find yourself so confused that you just have to sit back and hope that it will all make sense by the time the credits roll. It never does make much sense, but the movie at least has the look, feel, and twisted momentum of a really good thriller, and the talent on both sides of the camera is pretty impressive. Alec Baldwin plays a hot-shot surgeon who meets up with an old med-school buddy (Bill Pullman), whose wife (Nicole Kidman) has no objections when Baldwin moves into the upstairs room of their New England Victorian home. The situation's ripe for intrigue, suspicion, temptation, emergency surgery, legal proceedings, and just about anything else you'd find in a movie that desperately struggles to out-Hitchcock Hitchcock. Talk about McGuffins--this movie's chock full of 'em! When the plot thickens to the consistency and clarity of quicksand, you can still enjoy the darkly stylish work of master cinematographer Gordon Willis--or you can check out director Harold Becker's more coherent thriller Sea of Love. With Kidman and Baldwin working up a steamy lather, this one's just fun enough to be an agreeable waste of time. --Jeff Shannon

What happens when you open your home to someone who's gutsier than you, more devious than you and crafty enough to steal your life right out from under you? Plenty of Malice. Starring Alec Baldwin, Nicole Kidman and Bill Pullman and boasting an excellent supporting cast (The New York Times) that includes OscarÂ(r) winners* Gwyneth Paltrow and Anne Bancroft, this bold, riveting thriller is deviously entertaining (The New York Times). Easy-going college dean Andy Safian's (Pullman) quiet New England world has just been terribly disrupted. Two coeds have been raped, a third has been killed and the police are beginning to suspect him! At home, bills are pilingup, his wife (Kidman) is developing severe stomach cramps and the new tenanta devilishly handsome surgeon (Baldwin)is regularly entertaining nurses late into the night. Little does Andy know that all of these events are related and that he's about to be blindsided by something more daring and deadly than anything he could have ever imagined! *Paltrow: Actress, Shakespeare in Love (1998); Bancroft: Actress, The Miracle Worker (1962)

Elmer Gantry

Brothers and sisters, can we get a witness for this woeful tale of saints and sinners? Burt Lancaster earned his only Oscar as the wide-smiling, glad-handing, soul-saving charlatan Elmer Gantry, a salesman who turns his gift for preaching into a career at the pulpit. Climbing on board the barnstorming evangelical tour of revivalist Sister Sharon Falconer (Jean Simmons), a true believer in the Aimee Semple McPherson mold, Gantry declaims, invokes, and sermonizes his way to the top until a former flame-turned-prostitute (Shirley Jones in an Oscar-winning performance) threatens to reveal his dark past as a womanizer and con man. Lancaster harnesses all his physical vigor and natural charisma for this role, literally throwing himself into his preaching with the vigor of an acrobat and the sing-song delivery of a gospel singer--he even brays like a hound to show the Holy Spirit within him. Gantry is a showman, pure and simple, and while he doesn't fool true-believer Sister Sharon, he gives her a few object lessons in playing the crowd. Director Richard Brooks, who also took home an Oscar for his screenplay (adapted from the Sinclair Lewis novel), creates a rousing drama both on and off the pulpit, and provides fine roles for an excellent supporting cast, including Arthur Kennedy, Dean Jagger, John McIntire, and singer Patti Page. --Sean Axmaker

Midnight Cowboy

The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny. --Jim Emerson

Daring. Provocative. Shocking. Compelling. Nearly thirty years after its original release, "Midnight Cowboy is still heartbreakingand timeless" (The New York Observer). This Academy AwardÂ(r) winner* for Best Picture, Director and Screenplay also boasts OscarÂ(r)-nominated** performances by Dustin Hoffman and Jon Voight, neither of whom have "ever been better on screen than they are here" (Chicago Tribune)! When Joe Buck (Voight), a good-looking,naively charming Texas "cowboy" makes his way to the Big Apple to seek his fortune, the only wealthhe finds is in the friendship of Ratso Rizzo (Hoffman), a scrounging, sleazy, small-time con man with big dreams. Living on the tattered fringe of society, these two outcasts develop an unlikely bond one that transcends their broken dreams and get-rich-quick schemes and makes Midnight Cowboy "that rarest of things: [a film] every bit as moving now as it was when it was [first] released" (Premiere). *1969 **1969: Actor

House of Games

David Mamet's 1987 directorial debut was this mesmerizing study of control and seduction between two kinds of detached observers: a gambler who is also a con artist, and a psychotherapist who is also an emerging pop-psych guru in the book market. The latter (played by Lindsay Crouse) meets the former (Joe Mantegna) when one of her clients is driven to despair from his debts to the card shark. Mantegna's character agrees to drop the IOUs in exchange for Crouse's attention at the seedy House of Games in Seattle, a mecca for con men to talk shop and hustle unsuspecting customers. The shrink gets so caught up in the arcane rules and world view of her guide over subsequent days that she observes--with no false rapture--various stings in progress inside and outside the club. Mamet's story finally becomes a fascinating study of two people protecting and extending their respective cosmologies the way rival predators fight for the same piece of turf. The psychological challenge is compelling; so is the stylized dialogue, with its pattern of pauses and hiccups and humming meter. Mostly shooting at night, Mamet also gave Seattle a different look from previous filmmakers, turning its familiar puddles into concentrations of liquid neon and poisonous noir. --Tom Keogh

It's the shrink vs. the shark in the ultimate mind game! Starring OscarÂ(r) nominee* Lindsay Crouse (The Insider) and Joe Montegna (The Godfather III) as an unlikely team of conartists, this "witty and devious" (Time) psychological thriller is OscarÂ(r) nominee** David Mamet's directorial debut. It's an "extraordinary" (Newsweek) and "thrilling funhouse" (New York Post) of mental gamesmanship that will keep you guessing until its exciting end! When a suicidal patient reveals that his gambling debt has him at the end of his rope, dedicated psychiatrist Margaret Ford (Crouse) enters into the shadowy underground world of gaming to help him out. At a seedy casino, she boldly confronts Mike (Montegna), the con man who holds her patient's markers. Duped into a high-stakes poker match, Margaret becomes intoxicated by Mike's mastery, as he both cheats at the game and charms her. She quickly falls for him, turning a blind eye to the fact that he's a swindler who can't be trusted. And before long she finds herself sparring in a mental poker match of the heart with deadly consequences! *1984: Supporting Actress, Places in the Heart **1982: Writing, Screenplay Based on Material From Another Medium, The Verdict; 1997: Writing, Screenplay Based on Material From Another Medium, Wag the Dog

Havana

When Havana was released in 1990, a lot of reviewers unfavorably compared it to Casablanca, and those comparisons (in addition to audience indifference) turned the film into a box-office disaster. It deserved a better fate, because, while this is certainly no masterpiece, it's an intelligent and lavishly produced film about a chapter of history--the final days of Cuba under the collapsing Batista regime--that remains largely unfamiliar to the American mainstream. It's a compelling political backdrop for the story of a high-stakes gambler (Robert Redford) who comes to Cuba seeking the big score in poker games, following his expectation that high rollers will bet wildly as the Cuban government crashes around their heads. In Havana, Redford meets the wife (Lena Olin) of a Communist revolutionary (Raul Julia) with ties to Fidel Castro, and their attraction becomes powerfully mutual after her husband is presumed killed by Cuban police. What follows, as Cuba falls and Redford's character is forced into a crisis of conscience, is a mini-epic love story with tragic overtones, handled with great skill (albeit lagging pace) by long-time Redford collaborator Sydney Pollack. True, it's not nearly as memorable as Casablanca, but this is a worthwhile film, especially if you're interested in the political upheavals in pre-Castro Cuba. --Jeff Shannon