Film Review: Lay The Favorite (dir by Stephen Frears)

Posted on March 19, 2025 by Lisa Marie Bowman

2012’s Lay the Favorite is a movie about gambling.

Rebecca Hall stars as Beth Raymer, a dancer in Florida who makes her money by giving private shows and lap dances to paying customers. Bored and disillusioned with her life, she follows the advice of her father (Corbin Bernsen) and decides to pursue her lifelong dream of becoming a Las Vegas cocktail waitress.

(Really, that’s your dream? I mean, my mom occasionally worked as a waitress because she was essentially taking care of four girls by herself and she needed the extra money but it was hardly a lifelong dream.)

Vegas is a union town, which means that Beth can’t just walk in and start serving drinks. Instead, she gets a job working with Dink Heimowitz (Bruce Willis), a big-time gambler who hires other people to place bets for him. Dink is surprisingly nice for a professional gambler and it’s not long before Beth finds herself falling for him. Dink’s wife, Tulip (Catherine Zeta-Jones), is not happy about that. Tulip need not worry about Beth eventually ends up falling in love with a journalist named Jeremy (Joshua Jackson) and the two of them quickly become one of the most boring couples that I’ve ever seen in my life. Eventually, Tulip does demand that Dink fire Beth and Beth ends up in New York, working for a decadent gambler named Rosy (Vince Vaughn). Uh-oh — bookmaking’s illegal in New York!

Rebecca Hall is one of those performers who tends to act with a capitol A. There’s not necessarily a bad thing. Hall has given some very strong and very memorable performances, in films like Vicky Christina Barcelona, Please Give, and the heart-breaking Christine. However, when Hall is miscast — as she is in this film — her style of acting can seem overly mannered. Hall plays Beth as being a collection of quirks and twitches and nervous mannerisms and embarrassed facial expressions and the end result is that Beth comes across not as being the endearing ditz that the film wants her to be but instead as just a very annoying and very immature human being. It’s actually perfectly understandable why Tulip would demand that Dink fire her. What’s less understandable is why we should care. Myself, I wanted someone to warn Joshua Jackson because I don’t think he knew what he was getting into.

Lay The Favorite is yet another film that tries to use Las Vegas as a metaphor for American culture. That’s not a bad idea. David Lynch made great use of Vegas in Twin Peaks: The Return. Martin Scorsese did the same with Casino. However, Lay The Favorite was directed by the British Stephen Frears and, as happens so often whenever a European director tries to understand American culture, the entire film leaves you feeling as if you’re on the outside looking in. Lynch and Scorsese, for instance, both understood that Las Vegas represents both the ultimate risk and the ultimate second chance. If you have the courage, you can bet every asset that you have. And if you’re lucky, you might win. If you lose, you know you can still rebuild. Whether it’s grounded in reality or not, it’s a very American idea. Lay The Favorite, on the other hand, can’t see beyond the glitz of the strip and the harsh concrete reality of a nearby apartment complex. It’s portrait of Vegas is as superficial as a tourist’s postcard. Thematically, Lay The Favorite feels as empty and predictable as its double entendre title.

On the plus side, Bruce Willis, Vince Vaughn, and Catherine Zeta-Jones all gave better performances that the film probably deserved. Willis, especially, gives a poignant performance as temperamental, henpecked, and good-natured Dink. Bruce Willis spent so much time as an action star that it was often overlooked that he was a very good character actor. Even in a bad film like this one, Willis came through.

14 Days of Paranoia #6: The Player (dir by Robert Altman)

Posted on February 20, 2025 by Lisa Marie Bowman

1992’s The Player tells the story of Griffin Mill (Tim Robbins).

It’s not easy being Griffin Mill. From the outside, of course, it looks like he has the perfect life. He’s a studio executive with a nice house in Hollywood. He’s young. He’s up-and-coming. Some people, especially Griffin, suspect that he’ll be the president of the studio some day. By day, he sits in his office and listens to pitches from respected screenwriters like Buck Henry. (Henry has a great idea for The Graduate II!) During the afternoon, he might attends dailies and watch endless takes of actors like Scott Glenn and Lily Tomlin arguing with each other. Or he might go to lunch and take a minute to say hello to Burt Reynolds. (“Asshole,” Burt says as Griffin walks away.) At night, he might go to a nice party in a big mansion and mingle with actors who are both young and old. He might even run into and share some sharp words with Malcolm McDowell.

But Griffin’s life isn’t as easy as it seems. He’s constantly worried about his position in the studio, knowing that one box office failure could end his career. He fears that a new executive named Larry Levy (Peter Gallagher) is after his job. Two new screenwriters (Richard E. Grant and Dean Stockwell) keep bugging him to produce their downbeat, no-stars anti-capitol punishment film. His girlfriend (Cynthia Stevenson) wants to make good movies that mean something. Even worse, someone is sending Griffin threatening notes.

It doesn’t take long for Griffin to decide that the notes are coming from a screenwriter named Dave Kahane (Vincent D’Onofrio). Griffin’s attempt to arrange a meeting with Dave at a bar so that Griffin can offer him a production deal instead leads to Griffin murdering Dave in a parking lot. While the other writers in Hollywood mourn Dave’s death, Griffin starts a relationship with Dave’s artist girlfriend (Great Scacchi) and tried to hide his guilt from two investigating detectives (Whoopi Goldberg and Lyle Lovett). Worst of all, the notes keep coming. The writer, whomever they may be, is now not only threatening Griffin but also seems to know what Griffin did.

After spend more than a decade in the industry wilderness, Robert Altman made a critical and commercial comeback with The Player. It’s a satire of Hollywood but it’s also a celebration of the film industry, featuring 60 celebrities cameoing as themselves. Everyone, it seems, wanted to appear in a movie that portrayed studio execs as being sociopathic and screenwriters as being whiny and kind of annoying. The Player both loves and ridicules Hollywood and the often anonymous men who run the industry. Largely motivated by greed and self-preservation, Griffin may not love movies but he certainly loves controlling what the public sees. In the end, only one character in The Player sticks to her values and her ideals and, by the end of the movie, she’s out of a job. At the same time, Griffin has a social life that those in the audience can’t help but envy. He can’t step out of his office without running into someone famous.

The Player is one Altman’s most entertaining films, with the camera continually tracking from one location to another and giving as a vision of Hollywood that feels very much alive. Tim Robbins gives one of his best performances as Griffin Mill and Altman surrounds him with a great supporting cast. I especially liked Fred Ward as the studio’s head of security. With The Player, Altman mixes melodrama with a sharp and sometimes bizarre comedy, with dialogue so snappy that the film is as much a joy to listen to as to watch. That said, the real attraction of the film is spotting all of the celebrity cameos. (That and cheering when Bruce Willis saves Julia Roberts from certain death.) Altman was a director who often used his films to explore eccentric communities. With The Player, he opened up his own home.

Previous entries in 2025’s 14 Days Of Paranoia:

Film Review: Assassin (dir by Jesse Atlas)

Posted on December 13, 2023 by Lisa Marie Bowman

Assassin tells the story of Alexa (Nomzamo Mbatha), a soldier whose husband (Mustafa Shakir) was a member of secret government program in which people would allow their minds to be transferred into the bodies of strangers so that those strangers could then be used to assassinate America’s enemies. When Alexa’s husband ends up in a coma as a result of trying to assassinate Adrian (Dominic Purcell), Alexa is forcefully recruited into the program and is sent to complete her husband’s mission.

That may sound like it would make for an intriguing film but Assassin is pretty dull. Neither Nomzamo Mbatha nor Dominic Purcell give particularly interesting performances and the film’s plot and themes were far better explored in Brandon Cronenberg’s Possessor. Watching the film, I found it impossible to have much sympathy for Alexa because she was not only murdering people but she was also ruining the lives of the innocent people who she ended up possessing. The fact that her husband was in a coma didn’t excuse any of that. If anything it made Alexa even less sympathetic. After seeing what being an assassin did to her husband, why would Alexa want any of that?

Towards the end of the film, one of Alexa’s targets realizes that Alexa is possessing someone else’s body. Alexa’s handler announces that she’s going to pull Alexa out of the body and then “get the wet team to take this guy out.” If you have a team that can do it, why are you wasting time with possessing other people’s bodies? Why would you decide to use the most complicated plan available when you could just simply send in a team and or have a drone blow up the guy’s house? It’s almost as if the program is designed to be too complex to work. As I watched the film, I suddenly started to understand why the CIA was never able to take out Castro. Sometimes, people just make things complicated for no reason.

Sadly, Assassin is also the final film of Bruce Willis. Willis plays Valmora, the guy who is in charge of the Assassin program. As was typical of Willis’s final films, he only gets a few minutes of screen time and he spends most of that time either sitting down or standing in a corner. Willis, even though he obviously wasn’t in the best of health when he shot this film, still projects enough natural authority to be believable as Valmora. Even though it’s obvious that he’s repeating lines that were fed to him just a few minutes before shooting, Willis still gives the most (and perhaps only) credible performance in the film.

Assassin is a sad note for Bruce Willis to go out on. Of Willis’s final batch of films, the best were Gasoline Alley, Corrective Measures, and Wire Room. Assassin, however, is just dull and anyone tempted to watch it just because of Willis’s presence would be better served to go rewatch Die Hard, Pulp Fiction, The Sixth Sense, 12 Monkeys, or …. well, really, any other movie that Bruce Willis ever appeared in. Bruce Willis was one of our greatest movie stars and nothing, not even films like Assassin, can change that.

Retro Television Reviews: Miami Vice 1.8 “No Exit”

Posted on October 30, 2023 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show is currently streaming on Tubi!

This week, Bruce Willis comes to Miami!

Episode 1.8 “No Exit”

(Dir by David Soul, originally aired on November 9th, 1984)

Tony Amato is a complete monster.

He’s an arms dealer, one who is responsible for machine guns showing up all over Miami. When he’s not selling guns to drug dealers, he’s plotting to sell rocket launchers to terrorists. He’s a crude and a violent man who has suddenly gotten very wealthy and who likes to show off his money. He lives in a pink, art deco mansion. He has a beautiful wife named Rita (Katherine Borowitz), who he regularly abuses. Miami Vice wants to arrest him to get the guns off the street. The federal government wants to arrest him so that they can get their rocket launchers back. And Rita …. well, Rita just wants to hire someone to kill him.

Tony Amato is a memorable character because of just how thoroughly evil he actually is. He’s a criminal because he enjoys it and it doesn’t bother him that his weapons can lead to innocent people dying. Tony is also memorable because he’s played by Bruce Willis. This was Willis’s first credited acting role. (He had appeared as an extra in a few movies before this.) Willis got the role on the recommendation of Don Johnson, who remembered Bruce as being the bartender at one of his favorite New York bars. Though there’s not a lot of depth to the role, Willis does get to show off the cocky confidence that would later become his trademark.

As for the episode, it’s dark even by the standards of Miami Vice. The episode opens with a violent chase and gunfight in the streets of Miami and it ends, just as the previous episode did, with an abused spouse probably throwing their life away to get revenge. We watch as Tubbs, Crockett, and Lester (Julio Oscar Mechesco) sneak into Tony’s mansion and manage to bug the place before Tony returns home. They set up their survelliance operation on Crockett’s boat. Of course, things pretty much fall apart as soon as the federal agents show up and demand to be allowed to oversee the operation.

While the Miami cops and the federal agents fight over jurisdiction, Crockett tries to help Rita escape from her husband. He approaches her while she’s waiting to meet with a hitman and convinces her to let the cops handle it. He promises her that he will put Tony away, even though he knows nothing is ever that simple. Both Katherine Borowitz and Don Johnson do a good job in their scenes together. Deep down, Crockett knows that he’s giving Rita false hope but he can’t bring himself to admit it.

Tubbs, once again, gets to break out his Jamaican accent as he goes undercover as a terrorist who is in the market for Tony’s rocket launchers. Through Tubbs’s hard work, Tony is arrested but, on the steps of the courthouse, two new government agents demand that Tony be released because they’ve determined him to be a potential asset in their own Central American operations. Tony smirks as his handcuffs are removed. Rita appears on the steps, demanding to know why Tony is being set free. She pulls a gun from her purse. We got a freeze frame of Sonny shouting, “NO!” as a gunshot echoes on the soundtrack. Tony may be dead (and we never specifically see whether Rita’s aim was true or not) but his guns are still on the streets, the people he sold to are still free, and the only person going to prison is going to be an abused wife.

Like I said, this was a dark episode. This is one of those episodes that left the viewer to wonder why Cockett and Tubbs even bothered to make the effort. In the end, all their hard work added up to nothing. For Crockett, the case became about saving Rita but the government was more concerned about their own shady schemes that protecting its citizens. Of course, even if Tony had been sent to prison, someone else would have taken his place. That’s life in Miami.

Icarus File No. 11: The Bonfire of the Vanities (dir by Brian De Palma)

Posted on September 25, 2023 by Lisa Marie Bowman

In 2021, I finally saw the infamous film, The Bonfire of the Vanities.

I saw it when it premiered on TCM. Now, I have to say that there were quite a few TCM fans who were not happy about The Bonfire of the Vanities showing up on TCM, feeling that the film had no place on a station that was supposed to be devoted to classic films. While it’s true that TCM has shown “bad” films before, they were usually films that, at the very least, had a cult reputation. And it is also true that TCM has frequently shown films that originally failed with audiences or critics or both. However, those films had almost all been subsequently rediscovered by new audiences and often reevaluated by new critics. The Bonfire of the Vanities is not a cult film. It’s not a film about which one can claim that it’s “so bad that it’s good.” As for the film being reevaluated, I’ll just say that there is no one more willing than me to embrace a film that was rejected by mainstream critics. But, as I watched The Bonfire of the Vanities, I saw that everything negative that I had previously read about the film was true.

Released in 1990 and based on a novel by Tom Wolfe, Bonfire of the Vanities stars Tom Hanks as Sherman McCoy, a superficial Wall Street trader who has the perfect penthouse and a painfully thin, status-obsessed wife (Kim Cattrall). Sherman also has a greedy mistress named Maria (Melanie Griffith). It’s while driving with Maria that Sherman takes a wrong turn and ends up in the South Bronx. When Sherman gets out of the car to move a tire that’s in the middle of the street, two black teenagers approach him. Maria panics and, after Sherman jumps back in the car, she runs over one of the teens. Maria talks Sherman into not calling the police. The police, however, figure out that Sherman’s car was the one who ran over the teen. Sherman is arrested and finds himself being prosecuted by a power-hungry district attorney (F. Murray Abraham). The trial becomes the center of all of New York City’s racial and economic strife, with Sherman becoming “the great white defendant,” upon whom blame for all of New York’s problems can be placed. Bruce Willis plays an alcoholic journalist who was British in the novel. Morgan Freeman plays the judge, who was Jewish in the novel. As well, in the novel, the judge was very much a New York character, profanely keeping order in the court and spitting at a criminal who spit at him first. In the movie, the judge delivers a speech ordering everyone to “be decent to each other” like their mothers taught them to be.

Having read Wolfe’s very novel before watching the film, I knew that there was no way that the adaptation would be able to remain a 100% faithful to Wolfe’s lacerating satire. Because the main character of Wolfe’s book was New York City, he was free to make almost all of the human characters as unlikable as possible. In the book, Peter Fallow is a perpetually soused opportunist who doesn’t worry about who he hurts with his inflammatory articles. Sherman McCoy is a haughty and out-of-touch WASP who never loses his elitist attitude. In the film, Bruce Willis smirks in his wiseguy manner and mocks the other reporters for being so eager to destroy Sherman. Hanks, meanwhile, attempts to play Sherman as an everyman who just happens to live in a luxury penthouse and spend his days on Wall Street. Hanks is so miscast and so clueless as how to play a character like this that Sherman actually comes across as if he’s suffering from some sort of brain damage. He feels less like a stockbroker and more like Forrest Gump without the Southern accent. There’s a scene, written specifically for the film, in which Fallow and Sherman ride the subway together and it literally feels like a parody of one of those sentimental buddy films where a cynic ends up having to take a road trip with someone who has been left innocent and naïve as result of spending the first half of their life locked in basement or a bomb shelter. It’s one thing to present Sherman as being wealthy and uncomfortable among those who are poor. It’s another thing to leave us wondering how he’s ever been able to successfully cross a street in New York City without getting run over by an angry cab driver.

Because the film can’t duplicate Wolfe’s unique prose, it instead resorts to mixing cartoonish comedy and overwrought melodrama. It doesn’t add up too much. At one point, Sherman ends a dinner party by firing a rifle in his apartment but, after it happens, the incident is never mentioned again. I mean, surely someone else in the apartment would have called the cops about someone firing a rifle in the building. Someone in the press would undoubtedly want to write a story about Sherman McCoy, the center of the city’s trial of the century, firing a rifle in his own apartment. If the novel ended with Sherman resigned to the fact that his legal problems are never going to end, the film ends with Sherman getting revenge on everyone who has persecuted him and he does so with a smirk that does not at all feel earned. After two hours of being an idiot, Sherman suddenly outthinks everyone else. Why? Because the film needed the happy ending that the book refused to offer up.

Of course, the film’s biggest sin is that it’s just boring. It’s a dull film, full of good actors who don’t really seem to care about the dialogue that they are reciting. Director Brian De Palma tries to give the film a certain visual flair, resorting to his usual collection of odd camera angles and split screens, none of which feel at all necessary to the story. In the end, De Palma is not at all the right director for the material. Perhaps Sidney Lumet could have done something with it, though he would have still had to deal with the less than impressive script. De Palma’s over-the-top, set piece-obsessed sensibilities just add to the film’s cartoonish feel.

The film flopped at the box office. De Palma’s career never recovered. Tom Hanks’s career as a leading man was momentarily derailed. Bruce Willis would have to wait a few more years to establish himself as a serious actor. Even the normally magnanimous Morgan Freeman has openly talked about how much he hated being involved with The Bonfire of the Vanities. That said, the film lives on because De Palma allowed journalist Julie Salomon to hang out on the set and the book she wrote about the production, The Devil’s Candy, is a classic of Hollywood non-fiction. (TCM adapted the book into a podcast, which is how The Bonfire of the Vanities came to be featured on the station.) Thanks to Salomon’s book, The Bonfire of the Vanities has gone to become the epitome of a certain type of flop, the literary adaptation that is fatally compromised by executives who don’t read.

Previous Icarus Files:

Film Review: Detective Knight: Independence (dir by Edward Drake)

Posted on July 3, 2023 by Lisa Marie Bowman

The Detective Knight trilogy comes to a close with Detective Knight: Independence.

If you haven’t been keeping up with the wonderfully pulpy adventures of Detective James Knight, here’s a quick refresher of what happened last year. First off, in Detective Knight: Rogue, Detective Knight (Bruce Willis) sought vengeance after his partner, Fitz (Lochlyn Munro), was seriously wounded during a robbery. Fitz recovered but not before Knight has dispensed some vigilante justice of his own. The surviving bad guys went to prison but sadly, so did Detective Knight.

Fortunately, Detective Knight was released from prison in Detective Knight: Redemption. He was released because a cult of people who dressed up like Santa Claus and who chanted, “Ho! Ho! Ho!” while committing their crimes were terrifying the city. With the help of Detective Knight, the police were able to stop the Santa Cult.

In Detective Knight: Independence, Knight is once again on the police force. He and Fitz are still quick to shoot first and ask questions later. That said, Knight is trying to make amends with his estranged wife and spend more time with his daughter. That’s not going to be easy, though, because there’s a new threat in town …. just in time for the 4th of July!

Dezi (Jack Kilmer) is an EMT who has always dreamt of being a cop. Unfortunately, he’s never been able to qualify for the force. Even when he shows up at a cop bar and just tries to have a beer in peace, the bartender approaches him with a baseball bat and two detective toss him out of the place. When Dezi is subsequently fired for refusing to give aid to a wounded man (the man in question was a bank robber and Detective Fitz actually told Dezi to go help a bleeding civilian in the bank and leave the robber to die), Dezi snaps. First, Dezi steals a uniform, a badge, and a gun. After dispensing some vigilante justice on some muggers, Dezi decides that he would like to rob a bank. Yes, you read that correctly. In just a matter of hours, Dezi goes from pretending to be a cop to pretending to be a criminal. As the film progresses, it starts to become pretty clear why the police force didn’t want to hire this guy in the first place.

Unfortunately, for Dezi, his fellow EMT and occasional lover, Ally (Willow Shields), had a connection to Detective Knight and soon, Knight is on Dezi’s trail. It all leads to a 4th of July confrontation on a baseball field.

Even though Bruce Willis is playing the title character, he’s not present for much of Detective Knight: Independence. As with the other two Detective Knight films, it’s obvious that Willis was only on set for a day or two. While Willis is still a physically imposing actor, there’s none of the wise guy swagger that made Willis a star. Instead, Detective Knight is a fairly grim character. As always, it’s a bit difficult to watch Willis in films like this, especially with the knowledge of his recent health struggles. That said, the Detective Knight films are definitely the best of Willis’s final films and, despite the limitations imposed by his health, Willis comes across well in them. Considering that this is Willi’s final film, certain lines hit in a way that they otherwise might not.

As with the previous Detective Knight films, the majority of the screen time is given over to the man that the Detective is pursuing. Jack Kilmer gives a strong performance as the unbalanced Dezi. When he first appears, he’s almost a sympathetic character. The cops were being bullies when they kicked him out of their bar. His boss was being unreasonable when she announced that, rather than suspend him, she was just going to fire him because she didn’t like his attitude. When Dezi first puts on his stolen badge and uniform, it’s hard not to sympathize with his happiness because he finally has what he wants. But almost immediately, the power goes to his head and he loses control. He becomes a frightening character but still, it’s hard not to feel sorry for him as he yells, “I’m not the bad guy!” Of course, Dezi is the bad guy and the tragedy of his character is that he’ll never be able to understand why that is.

He’s right, you know.

For those of us who remember him in films like Die Hard, Pulp Fiction, and The Sixth Sense, late-era Bruce Willis films can be difficult to watch and I understand and respect why some people simply can’t bring themselves do it. And, obviously, several of Willis’s later films do leave one feeling as if the actor has been exploited by filmmakers who cared less about his legacy and more about making money off of his name. That said, the Detective Knight films do not feel exploitive, certainly not in the way that many of his 2022 films did. Instead, the trilogy serves as a tribute to Willis and his status as one of the world’s most popular movie stars. As pulpy as it may be, Detective Knight: Independence allows Bruce to go out on a good note.

Film Review: Paradise City (dir by Chuck Russell)

Posted on May 3, 2023 by Lisa Marie Bowman

Ian Swan (Bruce Willis) is a famed bounty hunter who has spent the last ten years of his life pursuing an escaped fugitive who is wanted for the cold-blooded murder of four FBI men. Swan has tracked his prey to Hawaii but, when he’s shot and falls into the ocean, Swan is presumed dead. Swan’s long-estranged son, Ryan (Blake Jenner), comes to Hawaii to try to track down the man who killed his father. He meets up with Ian’s former partner, Robbie Cole (Stephen Dorff), and also the only cop on the island who cares about justice, Savannah (Praya Lundberg). Reluctantly, Cole works with Ryan and discovers that Ian’s shooting is somehow connected to a shady businessman named Arlene Buckley (John Travolta). A real estate developer, Buckley is working hard to elect a man named Kane (Branscombe Richmond) to the U.S. Senate. Buckley’s plan also involves taking control of a part of the Island that the natives call Paradise City. Got all that?

2022’s Paradise City has been advertised as being a John Travolta/Bruce Willis film but make no mistake. Neither Travolta nor Willis get much screen time, though they both make an impression in the limited time that they do have. Stephen Dorff manages to steal every scene in which he appears, playing Robbie as a well-meaning guy who can’t help but be kind of a screw-up. That said, Dorff really isn’t in that much of the film either. Instead, the main star of the film is Blake Jenner. Jenner has the blandly affable screen presence of a low-key frat boy. That worked for him when he was in films like Richard Linklater’s Everybody Wants Some!! but it’s not exactly ideal for an action star. Whereas the best action stars feel as if they’re always ready for a fight, Jenner comes across as the guy who would be trusted to order the keg for the next party.

Instead of taking charge of the screen, Jenner finds himself overshadowed by the gorgeous Hawaiian scenery. Hawaii is the true star of Paradise City and, even when the film itself doesn’t make a whole lot of sense, Hawaii itself is always amazing to look at. In many ways, Paradise City feels like an extra-violent episode of Baywatch Hawaii. (The film’s Baywatch aesthetic is confirmed when Savannah wears a bikini to a crime scene.) Just as with that show, the beaches and the jungles and the waterfalls and the oceans are all so stunning that it’s tempting to give the film a pass on the fact that the plot never makes much sense and any genuine emotional stakes are pretty much non-existent.

Unfortunately, it’s impossible to ignore the plot because, for a low-budget B-movie, Paradise City takes itself way too seriously. It’s one thing for Ryan to be estranged from his father. It’s another thing for the film to feature flashbacks to Ryan’s childhood, in which we discover firsthand that Ian never understood Ryan. It’s also one thing to make Buckley a family man. It’s another thing try to create a clumsy parallel between the way that Buckley is raising his son and the way that Ian raised Ryan. As opposed to films like Gasoline Alley or the Detective Knight films, Paradise City seems to be trying too hard to be something that it isn’t. Instead of just embracing its pulpy style and trying to entertain, the film is determined to tug at the audience’s heartstrings and make a statement about evil land developers. The film forgets that, sometimes, just being entertaining is the best thing that a film can be.

This was one of the last films that Bruce Willis made before it was announced that he would be retiring from acting. Watching the film, it’s easy to tell that a stand-in was used for most of Willis’s action scenes. When Willis delivers the majority of his lines, it’s hard not to miss the wiseguy energy that used to be his trademark. That said, when Willis is acting opposite Travolta and Dorff, he shows a bit of his old spark. The two scenes in which he confronts John Travolta are the best in the film. For a few minutes, he seems like the Bruce Willis who we all remember and it’s hard not to get a bit emotional watching two talented (if often underappreciated) actors acting opposite each other for what will probably be the last time.

Paradise City is not a particularly memorable film and the overly complicated plot is next to impossible to follow but I am happy that the cast and the crew got to hang out in Hawaii for a bit. It’s a lovely place to visit.

Film Review: Detective Knight: Redemption (dir by Edward Drake)

Posted on May 1, 2023 by Lisa Marie Bowman

2022’s Detective Knight: Redemption picks up where Detective Knight: Rogue ended.

After having been arrested in front of his wife and daughter, football player-turned-criminal Casey Rhodes (Beau Mirchoff) has been sent to prison. In the same prison is Rhodes’s nemesis, former Detective James Knight (Bruce Willis). Knight has been imprisoned for murdering the two villains from Detective Knight: Rogue, finally answering the age-old question of what happens to an action hero after the end credits roll. In prison, both men meet Ricky Conlan (Paul Johansson), a former convict who is now a chaplain. Conlan is big on encouraging everyone in prison to set aside their differences and come together as one big community of sinners seeking redemption.

Meanwhile, as Christmas approaches, New York City finds itself under siege. Terrorists are dressing up like Santa Claus and robbing banks, chanting “Ho! Ho! Ho!” as they do so. Their leader alternates between handing out candy canes and tossing live grenades at people. He becomes known as The Christmas Bomber and he announces that he’s only robbing the banks to get back at the 1%. He’s a revolutionary, you see.

He’s also a prison chaplain. That’s right, Ricky Conlan is the Christmas Bomber and he’s decided that Casey is going to be newest member of his operation! He even stages a jailbreak, releasing the entire population of Riker’s onto the streets of New York. The only prisoner who voluntarily chooses not to escape is Detective Knight. Impressed by his refusal to escape when he had the chance, NYPD Capt. Anna Shea (Miranda Edwards) arranges for Detective Knight to be released from prison so that he can head up the search for Conlan and the commie Santas.

Meanwhile, Knight’s partner, Eric Fitzgerald (Lochlyn Munro), has traveled to New York to help out with the investigation. In the previous movie, when we last saw Detective Fitzgerald, he was in the hospital after having been shot by Casey Rhodes. Fitzgerald may be in a wheelchair now but he’s still good with a gun and he also mentions that the doctors think that he should be able to walk again by Memorial Day. Fitzgerald doesn’t let being in a wheelchair prevent him from investigating and confronting New York’s power brokers, including the oily mayor (John Cassini).

Detective Knight: Redemption was one of the films that Bruce Willis filmed shortly before the announcement that he would be retiring from acting. Though he’s definitely the main attraction here and he still looks convincing firing a gun during the film’s finale, Willis’s screen time is limited and it’s also obvious that a stand-in was used for a few of the scenes that involved his character. There are a handful of fleeting moments where we get to see some hints of the wiseguy charisma that was Willis’s trademark but, for the most part, Detective Knight is written to be a man of few words. When he made this film, Willis still had his screen presence but it’s still difficult to watch with the knowledge that he was struggling with his health during filming.

With Willis largely sidelined, it falls to Munro, Johansson, and Mirchoff to keep the action moving and all three of them prove themselves to be up to the challenge. Johansson, in particular, is so wonderfully over-the-top in his villainy that it’s impossible not to be entertained whenever he’s onscreen. The film’s plot does have a few interesting twists. Conlan presents himself as being a revolutionary who is dedicated to bringing down the 1% but Casey eventually realizes that, much like Die Hard‘s Hans Gruber, he’s ultimately just a greedy thief. Conlan’s gang is a mix of hardened escaped prisoners who are looking for revenge on the system and confused kids who quickly discover that the revolution is a lot scarier than they thought it would be. The story may sometimes be too quick to ask the viewer to suspend their disbelief but the plot moves quickly and, just as he did with Gasoline Alley, director Edward Drake doesn’t allow the film’s low budget to prevent him from choreographing a few impressive action scenes.

Ultimately, of course, the main reason to see Detective Knight: Redemption is that it features a bunch of Santa Clauses chanting “Ho! Ho! Ho!” while robbing banks. Who can resist that?

Film Review: Detective Knight: Rogue (dir by Edward Drake)

Posted on March 18, 2023 by Lisa Marie Bowman

Once upon a time, Casey Rhodes (Beau Mirchoff) was a football star. He was a quarterback. Everyone expected great things from him. He was going to be the next Tom Brady. But then a knee injury took him out of the game and a subsequent drug addiction took him out of mainstream society. Now, Casey makes his living pulling off robberies. He may be a criminal but he’s not a bad-hearted one. He may carry a gun but he tries not to shoot anyone who doesn’t shoot at him first. Working with him are a former baseball player named Mike (Trevor Getzky) and Nikki (Keeya King), who is the smartest member of the crew.

Despite Casey’s attempts to do his job with as little violence as possible, a gunfight does break out during one robbery in Los Angeles. When Detectives James Knight (Bruce Willis) and his partner, Eric Fitzgerald (Lochlyn Munro), interrupt the robbery, Fitzgerald ends up getting shot multiple times as Casey and his crew make their escape. With Fitzgerald in the hospital, Knight decides to follow the crew to New York and take out both them and their boss, a former Internal Affairs officer named Winna (Michael Eklund). It turns out that there’s a history between Knight and Winna. Knight wants his revenge on Winna but, at the same time, Winna knows some dark secrets from Knight’s past.

Though it works as a stand-alone film, 2022’s Detective Knight: Rogue is actually the first part of a trilogy that follows the adventures of Detective Knight. (Detective Knight: Redemption was released at the end of 2022 while Detective Knight: Independence came out last month.) The Detective Knight films were among the last of the movies in which Bruce Willis appeared before announcing his retirement. It can be strange to watch Willis’s final films, knowing what we know about what he was going through at the time that he made them. Though he’s definitely the star of the film, Willis is used sparingly in Detective Knight: Rogue and there’s little of the cocky attitude that we tend to associate with Willis’s best roles. Instead, he’s a grim avenger, determined to get justice for both his partner and himself. Willis is convincing in the role, even if the film is edited in such a way that the viewer gets the feeling that a stand-in may have been used for some of the long-shots involving Detective Knight. That said, Willis still looks convincing carrying a badge and a gun and it’s nice to see a Willis film where he’s again playing a hero instead of a villain.

As the football player-turned-thief, Beau Mirchoff gets more screentime than Willis but, fortunately, Casey is an interesting character and Mirchoff gives a strong performance as a criminal who would rather be a family man and who is desperately looking for a way to make up for the mistakes of his past. Towards the end of the film, he does a flawless job delivering a surprisingly well-written monologue about how he went from being a football star to being a common thief. Mirchoff’s strong performance adds a good deal of ambiguity to the film. The criminals aren’t necessarily that bad at heart and, as we learn, the good guys haven’t always been angels in the past. Detective Knight: Rogue becomes more than just another low-budget thriller. It becomes a meditation of regret and redemption.

Detective Knight: Rogue took me by surprise. As directed by Edward Drake (who was also responsible for another effective late Bruce Willis starrer, Gasoline Alley), it’s an intelligent thriller and it’s one that pays tribute to Bruce Willis as an action icon. It’s proof that a good story can sometimes be found where you least expect it.

10 Oscar Snubs From the 1990s

Posted on March 12, 2023 by Lisa Marie Bowman

Ah, the 90s. Some would say that this was the last good decade that the world would ever experience. It was certainly a good decade for films! Still, there were some notable Oscar snubs during this decade. Here are ten of them.

1990: Ray Liotta Is Not Nominated For Goodfellas

The fact that Ray Liotta did not even receive a nomination for playing Henry Hill in Goodfellas will always astound me. While the film did receive several nominations (and really, it should have won the majority of them), Ray Liotta was snubbed despite the fact that it was his performance that pretty much held the film together. Alec Baldwin, Tom Cruise, and Val Kilmer were among those who were considered for the role before Liotta received it. They’re all fine actors but it’s hard to imagine any of them bringing Henry to life quite as well as Ray Liotta.

1991: John Goodman is Not Nominated for Barton Fink

“I WILL SHOW YOU THE LIFE OF THE MIND!”

It’s a little bit amazing that John Goodman has never received an Oscar nomination. I don’t think he’s ever been scarier (and, in his way, more poignant) than when he played Charley “Mad Man Mundt” Meadows in Barton Fink.

1993: The Age of Innocence Is Not Nominated For Best Picture

While we’re on the subject of Scorsese films that were snubbed by the Academy, it’s amazing to me that Scorsese’s witty, smart, and visually stunning adaptation of The Age of Innocence did not receive a Best Picture nomination.

1993: Dazed and Confused Is Completely Snubbed

Okay, maybe this one isn’t as surprising as the Academy snubbing as Scorsese picture. Even today, it’s doubtful that the Academy would embrace a film about a bunch of stoned Texas high school kids. Still, it bothers me that Dazed and Confused received not a single nomination. It’s certainly better remembered than many of the films that were nominated that year.

1995: Heat Is Completely Ignored

Considering that the film is now regularly cited as one of the best crime films ever made, it’s interesting to note that the Academy totally ignored Heat. The film received no acting nominations. Michael Mann was not nominated for his skill in juggling several different storylines. The film didn’t even receive any technical nominations. The cinematography was ignored. You would think that the massive shoot-out would have gotten the film a nomination for Best Sound Editing but, even in that category, Heat was ignored.

Needless to say, Heat was not nominated for Best Picture. The 1995 Best Picture line-up has always seemed like an odd mix of films, with Babe, Apollo 13, Sense and Sensibility, and Il Postino all losing out to Mel Gibson’s Braveheart. Apollo 13 and Sense and Sensibility didn’t even receive nominations for their directors, Ron Howard and Ang Lee. It was an odd year, I guess. Heat was not the only acclaimed film to miss out on a Best Picture nomination but at least Casino, Leaving Las Vegas, and Dead Man Walking still received nominations in other categories. Heat was totally snubbed.

1996: Steve Buscemi Is Not Nominated For Fargo

Despite being a cultural institution, Steve Buscemi has never received an Oscar nomination. I would have nominated him for Fargo.

1997: Boogie Nights Is Not Nominated For Best Picture, Best Director, or Best Actor

Despite receiving two acting nominations for Burt Reynolds and Julianne Moore and a screenplay nomination, Boogie Nights missed out on the big award. To be honest, I have a feeling that the film would have been nominated if it had been released today. But, in the year of Titanic, the Academy may not have been ready to embrace a film about the Golden Age of Porn. And they certainly weren’t ready to embrace Mark Wahlberg, despite his award-worthy performance of The Touch. Given a choice, the Academy will always embrace the James Camerons of the world before it embraces the Jack Horners. That said, as we saw in the film, Dirk and Angels Live In My Town swept the AFAA awaards and that’s the important things.

1997: Billy Zane Is Not Nominated For Titanic

C’mon, he was the best thing about the movie! If Billy Zane can’t receive a nomination for shouting, “I hope you’ll be very happy together!” while chasing Leo and Kate through a sinking ship, what is the point of even having the Oscars?

1999: Reese Witherspoon Is Not Nominated For Best Actress For Election

Reese Witherspoon’s performance as Tracey Flick is iconic precisely because it feels so real. Everyone has known as Tracey Flick. Everyone has been annoyed by a Tracey Flick. Everyone has hoped for a Tracey Flick to fail. And everyone has inwardly lost a little faith in karma as the Tracey Flicks of the world have continued to find work as mid-level bureaucrats. In fact, I imagine that might be the reason why Reese Witherspoon was not nominated for her outstanding performance in Election. No one wanted to reward Tracey Flick.

1999: Bruce Willis Is Not Nominated For Best Actor For The Sixth Sense

Seriously, everyone really took him for granted. Just try to imagine The Sixth Sense with someone else in his role.

Agree? Disagree? Do you have an Oscar snub that you think is even worse than the 10 listed here? Let us know in the comments!

Up next: A new century brings new snubs!