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Like its predecessor Ocean's Eleven, Ocean's Twelve is a piffle of a caper, a preposterous plot given juice and vitality by a combination of movie star glamour and the exuberant filmmaking skill of director Steven Soderbergh (Out of Sight, The Limey). The heist hijinks of the first film come to roost for a team of eleven thieves (including the glossy mugs of Brad Pitt, Matt Damon, Bernie Mac, and Don Cheadle), who find themselves pursued not only by the guy they robbed (silky Andy Garcia), but also by a top-notch detective (plush Catherine Zeta-Jones) and a jealous master thief (well-oiled Vincent Cassel) who wants to prove that team leader Danny Ocean (dapper George Clooney) isn't the best in the field. As if all that star power weren't enough--and the eternally coltish Julia Roberts also returns as Ocean's wife--one movie star cameo raises the movie's combined wattage to absurd proportions. But all these handsome faces are matched by Soderbergh's visual flash, cunning editing, and excellent use of Amsterdam, Paris, and Rome, among other highly decorative locations. The whole affair should collapse under the weight of its own silliness, but somehow it doesn't--the movie's raffish spirit and offhand wit soar along, providing lightweight but undeniable entertainment. --Bret Fetzer ... Read more

Reviews (197)

Please spare us Ocean's Thirteen
Genre: Comedy, Mystery

Genre Grade: A-

Final Grade: B-

This was a good follow-up to the first movie, although it did not even get close to matching the thrill of it. The story was MUCH weaker in this one, most of it contrived so confusingly that when you find out the outcome you are mad at how they took such an easy way out. You either like the tricks they do in this movie or you feel cheated. Or you feel a little of both, as I did.

I can't say much about the plot because there are so many spoilers, but I will say there is a big surprise with one of the characters from the first movie that is quite funny. Some people hated it (one of the "cheap" moments) but I thought it was great. There are many plot holes but director Soderbourgh keeps you so interested in the characters and flashy style of the movie that you might not even notice them. No other director could get away with it, that's for sure.

There is mild controversy over who, exactly, is Ocean's twelfth member. I honestly can't say 100% for sure because there are three people who could be considered as such. But there is one person who seems a little more likely to be that person because of a certain...event?

In conclusion, I hope that if Soderbourgh decides to give us another helping of this franchise that he gets a much more clever story for Ocean's Thirteen...

The real theft;steal your money with a bad sequel!
Hollywood returns to "independent" type cuts, erroneously assuming that it is the latest cash crop craze.So they hire youngsters to waste film and money shooting scenes that distract from quality dialogue, acting, and storyline.This is an excellent example of how NOT to make a movie.Don't waste your time unless you are a film student wishing to learn from others' mistakes.Not worth the price of popcorn!

Don't Waste Your Money
This movie should never have been made. It was dull and unispiring. The acting seemed forced and rather then everyone playing a part, a few characters were seen through out and nothing more. If you truly liked Ocean's 11 then leave it at that. My personal recommendation is that you do not watch this movie and rather just stick with the first film. You will be better off by far.

Save your money
Wow - what a bad movie. The all-star cast needs to exercice better judgment before accepting parts like these. The favorite side characters you'll remember from the first movie and played by solid/enjoyable actors (Don Cheadle, Bernie Mac, etc...) are left with meaningless lines and no part to play. Brad Pitt's on camera eating habits in the first movie were something to smile at, in this one, it's simply annoying. Julia Roberts pretending to be Julia Roberts - what a stretch for the writers! The camera action is exhausting and attempts to add pace to a movie that does not have any. The plot is so twisted, it's unbelievable and ... without any interest. Soderbegh has done some excellent movies - this is probably his worst. Save your money, don't fall for the marketing hype. If you want Clooney at his clever and charming best, get "Out of Sight". If you want some good Soderbergh (nice camera work, interesting cinematography), get "Traffic". And I can't come up with something decent to suggest for Pitt since "Seven" or "Fight Club".

Much better than expected
Quite a few people I know told me the movie wasn't good so I didn't go see it on big screen. Now that I've watched in on DVD, surprisingly I quite like it and actually think it's as good as its prequel [in a different way though].

I like the combination of light action, romance, comedy, and a bit of suspense here. The strongest point of the movie must be a medley of huge stars [Clooney, Pitt, Damon, Garcia, Zeta Jones,Roberts]. Even supporting actors are all first-class! All of them play their parts really really well and even the supporting cast could hold their own against the big actors. It is amazing that you can feel a burst of energy and charms from these people in almost every scence. I actually felt like watching a celebrity party in a way, LOL.

Another thing I like in the movie is the sizzling romance. They didn't even have to use cheap sex scenes to tell the story. The chemistry between Clooney and Roberts is okay and the Pitt-Jones pairing is just incredible.

More good things: neat script with lots of funny quirky lines, good editing and delicious outfitting [but well we all know that Clooney, Pitt, Damon, Zeta Jones, and Roberts would look good even if they wore paperbags!]

Okay, now the weak points: The plot is kinda weak and not very believable. The movie could be confusing at times. I had to watch it twice to pick up some of the details. Also, those who go in expecting series of action would surely be disappointed. There is not a single violent scene in the movie if I remember correctly. The suspense element is not too good either. What else, there is not a whole lot of high tech gadgets for this Ocean's 12. Maybe these are why some people don't like this sequel as much as Ocean's 11.

So to sum it up, I think it's a fun movie if you watch it as a romantic comedy. The movie can't quite boast its action and suspense elements though.

Recommendation: Rent it and you'll get good two hours of entertainment. I bought the DVD just because I like many many funny scenes in the movie and wouldn't mind watching them over and over again.



... Read more

Reviews (51)

A funny, warm comedy all audiences will enjoy!
I recommend you all go see this movie! Tom Hanks plays an immigrant named Viktor Navorski from the Eastern European country of Krekozhia who travels to New York City on a personal mission. Upon arriving to the U.S., Navorski finds out that his country has had a civil war. As a result, he can neither return to his country nor enter the U.S. until the civil war ends and if the U.S. recognizes Krekozhia's new government.
He is left stranded at J.F.K. airport and is then ordered by Homeland Security officials to remain in the airport's international transit lounge until peace returns to his country. During the time he is there, Navorski finds out that the terminal is a world in itself where he experiences things like ambition, generosity, amusement status as well as romance with a beautiful flight attendant he meets played by Catherine Zeta-Jones.
Meanwhile, the Homeland Security supervisor who originally ordered Viktor to remain in the terminal considers him a problem he has a hard time controling in the system he oversees and a glitch he wants to quickly erase.
This film also touches on the bureaucratic non-sense immigrants have to endure when they come here. Aside from its (what I percieve to be) indirect political statement, overall, The Terminal is a funny and warm comedy audiences of all kinds can enjoy.

"Do you have an appointment?"
If you're looking for a sweet, poignant comedy, The Terminal is the movie for you. Tom Hanks stars as Victor, fresh off the plane from a small Eastern European country whose government was overthrown while he was inflight. Until the U.S. recognizes the new regime, his passport is invalid and he cannot leave the airport, according to the security chief (Stanley Tucci). Victor proceeds to make himself at home in the terminal, befriending some airport workers and even starting a romance with a lovely but flawed flight attendant (Catherine Zeta-Jones).

This movie is simply a joy. Hanks' innocent-but-wise character is so likable that you are cheering for him all the way as he becomes involved in the lives of his quirky airport friends (lead by the scene-stealing Kumar Pallana), gets a good-paying airport job, and shows what a decent and caring man he is. Tucci is perfect as the humorless security man who watches as Victor's stay in the terminal stretches to nine months. Zeta-Jones is interesting as a troubled woman who collects men, and her character adds some reality and even saddness to the otherwise fantasy-world of Victor's airport.

The Terminal is a feel-good comedy with an excellent script and an amazing set that will make you think it was really filmed in an airport. Fans of Tom Hanks will add Victor to his long list of loveable characters. Highly recommended.

Great movie... just too long!
Wow. This is an amazing movie. One of Tom Hank's best, and one of Catherine Zeta-Jones's worst. She is the only disappointment in this movie. She is normally I very good actress but in this movie she is just... I don't know...her and Tom Hanks don't really click. Her portrayal of a somewhat ditzy, emotionally distraught flight attendant is wimpy and a little boring. The three people who befriend Tom Hanks in this movie, the janitor and the other two people... who he plays poker with... have great supporting roles and their careers should sky-rocket now. So...if it is such a great movie why do I only give a a four star rating? BECAUSE IT IS SOOOOOOOO LONG! It is about two hours and eight minutes long which doesn't seem terribly long (especially after seeing Return of the King twice in one day), but it is almost like there could be twelve endings...and it seems like its almost over then BAM! a pan to another scene. That is the only reason it gets four stars. But go see it anyways. Its one of those movies that, even though you might now watch it all the time... it is one that you will love watching a couple times a semester ( I'm a Jr.High student and movies are like... one of my favorite things in the world). Anyway great flick, go see it, and when it comes out buy it.

Terminal, indeed.
For all Steven Spielberg's directorial gifts, brevity is not one of them. The worst film he has made since "1941" 25 years ago, "The Terminal" is aptly named - a 90-minute concept stretched a full hour beyond its expiration date, with only a accent-bearing, shambling Tom Hanks to accompany us.

Spielberg's film fails on more than one level, but mostly because he saddles the central plot - a man forced to live in the international terminal of New York's JFK Airport - with a collection of either forgotten or underdeveloped side stories that pay lip service to diversity - a Latino, a black guy, a black girl, an Indian janior, a beautiful stewardess - without making much of use of them until the last half-hour, when these cardboard cutouts suddenly claim a stake in the game.

You think "Return of the King" had too many endings? Just wait. And wait.

Hanks is Viktor Navorski, a native of the fictional Krakovia, where rebels have overthrown the government. Viktor is in New York on a trip whose motiviation remains unspecified until very late in the film. With his country in the throes of a coup, his passport and visa are no longer valid. Homeland Security agent Frank Dixon (Stanley Tucci) tells Viktor bluntly with a bag of chips smashed by an apple: Viktor can't go home, and he can't go to New York. He's shown the terminal, and the doors to New York through which he cannot pass.

What follows is a mix of Frank Capra fable and a human jungle version of Hanks' "Cast Away." Viktor builds a makeshift bed out of torn seats at an abandoned gate; he finds quarters to buy Burger King cheeseburgers (at a cheaper cost than you'd ever find in an airport); he makes friends with a baggage handler (Chi McBride), the janitor (Kumar Pallanatucci) and a food service worker (Diego Luna) smitten with an INS agent (Zoe Saldana); and he flirts with the Midwestern stewardness (a perky Catherine Zeta-Jones), a psuedo-intellectual who is the mistress of a wealthy, married man.

Viktor also turns down Dixon's offers to help him into New York, where he can become, Dixon thinks, "someone else's problem." Viktor won't leave on his own. He refuses asylum. Dixon won't detain Viktor until he's broken some law, although, I would think, taking payments under the table to do construction work in the airport is reasonably illegal.

The movie's turning point occurs when a Russian man threatens to kill himself unless he's allowed to deliver Canadian medicine to his dying father; Dixon calls in Viktor to translate, and Viktor's solution, clever as it may be, is so prepostorous that it takes "The Terminal" off whatever rail its was still hugging and straight into foolishness: A marriage proposal, an elaborate, mosaic fountain built out of ceramic scraps, a cruel blackmail by Dixon and, yes, a jumbo jet brought to a halt by a wet mop.

Despite his two Oscars, Hanks is more gifted than critics give him credit for, and his subtle comic work as Viktor works much better than his recent turn in "The Ladykillers." Tucci, until his character is forced to become vengeful, embodies a decent-yet-prideful Dixon. If there is a couple in this film, it's these two. Hanks and Zeta-Jones have zero chemistry - their kiss is in long shot, with the camera pulling away - and the downbeat end note on their relationship provides the lone beacon of reality in "The Terminal." The set design by Alex McDowell is quite flawless - this might as well be a working airport - and yet Spielberg never does much with it. He so immerses himself in these subplots that the airport becomes a stale gimmick.

But, more frustrating, is a screenplay, by Jeff Nathanson and Sacha Gervasi, that actually conspires to keep Viktor - and us - waiting longer than he needs to be. "Everybody has a story," Dixon says at one point, and if Viktor were allowed to explain his reason for being in New York to anyone but a stewardess who doesn't even know Viktor lives in the airport, it's quite likely that something could have been "arranged."

Would "The Terminal" have the been the same movie? No. It would have been a better one.

It's okay...but it's not great
Like virtually all other moviegoers, I was very excited about a new movie starring Tom Hanks and directed by Steven Spielberg. I never would have guessed that something would go seriously awry with this film. I certainly never would have guessed what that something would be either.

Well, let me go over the good things first. The storyline is fascinating. The idea of a foreigner indefinitely trapped in an airport terminal because of a violent military coup in his own country and the current U.S. immigration laws here -- a story with such a premise is guarranteed to contain a good deal of drama and comedy. The acting was superb. Yes, it's true that Tom Hanks's accent was awkward and felt out of place at first, but after awhile it starts to grow on you if you're patient. And Stanley Tucci (A MIDSUMMER NIGHT'S DREAM, ROAD TO PERDITION) is one of the very best supporting actors in movies today. All of the character development is top-notch.

So with all these great things to say, what could possibly be wrong with this movie? Well, for one there was the incredibly cheesy (and almost unnecessary) subplot involving Catherine Zeta-Jones's interaction with Tom Hanks. As a mere character in the film, she was fine. But when they started to talk to each other, it made me wish the screenplay writer had been fired early on. (My complaint revolves mainly around the "I'm like Napoleon" conversation. It was very lame, and very contrived.) Another complaint I have was John Williams's score. It could have been so much better if he had just picked it up a little. Criticizing the greatest composer of the last 100 years is not something I do lightly. Unlike most other filmscore composers, after you watch a film whose music was composed by John Williams, you'll usually be humming the main theme for the rest of the day. But I don't even remember what the main theme was for THE TERMINAL.

However, none of those gripes constitute my primary problem with THE TERMINAL. My biggest problem with this movie is that it wasn't great. It was simply okay, or adequate. Do all movies have to be great? Only if they're made by great filmmakers. Steven Spielberg is easily the greatest filmmaker of the last 25 years. Therefore, I don't think I'm being unreasonable when I hold his films to a higher standard (the standard which he himself has set) than the rest. I expect greatness from Spielberg. This wasn't great. It was just okay.

Therefore, 2.5 stars (but I'll round up to 3). ... Read more

Reviews (240)

A tribute to man's failings!
I approached this movie with a certain trepedation. As a great fan of the Nick Hornby novel, I was somewhat concerned about the Americanisation of the novel.

How could I ever have doubted John Cusack and co!! The point is made well by Stephen Frears in his interview; moving the movie to Chicargo highlights the fact that its themes are universal.

We are taken inside the mind of Rob(John Cusack), a thirtysomething record store owner, undergoing a mini mid-life crisis. His girlfriend has left him for the new-age hippie neighbour (Tim Robbins). In an effort to understand why this has happened he takes the advice of "The Boss" and contacts his "all-time top five break-ups" to try to determine why they broke up with him.

Rob is not the perfect hero and his flaws are clearly shown to us. It is this which allows the viewer to identify with Rob in a way which certainly I have done with very few movie characters. He's a good guy who does stupid things, hurts the people he loves, acts selfishly but is ultimately likeable.

Rob's journey of self discovery is always anchored by his obsession with music and this music gives us a further insight into the mind of the main character.

Special mention must be made of the deleted scenes on the DVD version. A couple of these are particularly fine and would have added to the narrative. I can only think that there was a particularly vicious editing process to cut ten minutes off the running time.

The cast is truely outstanding, a real ensemble piece with particularly fine performances from Jack Black and Todd Luiso as Rob's stereotypical record shop snob employees ("I can't fire them. I hired them three days a week but they starting coming every day. That was three years ago!) Some of the scenes in the music shop are painfully funny.

But ultimatly it's Cusacks movie. He truly is one of the most talented actors in mainstream cinema today.

Besides any movie that can namecheck Belle & Sebastian and The Beta Band and features a cameo from Bruce Springsteen deserves an extra star!

Watch it twice. At least.
It's hard to explain to someone who hasn't seen High Fidelity, or even someone who's just seen it once, how incredibly good it is. Take first the phenomenal John Cusack, who seems to make any film he appears in twice as watchable. Is there a more underrated leading man in this decade? I doubt it.

Then take into account the amazing support, knowns and unknowns - Cusack's sister Joan, Tim Robbins, Jack Black, etc. - even Zeta-Jones isn't half bad. Consider too the script, which is surprisingly faithful to Nick Hornby's (very good) book, and gives equal measure to comic and tragic relief.

Fianlly, the soundtrack. Can there be any greater song to sum up Rob Thomas (John Cusack's) final revelation after the film ends than Stevie Wonder's I Believe? No. High Fidelity is the complete package - funny, touching, well-acted, scripted, directed, scored for, and unbelievably true to life.

And for all those sad Englishmen writing in to complain that the movie should have been set in Britian - get real. I thank you.

Possessions and obsessions
This is a movie about men, their possessions and how they order them. For Rob, it's all about pop music and women. Nothing else, besides the odd film, matters to him. And it's pretty much the same for his two male colleagues at the record shop, who exist at opposite ends of the forcefulness spectrum. They form a self-selected elite who look down on the musical taste of nearly everyone they meet.

But actually their hyper-critical views are pretty close to the mark. It's great to hear someone else noticing and lamenting the 1980s decline of Stevie Wonder, for example. One might criticise author Hornby for selecting Rob's dream job as record producer in the punk era (1976-79) when he could have chosen, say, late 1960s Beach Boys / Beatles psychedelia. But you can never find someone with the identical taste as your own. Strangely, the music is not particularly central to this movie, in the sense that it probably generated fewer album sales for featured artists like Marvin Gaye than say 'The Big Chill'.

The structure of the movie takes a little getting used to. The first time you see it can be a disappointment -- there's no upbeat climactic ending, unless you count the improbable, rather obviously tacked-on, disco/concert by Sonic Death Metal, or whatever they happened to be called at the time. John Cusack's frequent chats to camera seem altogether natural (except when he's sauntering backwards and forwards on some wooden bridge-cum-platform in downtown Chicago).

What I like about this film is that, from a male viewpoint, it rings true so often. Men do behave treacherously, and the behaviour often looks worse at first sight. I like the fact that the actress who played Laura wasn't stunningly attractive. Even Lisa Bonet didn't seem particularly beautiful in the movie. (But yes, that really is Catherine Zeta-Jones discreetly stripping off in a role just before she became famous enough to warrant a major Hollywood film credit.)

This is not the perfect movie, but it contains a message about the male psyche that I hadn't extracted from any other movie, and that revelation in itself is sufficiently uplifting to distract from the artificial attempt by the film to uplift via the back-together-again concert/disco scenario.

Maudlin Navel Gazing to a Great Soundtrack
Ah yes. Another quirky offbeat romantic comedy from quirky offbeat romantic cynic John Cusack. Life sucks but he wouldn't miss it for the world. Give John Cusack credit. He was 34 when he made this. His character is a guy in his late 20's who has the emotional maturity of a teenager and Cusack pulls it off effortlessly. Cusack's character, Rob, isn't a jerk. He's a manchild. He doesn't mean to be a selfish obsessive boob; he just lacks the normal range of human adult emotions. Imagine the teenager Cusack played in Better Off Dead. Now imagine that teenager ten years later and working as the owner of a independent music store. He's a music snob and puts in long hours at the store but he still has time to ruin promising relationships with childish antics, talk to the screen and stalk former girlfriends while chasing after the next soon to be ex girlfriend. High Fidelty is the unofficial sequel to Better Off Dead. Instead of weird parents and goofy fantasy sequences, we get weird coworkers and morbid sexually and violently charged fantasy sequences involving Tim Robbins. I won't compliment the soundtrack except to say any movie about music had better have a damn good soundtrack and High Fidelity does its job.

There's a little Rob Gordon in all of us
After working on my college radio station as a DJ, entertainment news anchor, and Human Resource director, I was told by my friends that I should check this film out as I reminded them a lot of John Cusack's character in it. They were right. I too have had my share of bad relationships and can easily tell you the stories of how it went from "Hello" to "Goodbye" in less than 5 minutes. I have worked in music retail for 2 and a half years and I am also incredibly anal about my own collection of music and every song I can recognize played on the radio I can tell people what it is, who the artists is, what album it appeared on, and whether it is a radio edit, extended version, or remix.

That being said, when I first saw this movie I didn't quite understand many of the points. So I watched it again and realized "My god, I AM Rob Gordon!" Within a month, I purchased the DVD of High Fidelity and the book by Nick Hornby which was incredible. I highly recommend this film to all guys who have had their share of hard-not-to-forget relationships, radio DJs, music retail workers, and lovers of music of all types because the soundtrack, to quote Jack Black "kicks fu**ing a**".

The DVD is great to own. It presents the film in clear colorful matted Widescreen (1.85:1), offers 9 Deleted scenes that appeared in the original screenplay as well as the original novel, short mini conversations with actor John Cusack & director Stephen Frears, and the original theatrical trailer for the film.

Without a doubt, this is a MUST-HAVE for people who love music, have been in tough relationships, and enjoy writing Top 5 Lists.

"Good luck...goodbye...thanks, boss."-Rob Gordon (John Cusack) ... Read more

Reviews (853)

One of the best movies EVER!
As a musical theater purist, I was concerned that a movie musical with 3 of Hollywoods A list stars would be a hinderance rather than a help in the "revival" of the genre. I must say that I was blown away by the sheer genius and excellence of the film.
Catherine Zeta-Jones' Velma was equal to, if not better than Bebe Neuwerth's ( Brodway revival). Her beautiful voice and masterful dance skill is worthy of the great white way. A Tony may have been a more appropriate award as opposed to her much deserved Oscar. Although Rene Zellwegers voice was a little shaky in the begining she brought out a tough side in Roxy that was not there in neither the original nor the revival stage versions. Then my biggest fear, Richard Gere as Billy Flinn, was in a word perfect. You can't ask for a better fit, and what a shocker to see that wonderful tapdance!
With great costumes,Fosse-like choreography, expert lighting and singing (by many broadway veterans in the chours as extras) this dark comedy shines. Also with great cameos and supporting performances by the great Chita Rivera ( original broadway cast),John C. Reily (oscar nominated),Lucy Liu, and Christine Baranski this film shines as one of the greatest ever made, not just as a musical, but as a film. Rob Marshall's directorial debut deserves all of it's accolades...and all that jazz.

Sizzling and sexy musical entertainment.
I have just seen one of the best movie musicals in years. "Chicago," directed by Rob Marshall and starring Catherine Zeta-Jones, Renee Zellweger and Richard Gere, will knock you out of your seats. This stylish adaptation is smart, sassy and gorgeously put together.

Catherine Zeta-Jones is red hot as the murderous Velma Kelly. Velma washes the blood of her victims off her hands, and then sings and dances on stage as if killing people is all in a day's work. Zeta-Jones struts across the screen as if she owns it. She is sultry, sexy and a very talented singer and dancer. Renee Zellweger does fine work as the low class Roxie Hart, a selfish and conniving young woman who longs to be a musical star. Like Velma, Roxie lands in jail after committing murder. Richard Gere effectively plays their shyster lawyer, Billy Flynn, with roguish charm and a twinkle in his eye. Also outstanding are Queen Latifah, as an avaricious warden, and John C. Reilly, as Roxie's hapless husband.

The movie takes place in the 1920's during the Jazz Age. It is the era of Prohibition, fast women, and an "anything goes" attitude. Rob Marshall has an assured touch, and he directs this material with panache. The swinging score by Kander and Ebb goes perfectly with the wonderful costumes, sets and choreography. I have not enjoyed a movie musical this much in years, and I recommend "Chicago" highly.

Manipulating the System
The 2002 Oscar winner for Best Picture,"Chicago" is a musical which has the late Bob Fosse's choreography stamped all over it, although it's really anybody's guess as to whether or not he would have been pleased with this film version of his 1975 stage hit. Happily, the acting was great and the leads did their own singing and dancing.
The story is based on the real-life cases of Beulah Annan and Belva Gaertner, renamed respectively as Roxie Hart and Velma Kelly (There was a real Roxie Hart as well, who committed murder in Indiana in the 1910s), who were exhonerated of murder charges by a flashy lawyer in the 1920s.
The story begins on a snowy night at the Onyx Club in the Chicago of Al Capone, where the booze flows heavily despite Prohibition laws, and a brassy Velma (Catherine Zeta-Jones) arrives at work late, stopping to hide the gun she has just used to kill her husband and sister after catching them in bed together. She performs the rousing number, "All That Jazz" shortly thereafter as if nothing has happened.
Watching her is ex-chorine Roxie, played by a slender, shiny-complexioned and pixie-faced Renee Zellweger, whose unquenchable desire for fame has led her to cheat on her mechanic husband with a slickster furniture salesman (Dominic West)who falsely claims he has connections that can revamp Roxie's career.
Soon, Roxie and Fred Casley scurry over to the Hart's apartment to continue their affair. When Roxie asks Fred, as she has before, when he will introduce her to the club manager, and help her return to showbusiness, Fred admits that he lied. The following confrontation becomes violent and Roxie fatally shoots Fred as he tries to leave.
Amos Hart, Roxie's dim-witted but devoted husband(John C. Reilly) tries to cover for her at first as Taye Diggs' Bandleader/Announcer leads us further into the action by introducing Roxie's first number, "That Funny Honey", which changes tones as the investigator mentions the victim's name and Amos becomes aware of his wife's infidelity.
Roxie is arrested and taken to the Cook County Jail, where Chita Rivera, who originated the role of Velma Kelly on Broadway,has a cameo appearance as inmate Nickie.
We are then introduced to Matron Mama Morton(a pretty, regal, and matronly Queen Latifah), and the vaudville numbers continue as she sings the racy and more-than-highly suggestive "When You're Good to Mama".
As she begins her time in prison, we get to know Roxie's inmates during "The Cell Block Tango". Judging from the visuals, where most of the inmates' handkerchiefs came out red as they finished giving details of their crimes and the Hungarian immigrant's was white, we are to believe that Katalin Helinszki (Ekaterina Chtchelkanova), who was accused of the most heinous of the murders, is innocent.
Soon after, Mama Morton pulls a few strings, Defense Attorney Billy Flynn (Richard Gere, whose early training in stage musicals, like that of Catherine Zeta-Jones' serves him well here) arrives to represent Roxie, who also has push-over journalist/sob-sister, Mary Sunshine(Christine Baranski)in her corner.
The song "We Both Reached for the Gun" is based on headlines from the actual case, and has the feel of a hymn sung at a revival meeting. It is reflective of Roxie's false repentance for her misdeeds.
As the publicity surrounding Roxie grows, and the opportunistic Flynn begins to devote more time to her than to his previous client, Velma, another potentially lucrative case appears for Billy when Lucy Liu's pineapple heiress, Kitty Baxter committs a triple homicide(Note that his discussion of this case with dinner guests would not have taken place today), forcing Roxie and Velma to use a few tricks to win back Billy's attention, including a fake pregnancy.
Onstage, as the murder-as-entertainment scenario continues, we are treated to the long-suffering but loyal Amos' "Mr. Cellophane", and his devotion to his unfaithful and ungrateful wife is heart-rending. But at least he gets more attention than the offscreen family of Fred Casley, who might have given the story an interesting perspective if included.
Roxie's falling-out with Billy over his selected courtroom attire for her ends abruptly upon her observation of the tragic results of a poor woman's inability to get proper representation. Noteworthy is the strong anti-immigrant sentiment of the time.
Ultimately, Flynn, Velma, and Roxie, razzle-dazzle 'em in court. Lies win out over truth, and style, in the form of Flynn, Velma and Roxie, wins over substance in the form of Colm Feore's prosecutor, Martin Harrison, Katalin Helinszki, and Amos, and the Hart's neighbor, Mrs. Borusewiz (Jayne Eastwood), who also took the witness stand, as often happens in life.
Although acquitted, things didn't end so happily for the real Beulah Annan, whose life ended in a sanitarium in 1928.Belva Gaertner lived to see her story told onstage the year before.
But the man-manipulating Roxie Hart and Velma Kelly live to dazzle the world again, and our rollicking tale of cynical truth ends on a positive note for our main players.
All one could do in the end is heave a sigh, enjoy the show, and "All That Jazz"!

Too Much Music
I saw nothing on the cover to indicate this was mainly a musical. The minimal story line was squeezed in between 110 minutes of singing and dancing..... I would describe as "interpretive modern jazz". We finally used "fast forward" to speed through this dancing and at the end threw the VHS tape in the rubbish. What a disappointment.

The DVD release is shameful
Don't get me wrong. I love this movie more than just about any other movie in existence. The problem is that whenever you get a big-budget, Oscar-winning movie, the initial release on DVD is always going to have at least 2 discs and 2-3 hours of special features. So naturally, I eagerly awaited the release, so I could bask in the sheer excessiveness of the entire product, but instead, I watched as the curtain rose to reveal a DVD that, from my perspective, can only boast of having a 3-minute-long musical number deleted from the theatrical cut of the film. I was crestfallen, and proceeded to wait until they unveiled the real prize, the multi-disc extravaganza that I had expected from the start. But still I wait, so I am forced to say that the DVD is only worth renting, but not worth the $20.00 that the distributors continue to ask for. The movie is incredible from start to finish, but it's just not worth spending $20.00 on this, only to see Miramax release a 4-disc set the moment you take the plastic off the case. I personally will wait until they release it in a DVD set that truly does this masterpiece justice. ... Read more

Reviews (362)

Rousing swashbuckling tale
This is not your Father's Zorro, and Antonio Banderas does a fine job as the masked avenger (and according to the Amazon.com trivia section, the first Hispanic to play this role). Banderas plays the second generation people's hero in Southern California, just prior to Spain's ceding of the land to Mexico.

Anthony Hopkins is a great second (who is actually the first) Zorro, a/k/a Don Diego de la Vega, a Mexican land baron and freedom fighter. After escaping decades later from prison, Hopkins escapes from prison to seek revenge on the no-good governor (well played by a smarmy Stuart Wilson) the man who killed his wife and stole his daughter.

Bandaras, a low-life bandito becomes urbane and a proficient warrior at the teaching of Hopkins, and then becomes transformed by a positively bewitching Catherine Zeta-Jones. Their interplay gives the film its romantic, and often sensual edge.

Lots of swordplay and general excitement, as we recall from Douglas Fairbanks and Disney's Guy Williams. The movie moves quickly (but bogs down for awhile 2/3 of the way through. Happily, it picks up the pace through the end.

Nice scenery. When we see the sign of the return of Zorro, via a blazing Z cut into a hillside , it is positively thrilling. A stirring script which fits the film well. More than enough humor (such as the scene in the confessional, or one of several chased of Zorro by the troops) for the purpose of lessening the tension which is well added by a malevolent Matt Letscher.

As one says, it is a grand throwback. As another said: That's entertainment!

...They make the sign of the Z...
This film is the most recent Zorro film. It stars the young Hispanic Antonio Banderas and the intelligent actor Anthony Hopkins. THis may be the first time that a true Hispanic has played Zorro in an American film.
In 1820, Spain has lost California to Mexico. But Rafael Montero (Stuart Wilson) the Spanish govenor, is determined to kill his nemisis Zorro. The fox again foils Montero's plans with the help of two young orphans, one of whom he gives a medallion. Somehow, Montero learns that Diego de la Vega (Anthony Hopkins) is Zorro. Diego's wife is murdered by Montero's men, his hacienda burned, Montero robs him of his child, and Diego is sent to prison. Defeated but determined never to surrender, the enraged fox promises the govenor that he will never be rid of him.
Twenty years later, Santa Anna has become worse than Montero, and people vanish without a trace. The orphan who helped Zorro, Alejandro Mureita (Banderas) and his brother are caught by Montero's man Capitan Love (Matthew Letcher) who beheads Alejandro's brother. Meanwhile, Deigo escapes and sees that Montero has raised his stolen child Elena (Catherine Zeta Jones). Diego sees Alejandro. The two men form an alliance. Diego trains Alejandro in the art of the sword, the whip, riding a horse, and athletic ability. Alejandro tries an exlpoit as Zorro but is rejected by Diego. In the end, however, the new fox earns his mask. Diego now seeks revenge on his nemisis, Montero, while the new Zorro tries to free the people.
This film extends Zorro's legacy. However, in the future I am sure we will see more films with Zorro being Diego. One line with this film seems to hold more emotion than the rest.
DIEGO: "Rafael! You'll never be rid of me! Never!"

New Zorro, New Age
I have never been a huge fan of Antonio or Jones until I saw this film. With its breathtaking scenery, action and atmosphere it makes you love zorro again! A new zorro for a new age! Very well done film with superb acting. The dvd is full on with excellent picture quality and sound.

Zorro No Longer a Hero
Zorro, the hero of Pulps, movies, books, comics and television, has a new movie out. Antonio Banderas, on Larry King Live, mentioned that he hoped this movie would help to keep alive the spirit of the only Spanish super-hero (he in not the only one nor was he at the time of the interview). Well, I think it will do much to keep the name alive but not the spirit.

Anthony Hopkins is Zorro, the Fox. After years of struggle, Spain is pulling out of California and leaving it to the Mexicans. But Zorro slips up and the evil Governor tracks him down, kills his wife, steals his daughter and throws him in prison. Twenty years later Don Diego (Zorro) hears that the Governor is back. Minutes later he has escaped from prison (what was he waiting for?) and is destined to run into Antonio Banderas. After their meeting, Don Diego trains Antonio to be the new Zorro. The rest of the movie involves the plan to create the Independent Republic of California by buying it from Santa Ana with gold dug out of its soil and stamped to look Spanish. Mexico is willing to make the sale because of their war with the United States (it is now 1841).

If you are looking for a fun swashbuckling adventure, then this is definitely the movie to see. If, however, you want to see Zorro, you might find yourself a little disappointed. Gone is Zorro, the defender of the common people and the innocent. In his place is, not one, but two, Zorro's who are bent on personal vendetta's and enlightened self-interest. It is actually Don Diego's daughter who helps some enslaved Mexicans near the end of the movie.

The transition from one Zorro to another takes the Fox out of the wealthy and privileged and makes him a commoner. The new Zorro is also a thief (in a wonderfully fun scene the young Zorro steals his horse, a very serious crime at the time). Having Zorro break so common a law seemed wrong to me. To have Zorro flaunt the breaking of laws meant to worsen the lives of the commoners is another thing entirely. But in this movie Zorro does not taunt authority. He plots against it, to be sure, but for his own reasons and not for the good of the people.

As this movie has two Zorros, there are now also two villains to be defeated (one each). The elder Zorro still has his old nemesis to contend with while the younger Zorro has made a personal enemy of Captain Love, a young Cavalry officer who seems to be in the wrong country. Both villains are vile and easy to hate. This make the personal vendettas a little more palatable as well as making the ending a lot more fun.

The other main problem with this film is that Zorro loses. Zorro never loses. but in this film Zorro loses big time. He loses his wife, his home, his daughter, his name and twenty years of his life. Granted, he briefly regains his daughter but gone is the hero who can laugh in the face of danger and triumph brilliantly.

The last thing I wanted to mention is that, probably due to the controversy over the new Jeffrey Irons film, Zorro is no longer married to his wife Lolita. Her name has been changed (how dare they) to the more common Esperanza. I can understand the concern of some but Don Diego won the heart of Lolita before the Roaring Twenties. As in the Nabakov novel, Lolita is a valid name before it was turned into an adjective. Next thing you know people are going to try and get Disney to change the name of Bambi because they think it is a girl's name (Bambi was the prince of the forest).

So, if you want to see The Mask of Zorro because, to you, it means an exciting swashbuckling movie, you will really enjoy this one. But if you want to see the movie to watch the continuing adventures of a hero that has entertained all generations since his debut almost eighty years ago, part of you will be disappointed in what has happened to the character.

ZORRO MEETS ZETA JONES
THE MASK OF ZORRO is a rousiing, energetic, exciting romantic swashbuckler movie, reminiscent of all those great Fairbanks and Flynn movies.
Antonio Banderas is a perfect Zorro, starting off rude and crude, ending up flamboyant and gallant. His injection of humor and the way he rolls his eyes is a definite good addition to his role.
The ever amazing Anthony Hopkins shines in his role as the first Zorro, whose life is ruined when his wife is killed and his daughter taken away from him by his cruel enemy. It's rare to see an action hero over the 50 year mark!
Catherine Zeta-Jones is breathtakingly beautiful and is wonderful in her role as Hopkins daughter, feisty, yet adolescent in her yearnings for the masked man.
Stuart Wilson is vile and irreprehensible as Don Metero, the head villain, and he plays it to the hilt.
Matt Leschler as the Captain is even worse, his dashing good looks hiding a psychotic imbalance.
The whole movie is superb; James Horner's overlooked Oscar score is beautiful, including the closing credits duet by Tina Arena and Marc Antony of "I Want to Spend My Lifetime Loving You."
This is a fun, enjoyable and uplifting kind of movie. ENJOY! ... Read more

Reviews (173)

Crystal Comedy Sparkles
Billy Crystal writes, produces and stars in a "boy-loses-girl", "boy-gets-girl" tale with a twist or two along the way. Crystal plays Lee the publicist sent to placate the media with a "junket" and get separated "American Sweethearts" Gwen Harrison (Catherine Zeta-Jones) and Eddie Thomas (John Cusack) back together again. Gwen is the self-centered movie star sister with a Spanish live-in lover with a lisp, Hector, played by Hank Azaria. Eddie is the soon to be ex-husband who has spent the last six months with his East Indian guru, Alan Arkin, getting over being betrayed. Julia Roberts as sweet sister Kiki is Gwen's personal assistant who also happens to be in love with her brother-in-law. Can you imagine a fat Julia Roberts? Flashbacks show us Kiki before she slimmed down. A great cast that also includes Christopher Walken in a pivotal bit part and a cameo appearance by Larry King. Great fun!!

Cute and entertaining
Catherine Zeta-Jones plays the star actress with a diva attitude, Julia Roberts is her ever-so-kind and helpful sister and personal assistant, and John Cusack is the love-sick estranged husband of Catherine Zeta-Jones'. Although they have been living apart for a year, are going to be divorced, and try to avoid each other, Zeta-Jones and Cusack both star in a movie which the movie's producer is anxious to earn big bucks from. Billy Cristal is the PR guy hired by the movie's producer to encourage (let's say, "dupe") Zeta-Jones and Cusack into making a star appearance at the film's premiere and he also orchestrates a series of "scandals" for the reporters and tabloids, just to make more money (as they say, no publicity is bad publicity, or something like that.) In the process, Zeta-Jones and Cusack end up in all sorts of funny, embarassing circumstances which they both try very desperately to extricate themselves from.

Cusack is not at his best, but he's entertaining. Roberts is looking good (and I wonder if she did really put on all that weight for this movie, cos it looks so real!). Zeta-Jones is stunning and ever-so-convincing in these diva roles.

I wouldn't say this is a great movie... but its a good one for renting for those nights in (with lots of crisps and popcorn at the side!). It does have enough unpredictability and gags in it to keep you chuckling, and the nice little happy ending will make you go "Awwww...." with a smile :)

Cusack is America's Sweetheart
This is Cusack at his best . . . quirky, new age, obsessive over Catherine Zeta-Jones, who is the most loveable self-absorbed prima donna ever to grace a screen.

I'm mad about this movie, it is probably the one that pushed me over the Cusack edge.

Star Studded Folly
How did someone take a light-hearted but cute premise, big name stars, and turn it into such a lame and inane film? The talent is obviously there, but the movie simply doesn't work. Alternating between over-the-top (which I think was the point) and deadly dull (which probably wasn't), this film stalls and fizzles.

Won't Win Any Oscars
This movie wasn't amazing, but it was a cute story. It was interesting to think about everything that goes into publicizing a movie, and what the actors are like in real life. Crystal's character was very funny. See it at some point if you don't have anything better to do, but don't spend too much on it. ... Read more

Reviews (51)

A funny, warm comedy all audiences will enjoy!
I recommend you all go see this movie! Tom Hanks plays an immigrant named Viktor Navorski from the Eastern European country of Krekozhia who travels to New York City on a personal mission. Upon arriving to the U.S., Navorski finds out that his country has had a civil war. As a result, he can neither return to his country nor enter the U.S. until the civil war ends and if the U.S. recognizes Krekozhia's new government.
He is left stranded at J.F.K. airport and is then ordered by Homeland Security officials to remain in the airport's international transit lounge until peace returns to his country. During the time he is there, Navorski finds out that the terminal is a world in itself where he experiences things like ambition, generosity, amusement status as well as romance with a beautiful flight attendant he meets played by Catherine Zeta-Jones.
Meanwhile, the Homeland Security supervisor who originally ordered Viktor to remain in the terminal considers him a problem he has a hard time controling in the system he oversees and a glitch he wants to quickly erase.
This film also touches on the bureaucratic non-sense immigrants have to endure when they come here. Aside from its (what I percieve to be) indirect political statement, overall, The Terminal is a funny and warm comedy audiences of all kinds can enjoy.

"Do you have an appointment?"
If you're looking for a sweet, poignant comedy, The Terminal is the movie for you. Tom Hanks stars as Victor, fresh off the plane from a small Eastern European country whose government was overthrown while he was inflight. Until the U.S. recognizes the new regime, his passport is invalid and he cannot leave the airport, according to the security chief (Stanley Tucci). Victor proceeds to make himself at home in the terminal, befriending some airport workers and even starting a romance with a lovely but flawed flight attendant (Catherine Zeta-Jones).

This movie is simply a joy. Hanks' innocent-but-wise character is so likable that you are cheering for him all the way as he becomes involved in the lives of his quirky airport friends (lead by the scene-stealing Kumar Pallana), gets a good-paying airport job, and shows what a decent and caring man he is. Tucci is perfect as the humorless security man who watches as Victor's stay in the terminal stretches to nine months. Zeta-Jones is interesting as a troubled woman who collects men, and her character adds some reality and even saddness to the otherwise fantasy-world of Victor's airport.

The Terminal is a feel-good comedy with an excellent script and an amazing set that will make you think it was really filmed in an airport. Fans of Tom Hanks will add Victor to his long list of loveable characters. Highly recommended.

Great movie... just too long!
Wow. This is an amazing movie. One of Tom Hank's best, and one of Catherine Zeta-Jones's worst. She is the only disappointment in this movie. She is normally I very good actress but in this movie she is just... I don't know...her and Tom Hanks don't really click. Her portrayal of a somewhat ditzy, emotionally distraught flight attendant is wimpy and a little boring. The three people who befriend Tom Hanks in this movie, the janitor and the other two people... who he plays poker with... have great supporting roles and their careers should sky-rocket now. So...if it is such a great movie why do I only give a a four star rating? BECAUSE IT IS SOOOOOOOO LONG! It is about two hours and eight minutes long which doesn't seem terribly long (especially after seeing Return of the King twice in one day), but it is almost like there could be twelve endings...and it seems like its almost over then BAM! a pan to another scene. That is the only reason it gets four stars. But go see it anyways. Its one of those movies that, even though you might now watch it all the time... it is one that you will love watching a couple times a semester ( I'm a Jr.High student and movies are like... one of my favorite things in the world). Anyway great flick, go see it, and when it comes out buy it.

Terminal, indeed.
For all Steven Spielberg's directorial gifts, brevity is not one of them. The worst film he has made since "1941" 25 years ago, "The Terminal" is aptly named - a 90-minute concept stretched a full hour beyond its expiration date, with only a accent-bearing, shambling Tom Hanks to accompany us.

Spielberg's film fails on more than one level, but mostly because he saddles the central plot - a man forced to live in the international terminal of New York's JFK Airport - with a collection of either forgotten or underdeveloped side stories that pay lip service to diversity - a Latino, a black guy, a black girl, an Indian janior, a beautiful stewardess - without making much of use of them until the last half-hour, when these cardboard cutouts suddenly claim a stake in the game.

You think "Return of the King" had too many endings? Just wait. And wait.

Hanks is Viktor Navorski, a native of the fictional Krakovia, where rebels have overthrown the government. Viktor is in New York on a trip whose motiviation remains unspecified until very late in the film. With his country in the throes of a coup, his passport and visa are no longer valid. Homeland Security agent Frank Dixon (Stanley Tucci) tells Viktor bluntly with a bag of chips smashed by an apple: Viktor can't go home, and he can't go to New York. He's shown the terminal, and the doors to New York through which he cannot pass.

What follows is a mix of Frank Capra fable and a human jungle version of Hanks' "Cast Away." Viktor builds a makeshift bed out of torn seats at an abandoned gate; he finds quarters to buy Burger King cheeseburgers (at a cheaper cost than you'd ever find in an airport); he makes friends with a baggage handler (Chi McBride), the janitor (Kumar Pallanatucci) and a food service worker (Diego Luna) smitten with an INS agent (Zoe Saldana); and he flirts with the Midwestern stewardness (a perky Catherine Zeta-Jones), a psuedo-intellectual who is the mistress of a wealthy, married man.

Viktor also turns down Dixon's offers to help him into New York, where he can become, Dixon thinks, "someone else's problem." Viktor won't leave on his own. He refuses asylum. Dixon won't detain Viktor until he's broken some law, although, I would think, taking payments under the table to do construction work in the airport is reasonably illegal.

The movie's turning point occurs when a Russian man threatens to kill himself unless he's allowed to deliver Canadian medicine to his dying father; Dixon calls in Viktor to translate, and Viktor's solution, clever as it may be, is so prepostorous that it takes "The Terminal" off whatever rail its was still hugging and straight into foolishness: A marriage proposal, an elaborate, mosaic fountain built out of ceramic scraps, a cruel blackmail by Dixon and, yes, a jumbo jet brought to a halt by a wet mop.

Despite his two Oscars, Hanks is more gifted than critics give him credit for, and his subtle comic work as Viktor works much better than his recent turn in "The Ladykillers." Tucci, until his character is forced to become vengeful, embodies a decent-yet-prideful Dixon. If there is a couple in this film, it's these two. Hanks and Zeta-Jones have zero chemistry - their kiss is in long shot, with the camera pulling away - and the downbeat end note on their relationship provides the lone beacon of reality in "The Terminal." The set design by Alex McDowell is quite flawless - this might as well be a working airport - and yet Spielberg never does much with it. He so immerses himself in these subplots that the airport becomes a stale gimmick.

But, more frustrating, is a screenplay, by Jeff Nathanson and Sacha Gervasi, that actually conspires to keep Viktor - and us - waiting longer than he needs to be. "Everybody has a story," Dixon says at one point, and if Viktor were allowed to explain his reason for being in New York to anyone but a stewardess who doesn't even know Viktor lives in the airport, it's quite likely that something could have been "arranged."

Would "The Terminal" have the been the same movie? No. It would have been a better one.

It's okay...but it's not great
Like virtually all other moviegoers, I was very excited about a new movie starring Tom Hanks and directed by Steven Spielberg. I never would have guessed that something would go seriously awry with this film. I certainly never would have guessed what that something would be either.

Well, let me go over the good things first. The storyline is fascinating. The idea of a foreigner indefinitely trapped in an airport terminal because of a violent military coup in his own country and the current U.S. immigration laws here -- a story with such a premise is guarranteed to contain a good deal of drama and comedy. The acting was superb. Yes, it's true that Tom Hanks's accent was awkward and felt out of place at first, but after awhile it starts to grow on you if you're patient. And Stanley Tucci (A MIDSUMMER NIGHT'S DREAM, ROAD TO PERDITION) is one of the very best supporting actors in movies today. All of the character development is top-notch.

So with all these great things to say, what could possibly be wrong with this movie? Well, for one there was the incredibly cheesy (and almost unnecessary) subplot involving Catherine Zeta-Jones's interaction with Tom Hanks. As a mere character in the film, she was fine. But when they started to talk to each other, it made me wish the screenplay writer had been fired early on. (My complaint revolves mainly around the "I'm like Napoleon" conversation. It was very lame, and very contrived.) Another complaint I have was John Williams's score. It could have been so much better if he had just picked it up a little. Criticizing the greatest composer of the last 100 years is not something I do lightly. Unlike most other filmscore composers, after you watch a film whose music was composed by John Williams, you'll usually be humming the main theme for the rest of the day. But I don't even remember what the main theme was for THE TERMINAL.

However, none of those gripes constitute my primary problem with THE TERMINAL. My biggest problem with this movie is that it wasn't great. It was simply okay, or adequate. Do all movies have to be great? Only if they're made by great filmmakers. Steven Spielberg is easily the greatest filmmaker of the last 25 years. Therefore, I don't think I'm being unreasonable when I hold his films to a higher standard (the standard which he himself has set) than the rest. I expect greatness from Spielberg. This wasn't great. It was just okay.

Therefore, 2.5 stars (but I'll round up to 3). ... Read more

Reviews (168)

Entrapped by itself.
When this movie was originally released in theatres, I was warned not to see it on the big screen. I was told it was a bad movie, not worthy of watching. I didn't understand why so many people told me that; I mean the film has Sean Connery, contains a seemingly interesting plot, and Catherine Zeta-Jones. There was also a lot of discussion over the fact that Sean Connery was old enough to be Catherine Zeta-Jones' grandfather, yet he was playing her love interest. Luckily, I didn't see the movie in theatres and I am grateful for that.

ENTRAPMENT starts off on the right foot. The film's early scenes are interesting and demand attention. However, about thirty minutes later, the movie takes an unexpected twist into territory it should not have entered: romantic entaglement with bad dialogue and no chemistry. Even though Sean Connery is pushing 75, he's still considered by many to be one of the sexiest men alive. Catherine Zeta-Jones is a beautiful young woman and attracts the eye of many men. Nevertheless, just because two people are physically attractive does not mean that there will be any chemistry between them. In this film the chemistry between Connery and Zeta-Jones is like the chemistry between the same sides of a magnet: instead of uniting, the two objects pull away from each other. Of course, it doesn't help that the movie is full of bad dialogue and many of the emotional scenes of Zeta-Jones are totally forced with no reality or logic to them at all. The screenwriters should have kept to the basics instead of relying on dazzling special effects to save the film.

There are a few good action scenes, especially at the beginning. However, towards the end even those are so blown out of proportion that you begin wondering when the masked superhero will arrive that can match Connery's superhuman skills and foil his evil plans. Overall, ENTRAPMENT is a movie that had a lot of potential, but ending up getting entrapped by itself.

Sean and Catherine Magically Transcend and Transform!!
I apologize, this is probably nothing more than a "3-star" (or even two!) movie in the traditional sense. However, Catherine Zeta-Jones has emerged as the brunette version of positively and literally the most beautiful and majestic woman to ever grace the legendary Hollywood screen: Princess Grace Kelly. The presence and charisma of Sean Connery, of course, has always transformed mediocre films into true spectacles. Now, delicately introduce the tender and multi-talented Zeta-Jones, and you enjoy a relationship that combines the eloquence of James Stewart and Donna Reed ("It's A Wonderful Life") with the mesmorizing qualities of Elvis Presley and Ann Margaret ("Viva Las Vegas"). At this point, if you can possibly manage to persuade your brain to overlook some far fetched and perhaps ill conceived plot twists, you're probably ready for the home stretch: A razzle dazzle conclusion with gut wrenching suspense and cool special effects. There is something sleek and silky smooth about this DVD production and its main characters that defies description. If you seem to like what you're hearing (and seeing) so far, trust me: This special DVD version is worth its weight in gold. But for heavens sake, what's up with "Suave Sean" slurring his "s" words and butchering the "r" sounds?? A few quick speech therapy sessions to address this mild regression, and I'd be tempted to give the sequel "five stars" (but only if Connery keeps his partner in crime who is also a highly romantic companion)!

Entrapment a DVD review
Catherine Zeta Jones and Sean Connery star as two ingenious jewel, painting, and money burglars who plan a huge heist at the turn of the millenium during New Years Eve in 1999.

Zeta is actually an insurance detective, Virginia Baker trying to find, the person responsible for a couple of burglary crimes in the area.

She suspects Mack (Sean Connery aka Robert MacDougal) is the person behind it, but rather than try to bring him in, she decides to get the man's confidence, and convinces him to try to pull of a big heist thus implicating Mac some more and
getting the evidence she needs to put him behind bars for a long time.

Mack is not an idiot, and he distrusts her from their very first meeting.
By the end of the film, one of the film will have pulled a great heist while the other
will either be in jail for a long time or worse. Their 2 contrasting styles in the movie, and their styles in pulling of different heists in the movie is really fun to watch.

The acting and special effects and stunts are also great including the culminating
climatic scene near the end where Mac and Virginia plot their big escape after
a heist.

There are some problems with the film however. Virginia is young and naive and
she takes the lies and garbage that Mac says at face value. Mac is not even a good
liar yet Virginia's character is dumb enough to believe this old thief'ss lies.

Now on to the dvd itself:

The DVD is very well done and contains a great
number of features:

* Deleted scenes

The deleted scenes in the movie are actually quite good, in fact, I think they were alot better than a couple of the scenes in the finished draft of the movie.

One great deleted scene is the car chase that Mack and Virginia get into while trying to dodge a couple of hitman that are tracking them down.

The scene has a great climax at the end that has you guessing what's going to happen next.

The scene is actually in the film, but what you get in the finished movie is actually
less than half of the original scene!!

Needless to say, I think this scene was great and should have been put in the original film.

Other features in the DVD include:
* Special feature on the making of the film

*Special commentary on the film itself

The commentary is teriffic, the director Jon Amiel, provides a lot of great insights and fact into the characters and Catherine Zeta herself, that fans may not
know.

*Alternate ending to the film!!!

The alternate ending in the film is actually very similiar to the original ending
with minor differences.

*Special trailers of the film
* Production Notes and much more!!!

Entrapment from head to toe is one of the best heist/thriller movies in quite a long time.

It gets predictable in a couple of areas, but the film is entertaining from beginning to
end.

Rent the DVD and enjoy it, along with the film itself.

HONOR AMONG THIEVES?
Let's get the sexist comment out of the way: Catherine Zeta-Jones is simply one of the most beautiful women to ever grace a movie screen!
Now, with that out of the way, ENTRAPMENT is an enjoyable heist movie, and we're never sure who's zoomin who!!! Sean Connery is elegant, if a bit lethargic, in his role, but always an actor who is fun to share a couple of hours with. Zeta-Jones does a good job in her role, but her acting chops have certainly matured since this film.
Ving Rhames and Will Patton are adequate, but other actors could have done just as well.
There are some really breathtaking scenes, especially with Jones in the initial heist and the jawdropping escape from the bank. It's not the best movie either one has made, but in spite of Jon Amiel's routine direction, I enjoyed it.

Give Me a Break...Sean connery's HOT
First off, I'm tired of people harping on the age difference bewteen CZJ and Sean. Some of the classic Hollywood pairings have been older men with younger women: Bogie/Bacall, Clark Gable/Marilyn Monroe, Cary Grant/Audrey Hepburn, even Julia Roberts/Richard Gere. So...move on. What matters is if the pair work well together, and Catherine and Sean are great together. By the way they never actually hook up, but if they had, it would have been very intense. The chemistry between the 2 was very evident to me throughout the entire movie, I was egging on a romance. But Sean's character is above the physical involvement level with partners, so Catherine is held at bay. The movie reminded me of a classic thriller, a movie loaded with action...but thank God, not an "action movie". Enough of a hint at romance to keep us gals interested...but certainly not a romance. And on top of everything it was smart and well done. It took me on lots of twists and turns, and I loved them all. I'd gladly watch Catherine Zeta-Jones & Sean Connery (now 3 years older) re-pair in a sequel. By the way...I'm 19, and I'd take 53 year old Richard Gere any day over some of the young guys I see posing and looking pretty in movies today. As long as we see more Sigorney Weaver in Tadpole type roles for women (older woman dates younger man) keep 'em coming. ... Read more

Reviews (58)

SUPER FAMILY ENTERTAINMENT five stars
He is a hero who is simple a decent person. A hero without super powers or trust funds. A very humane person with a code of decency. A hero who is certainly needed today. It is a film that is needed today. It is a film to watch and enjoy. This movie leaves one with a good feeling. It is not a film to nitpick or compare to others because that would totally miss the reason for escaping into it. A truly wonderful family film, that will live in the memories of those lucky enougn to watch it together. What a great cast! Billy Zane,his penetrating eyes framed by the Phantom' mask, brings the hero to life. Kristy Swanson and Catherine Zeta-Jones are strong,independent women. Veteran actors such as John Capaodice, Al Ruscio, and Samantha Eggar to name a few,lend their considerable expertise to the production. Cary-Hiroyuki Tagawa appearence dominates the screen, generating much excitement. Patrick McGoohan's presence and voice is a outstanding. He is truly an screen legend.

Unfortunely the critics in their wisdom contributed to the short run at the box office office nevertheless the viewers know quality. The Phantom and all he stands for lives in the hearts of those willing to understand.

Ineptly written and directed
The Phantom has one saving grace: Billy Zane. Without this fine actor, the film would have been absolutely horrendous, possibly unwatchable. The simple fact is that The Phantom could have been good entertainment, but it's so poorly written, directed, and acted, I have to wonder why the film was greenlighted in the first place.

Sure, the prospect of an Indiana Jones-type film is a fun idea, but it's nowhere in the vein of the the films in that series; it never generates any thrills or genuine fun. The action sequences are simply too routine and are occasionally terribly choreographed.

As for the script, it's been a while since I've heard dialogue this hackneyed. It makes the recent Mission to Mars look like something written by David Mamet in comparison. The plot's also fairly ridiculous and is done with a touch of camp, but nowhere near enough to at least make the movie so bad it's almost enjoyable to watch. I can't believe Jeffrey Bowman doesn't show any of the creative touches he put in The Last Crusade.

Performances, the less said the better. The only guy who does a fine job is Billy Zane, and though he never always convinces as a superhero, he's charismatic enough to make the experience bearable. Treat Williams as the villain overacts to an extent I would rather not describe. Catherine Zeta Jones also shamelessly hams it up with a cheesy accent; I bet she's taken this film out of her resume. As for Kristy Swanson, I guess we can tell why she won't nowhere. If anything, the movie proves she's not a very capable actress.

Pulp hero
Billy Zane plays the Phantom perfectly. He's not a dark, grim superhero like Batman or a neurotic superhero like Spider-Man. The Phantom loves being a superhero and being the good guy.

This is one of the best adaptions of a comic book (cartoon strip) ever captured on film. This is the type of movie meant for children of all ages. If you're looking for a movie with deep meaning, thought provoking dialogue and lots of introspection, what the heck are you doing watching The Phantom? Go see a different movie. If you're looking for entertainment in the vein of pulp fiction heroes from the Golden Age this is the movie for you.

Nifty live-action comicbook
This is the type of DVD that works best if you watch it on a rainy Saturday morning. I missed "Phantom" when it was released theatrically many years ago and discovered it on DVD. This is an old-fashioned comicstrip/movie serial sort of film that's perhaps too straightforward for most tastes. There's no irony or winking references here, which sets it apart from most other superhero movies. I liked it, but didn't love it, and I can fully understand if it's not to everyone's taste. I suggest you rent it, watch it on a gloomy weekend and see if it doesn't make you feel like a kid again if only for a few minutes.

Great Comic adventure
The Phantom is quite good and the cast is great too. The Phantom was an enjoyable facinating comic, and any fans of the comic book will find no reason not to watch the feature-length movie. This movie is a great action ride adventure and i'm sure you'll love the story. Same charecters and no flaws, this movie is perfect. 8.5/10. ... Read more

Reviews (853)

One of the best movies EVER!
As a musical theater purist, I was concerned that a movie musical with 3 of Hollywoods A list stars would be a hinderance rather than a help in the "revival" of the genre. I must say that I was blown away by the sheer genius and excellence of the film.
Catherine Zeta-Jones' Velma was equal to, if not better than Bebe Neuwerth's ( Brodway revival). Her beautiful voice and masterful dance skill is worthy of the great white way. A Tony may have been a more appropriate award as opposed to her much deserved Oscar. Although Rene Zellwegers voice was a little shaky in the begining she brought out a tough side in Roxy that was not there in neither the original nor the revival stage versions. Then my biggest fear, Richard Gere as Billy Flinn, was in a word perfect. You can't ask for a better fit, and what a shocker to see that wonderful tapdance!
With great costumes,Fosse-like choreography, expert lighting and singing (by many broadway veterans in the chours as extras) this dark comedy shines. Also with great cameos and supporting performances by the great Chita Rivera ( original broadway cast),John C. Reily (oscar nominated),Lucy Liu, and Christine Baranski this film shines as one of the greatest ever made, not just as a musical, but as a film. Rob Marshall's directorial debut deserves all of it's accolades...and all that jazz.

Sizzling and sexy musical entertainment.
I have just seen one of the best movie musicals in years. "Chicago," directed by Rob Marshall and starring Catherine Zeta-Jones, Renee Zellweger and Richard Gere, will knock you out of your seats. This stylish adaptation is smart, sassy and gorgeously put together.

Catherine Zeta-Jones is red hot as the murderous Velma Kelly. Velma washes the blood of her victims off her hands, and then sings and dances on stage as if killing people is all in a day's work. Zeta-Jones struts across the screen as if she owns it. She is sultry, sexy and a very talented singer and dancer. Renee Zellweger does fine work as the low class Roxie Hart, a selfish and conniving young woman who longs to be a musical star. Like Velma, Roxie lands in jail after committing murder. Richard Gere effectively plays their shyster lawyer, Billy Flynn, with roguish charm and a twinkle in his eye. Also outstanding are Queen Latifah, as an avaricious warden, and John C. Reilly, as Roxie's hapless husband.

The movie takes place in the 1920's during the Jazz Age. It is the era of Prohibition, fast women, and an "anything goes" attitude. Rob Marshall has an assured touch, and he directs this material with panache. The swinging score by Kander and Ebb goes perfectly with the wonderful costumes, sets and choreography. I have not enjoyed a movie musical this much in years, and I recommend "Chicago" highly.

Manipulating the System
The 2002 Oscar winner for Best Picture,"Chicago" is a musical which has the late Bob Fosse's choreography stamped all over it, although it's really anybody's guess as to whether or not he would have been pleased with this film version of his 1975 stage hit. Happily, the acting was great and the leads did their own singing and dancing.
The story is based on the real-life cases of Beulah Annan and Belva Gaertner, renamed respectively as Roxie Hart and Velma Kelly (There was a real Roxie Hart as well, who committed murder in Indiana in the 1910s), who were exhonerated of murder charges by a flashy lawyer in the 1920s.
The story begins on a snowy night at the Onyx Club in the Chicago of Al Capone, where the booze flows heavily despite Prohibition laws, and a brassy Velma (Catherine Zeta-Jones) arrives at work late, stopping to hide the gun she has just used to kill her husband and sister after catching them in bed together. She performs the rousing number, "All That Jazz" shortly thereafter as if nothing has happened.
Watching her is ex-chorine Roxie, played by a slender, shiny-complexioned and pixie-faced Renee Zellweger, whose unquenchable desire for fame has led her to cheat on her mechanic husband with a slickster furniture salesman (Dominic West)who falsely claims he has connections that can revamp Roxie's career.
Soon, Roxie and Fred Casley scurry over to the Hart's apartment to continue their affair. When Roxie asks Fred, as she has before, when he will introduce her to the club manager, and help her return to showbusiness, Fred admits that he lied. The following confrontation becomes violent and Roxie fatally shoots Fred as he tries to leave.
Amos Hart, Roxie's dim-witted but devoted husband(John C. Reilly) tries to cover for her at first as Taye Diggs' Bandleader/Announcer leads us further into the action by introducing Roxie's first number, "That Funny Honey", which changes tones as the investigator mentions the victim's name and Amos becomes aware of his wife's infidelity.
Roxie is arrested and taken to the Cook County Jail, where Chita Rivera, who originated the role of Velma Kelly on Broadway,has a cameo appearance as inmate Nickie.
We are then introduced to Matron Mama Morton(a pretty, regal, and matronly Queen Latifah), and the vaudville numbers continue as she sings the racy and more-than-highly suggestive "When You're Good to Mama".
As she begins her time in prison, we get to know Roxie's inmates during "The Cell Block Tango". Judging from the visuals, where most of the inmates' handkerchiefs came out red as they finished giving details of their crimes and the Hungarian immigrant's was white, we are to believe that Katalin Helinszki (Ekaterina Chtchelkanova), who was accused of the most heinous of the murders, is innocent.
Soon after, Mama Morton pulls a few strings, Defense Attorney Billy Flynn (Richard Gere, whose early training in stage musicals, like that of Catherine Zeta-Jones' serves him well here) arrives to represent Roxie, who also has push-over journalist/sob-sister, Mary Sunshine(Christine Baranski)in her corner.
The song "We Both Reached for the Gun" is based on headlines from the actual case, and has the feel of a hymn sung at a revival meeting. It is reflective of Roxie's false repentance for her misdeeds.
As the publicity surrounding Roxie grows, and the opportunistic Flynn begins to devote more time to her than to his previous client, Velma, another potentially lucrative case appears for Billy when Lucy Liu's pineapple heiress, Kitty Baxter committs a triple homicide(Note that his discussion of this case with dinner guests would not have taken place today), forcing Roxie and Velma to use a few tricks to win back Billy's attention, including a fake pregnancy.
Onstage, as the murder-as-entertainment scenario continues, we are treated to the long-suffering but loyal Amos' "Mr. Cellophane", and his devotion to his unfaithful and ungrateful wife is heart-rending. But at least he gets more attention than the offscreen family of Fred Casley, who might have given the story an interesting perspective if included.
Roxie's falling-out with Billy over his selected courtroom attire for her ends abruptly upon her observation of the tragic results of a poor woman's inability to get proper representation. Noteworthy is the strong anti-immigrant sentiment of the time.
Ultimately, Flynn, Velma, and Roxie, razzle-dazzle 'em in court. Lies win out over truth, and style, in the form of Flynn, Velma and Roxie, wins over substance in the form of Colm Feore's prosecutor, Martin Harrison, Katalin Helinszki, and Amos, and the Hart's neighbor, Mrs. Borusewiz (Jayne Eastwood), who also took the witness stand, as often happens in life.
Although acquitted, things didn't end so happily for the real Beulah Annan, whose life ended in a sanitarium in 1928.Belva Gaertner lived to see her story told onstage the year before.
But the man-manipulating Roxie Hart and Velma Kelly live to dazzle the world again, and our rollicking tale of cynical truth ends on a positive note for our main players.
All one could do in the end is heave a sigh, enjoy the show, and "All That Jazz"!

Too Much Music
I saw nothing on the cover to indicate this was mainly a musical. The minimal story line was squeezed in between 110 minutes of singing and dancing..... I would describe as "interpretive modern jazz". We finally used "fast forward" to speed through this dancing and at the end threw the VHS tape in the rubbish. What a disappointment.

The DVD release is shameful
Don't get me wrong. I love this movie more than just about any other movie in existence. The problem is that whenever you get a big-budget, Oscar-winning movie, the initial release on DVD is always going to have at least 2 discs and 2-3 hours of special features. So naturally, I eagerly awaited the release, so I could bask in the sheer excessiveness of the entire product, but instead, I watched as the curtain rose to reveal a DVD that, from my perspective, can only boast of having a 3-minute-long musical number deleted from the theatrical cut of the film. I was crestfallen, and proceeded to wait until they unveiled the real prize, the multi-disc extravaganza that I had expected from the start. But still I wait, so I am forced to say that the DVD is only worth renting, but not worth the $20.00 that the distributors continue to ask for. The movie is incredible from start to finish, but it's just not worth spending $20.00 on this, only to see Miramax release a 4-disc set the moment you take the plastic off the case. I personally will wait until they release it in a DVD set that truly does this masterpiece justice. ... Read more

Reviews (51)

Absolutely Fantastic!
I had the good fortune to be invited to a premiere of this movie in New York, and it was FABULOUS! The audience was packed with people of all ages, and everyone had a great time. An