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Later viewing Paul Schrader’s fantastic new film Auto Focus, I mat so dirty that I required to rush home and take aim a shower. Patch this movie’s main character is Hogan’s Heroes star Bob Crane (beautifully played by an energetic Greg Kinnear), Auto Focus is a film about addiction. So while you may not go away this movie feeling you know more about Crane the serviceman, you will experience that which dragged this likable TV personality into the depths of end. Auto Focus begins pre-Hogan’s Heroes as we’re introduced to loving family man and radio personality Bob Crane. While Crane enjoys his job, he aspires for something greater. Things look up when his federal agent hooks him up with a screen test for a new sitcom. That sitcom would be Hogan’s Heroes, and it would change his life forever. In front long, Crane befriends video engineering specialist John Carpenter (played with creepy glee by Willem Dafoe), and their friendship leads Grus down a path of sexual addiction that proves to be fatal in more ways then one. Paul Schrader is a seasoned pro when it comes to delving into the minds of withdrawn characters (see the brilliant Taxi Device driver). His take on Crane is extremely interesting because he ne’er chooses to make a baddie out of the sitcom star. This is a story about a normal, decent guy world Health Organization not only falls into a deviate lifestyle for no ostensible reason, but doesn’t seem to see anything wrong with it. Schrader isn’t necessarily interested in telling us why Crane went in this direction, and the truth is, there probably isn’t a reason. Sometimes, people simply do things because they toilet. Was he seduced by the power of celebrity? Was he bored with his everyday biography? Who knows. Schrader expertly gives us an intimate and ugly glimpse into the world of addiction. Schrader is also a wizard when it comes to recreating scenes from Hogan’s Heroes. The numerous recreations in this picture are selfsame detailed and more than impressive. As well directed and written as this pic is, Kinnear is also a big key to Auto Focus being as effective as it is. His sheer likability and charisma keep Crane from becoming a disgusting, one dimensional sendup. This is a fully rough-textured character, and in the end, I felt sorry for Crane, even though I was fully aware that all the big things happening to him, were because of his own doing. Kinnear is able to communicate the sympathy factor even when he’s engaging in all this naughty behavior. Willem Dafoe besides soars as the creepy, lone Carpenter. In the early goings on, he appears to be the devil leading a helpless Crane down a self destructive path, but in the end, he’s nothing more then a sad, lonely soul, who has to leech onto others to feel important. And through it all, Crane and Carpenter were true friends in every mother wit of the word. The load-bearing cast is also stellar; featuring fantastic work from Maria Bello, Rita Wilson, Ron Liebman, Michael Rodgers, Kurt Fuller, and Robert I Solomon. Auto Focus is depressing, grim, and provocative. It’s also very funny, even if it’s subject matter is nothing to laugh at. Schrader, Kinnear, and Dafoe have made an extremely effective tale about an odd, volatile friendship and a life altering addiction. This is one of the year’s best films.
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John Travolta has certainly hung in there throughout the course of his turbulent acting career. Since his big comeback as a likable thug in Quentin Tarantino’s Pulp Fiction, his career moves have ranged from strong (Cause Shorty, Face Off, Thin Red River Line) to adequate (Phenomenon, White Man’s Burden) to downright dreadful (Michael, General’s Daughter). With the astronomically expensive and painfully feckless Battlefield Earth, Travolta has undone to an all time dispirited, making an even worse film than Perfect from the 80’s. This science fiction is based on the novel by the late? L. Daffo Hubbard. In the year 3000, the human race has been virtually annihilated by a grouping of inner-galactic bullies known as Psychlos. Fortunately, there still exists a small number of human race whom, led by the energetic Barry Pepper (Saving Private Ryan), stage a revolt. Battlefield Earth certainly does offer a barrage of special personal effects, but that’s about it. Travolta seems to take fiendish hilarity in playing the bad guy rope, but his over-the-top antics drive on your nerves and stay there. Also turning up as a Psychlo is the reliable Forest Whitaker (Ghost Dog) wHO actually is much more fun to watch in this overbloated mess. You may also want to watch for a merriment cameo from Kelly Preston (Mrs.. Travolta) if you decide to waste your money on this picture. It’s been rumored that Travolta has had his eye on this project for years. Hubbard disciples throw already vented their displeasure with the end result of this adaptation and it’s easy to see why. Although I haven’t read the book, the flick seems rushed, very disjointed, and sorely lacking in energy. In terms of visual style, it blatantly borrows from far superscript works including Blade Runner, Independency Day, and the Star Wars trilogy. It even has moments that seem to be taken from Braveheart and even goes so far to borrow from The Postman. Worst of all, the so called intellectual Psychlos don’t come across as intelligent at all. Observance Travolta and his onslaught of evil henchmen do their thing, left me wondering how they possibly could have taken over so many worlds? Perhaps the book could shed some light on this. In Battlefield Earth, the Psychlos handle to wipe out the Earth in nine minutes. I was ready to walk out of this dismal, joyless disaster in five.

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During the 90’s, Steven Zallian has emerged as one of my favorite screenwriters, with such scripts as Awakenings and Schindler’s List to his credit. In 1993, he made a stunning directorial debut with the wonderfully touching Searching for Bobby Bobby Fischer. Unfortunately, his sophomore sweat is not as efficacious. John Travolta plays a lawyer wHO takes on a sheath dealing with tainted water. Before likewise long, he finds himself emotionally involved with families he’s hired to exemplify. The film opens amid a powerful courtroom shot with bitter dialogue, simply as it progresses, it loses this momentum and becomes bogged down by tedium. Surprisingly, it’s the case itself that drags the film down. What propels it beyond you’re run-of-the-mill clich-ridden John Grisham flick, is the compelling indictment of the law itself. Travolta is competent, but far from breathless. In fact, it’s the supporting performances of Robert Duvall, William H. Macy and Henry James Gandolfini that drive the film. Zallian does his best with the material, but in the end, it’s non as memorable as it should be. Sidney Lumet’s Night Falls on Manhattan left a more durable impression. At times, A Civil Action is an unblinking examination of how the judge system works–something I haven’t seen before. ::

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Basic Instinct 2
Batman Begins
Batman Returns
Big Bounce, The
Big Hit, The
Bird on a Wire
Birds, The
Black Christmas
Blade
Blade Runner
Blast!
Blessed
Blind Horizon
Blink
Blood Diamond
Blown Away
Blue Steel
Blue Velvet
Blur
Boa vs. Python
Bodyguard, The
Bone Collector, The
Book of Swords, The
Boondock Saints, The
Bordertown
Bourne Identity, The
Bourne Ultimatum, The
Breach
Brother
Brothers Grimm, The
Business, The
Butterfly Effect 2, The
Butterfly Effect, The
Cabin Pressure
Captivity
Carlito’s Way: Rise to Power
Casino Royale
Catch a Fire
Cave, The
Cellular
Charade
Children of Men
Children of the Corn
Chronicles of Riddick, The
City of Ghosts
Civic Duty
Clear and Present Danger
Cliffhanger
Cold Creek Manor
Collateral